I had a tutorial today and discussed my main issue which is how I’m going to exhibit my artwork. My issues with this aspect were both practical and conceptual. This is because any installation of the piece would add connotations to the work. As Lina pointed out, exhibiting my artwork on vintage style monitors like Olia Lialina’s, is a comment on historical internet-based artworks, such as Lialina’s. I think that I would like to avoid this, as the concept of the piece is not in fact supposed to reference internet debates. Lina suggested that to avoid this I could make the website, and the monitor, very contemporary. Again this adds connotations; I’d like my website to resemble an exciting game, and my exhibition/installation to be neutral. It should be seen as an HTML-based artwork rather than an ‘installation’. Therefore we agreed that the monitor and set up should be ‘neutral’.
YEAR EXHIBITION MEETING:
In the studio meeting we got a map of the space and I chose the centre between two pillars to place a couple of desks back to back. I would then have two apple one computers (and two monitors) on this desk with two blue office chairs. Angus has said that he will have made two desks like the ones in the office, pictured below, that I can use in this space.
The space between the two pillars is 1360mm and the desks are 960mm long. I am thinking I will have it against the centre pillar so that there is space for those who want to use the first pillar, and I will be close enough to the plug sockets. Below is an image of the space, which currently holds a wash line of melted bags by Eilis McGee, and the space represented on the studio map.
OTHER THOUGHTS FOR EXHIBITION:
Maybe I could have posters, or printed obituaries around, perhaps on the floor leading up to it, screwed up into balls. This would make it intriguing, I’d hope. Maybe I’d have a bin (like that seen in the film) filled with printed out obituaries beside the computer. These examples of printed out obituaries would replace the idea of having a printer.
My original plan was based on the film being made as part of a collaboration, but I then simplified it into a film that I could feasibly make alone. The simplified-plan can be seen via the link. I am currently advertising for two actresses to play the main woman and the street cleaner. Please message me if you are interested!
I have also redrawn the story board so that others can visualise the film like I can:
I went to London at the end of the week to meet my film production mentor, Loran Dunn, for the first time, and while I was there, I explored some areas that could be used as the London backdrop.
I have rejected my original plan of conducting a psychological study. It was too complex, and I decided it wasn’t going to work. I was going to make a complex painting (but couldn’t decide what it should be of), and ask two groups of people to interpret it, after telling each group that a different artist made it. I wanted to investigate whether priming the groups with different information would result in different interpretations.
My new idea is more simple, and is more of an illustration of a psychological study I am currently writing, for my Research Methods module. The hypothesis is that siblings, and stress, are both predictors of depression. So I will be animating an oil self portrait. I will add more and more stressors into the background, while at the same time my expression will get more and more downfallen, until I end up with a sad self portrait, surrounded by a busy background, and holding a bottle of alcohol.
For each stage, I will also be drinking slightly more; more drinking as stress levels go up. This also means that with more stress, the less defined and more messy the painting will become.
I will be taking photographs at each stage to use for the animation. There will be five main stages, but I will take more photos when I add each element perhaps. The gradual changes should be imperceptible when animated with a slow fade between each picture.
This whole process is very experimental! It is a continuing my exploration of animating paintings. Below are a couple that I have made in the past, and that I really enjoyed. I think they worked well, despite being very difficult, but I was sober while I was working, so this one may be a bit more difficult.
For the above piece I used a new medium called Brusho. My experimentation with this can be seen below.
‘All the world is a stage but the play is badly cast.‘ – Oscar Wilde. In groups we will be making a piece in response to this quote, and to our trip to the prison here; Reading Gaol, which was open as an art exhibition. Most of the work centred around the history of the prison, which was the most moving part in my opinion. I have written an article about the exhibition and the prison for the university newspaper, the Spark. Please read it below, or on http://www.sparknewspaper.co.uk once it is published.
I also played around with the photos I took using Photoshop. The results are below.
My first brainstorm around Wilde’s quote led to the idea that people’s fates are already scripted, and out of our control. Perhaps prisoners themselves can’t control the fact that they end up in prison. As if we are puppets being controlled by a puppet master. This led to a couple of ideas; one involving puppets, and a performance about struggling to perform a play while separated.
At our meeting we decided to go with the puppets idea, and came up with a plan. The puppet will be anonymous drawing figure on the stage, inside of a bird cage that will act as the prison. The one figure will be wearing a hood like the prisoners in Reading Gaol wore as part of the separate system.
When we think about the exhibition of the cage we will also be considering keeping it separate, hanging in space, and lit by stage lights. Our first step is waiting for the essentially ‘found’ objects.
Below is our plan.