tag:blogger.com,1999:blog-3672026843817143132023-11-16T06:30:51.084-08:00Lloyd Evans - Process and PerceptionThis blog is intended to document current developments within my work, providing a forum to test and critically review ideas, techniques and processes. It will be used to explore and define the contextual framework in which my work exists.Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.comBlogger165125tag:blogger.com,1999:blog-367202684381714313.post-68745207981681832142017-11-18T18:01:00.005-08:002017-11-19T12:27:09.118-08:001968 Essex University Exhibition - Installation test footage<span style="font-family: "arial" , "helvetica" , sans-serif;">Below are prototype installation designs for Essex University's upcoming Student Protests of 1968 exhibition. These designs are at an early stage and images/footage used here are for test purposes only. I am looking to source more footage/images which relate specifically to the events of 1968 at Essex University. The footage below has been shot to demonstrate initial concepts, and are no way intended as final outcomes. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Installation 1</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">A single central paper screen is projected onto from opposite sides. On one side we see the student/teacher body engaged in protest. on the other side we see the authorities/police. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The viewer is free to move around the central screen, as they do so they will block/obstruct each projectors beam, this reveals the hidden image from the opposite projector. As they move in front of the students image they reveal the police behind, the viewer effectively becoming part of the authorities standing in front of the students. As they move around the side with the police they reveal the students, this time becoming part of the crowd of students facing off against the police. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Ideally the screen wants to be much larger so that the entirety of the viewers silhouette is cast onto the screen, it also wants to be much wider so that multiple people can stand along its width. This will alter the ratio of students to police depending on which side viewers stand. The positioning and number of viewers present will therefore directly affect the agency of the work. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While this has been tested with still images ideally footage from the period would be used so that a more visually confusing and dynamic picture is created. The viewers silhouette revealing fleeting and ever changing compositions, as footage from each side is randomly juxtaposed. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Two conflicting soundtracks could be played from each side of the screen, so that as the viewer moves round the work conflicting sounds/viewpoints are heard adding to the sense discord. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/243481699" webkitallowfullscreen="" width="640"></iframe>
<br />
<a href="https://vimeo.com/243481699">LLOYD EVANS - Protests 1968 - studio test</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Installation 2</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This work relates specifically to the events surrounding Dr Inch from Porton Down's lecture which was highjacked by student protesters. In the event students flooded into the lecture theatre and didn't let Dr Inch leave as they read out an indictment against the chemical weapons work carried out at the Porton Down facility. As authorities tried to remove a student reading the indictment another would stand up and carry on reading from one of numerous copies of the document. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This installation is designed to be viewed from the front only unlike installation 1. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">An image/video of the protesters is to be projected onto the paper screen from the front. The screen is also back projected with the Porton Down indictment text. As the viewer moves across the image they will move in front of the projectors beam, partially blocking the image/video of protesters and revealing the indictment text. Thus the viewer becomes complicit in the act of shaming/exposing the activities at Porton Down. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I have not been able to find a transcript of the indictment online and in this test a random word document was used to prove concept. However I am hoping that a copy may be held either by the University or by a ex-protester which I can use. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Audio of multiple past or present students reading the indictment could be used to echo the events of that day. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/243481724" webkitallowfullscreen="" width="640"></iframe>
<br />
<a href="https://vimeo.com/243481724">LLOYD EVANS - Protests 1968 (Indictment) studio test</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<br />Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-12678961119469019662017-10-06T15:43:00.000-07:002017-10-06T15:43:00.950-07:00Making work in the turbine hall<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Over the last 2 years I have been involved with Kimberly Foster's (from Sorhed) Phd research <a href="http://www.sorhed.com/">http://www.sorhed.com</a> This has involved taking part in a range of workshops and discussions. The following images are from one such event which took place at the Tate, we were considering how different abstract/surreal hand-held 'Art' objects made by Kimberley might act as a type of catalyst to our interpretation of different works within the Tate's collection. We also had the opportunity to make a temporary work within the Turbine hall.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4riOGkJ4K2minC2f9IBtusmA3azC7YAWW5-irdFBKKBCuv4AwN1MFLWfEbkPZMTOmtbUn_JJlSB_DfnvyIDT5DFuhidCGyXKW9rz4aXKwEm-QCAkbrGkkKEDAHQJfEStLXcXe_epjCw8/s1600/IMG_9601_preview.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4riOGkJ4K2minC2f9IBtusmA3azC7YAWW5-irdFBKKBCuv4AwN1MFLWfEbkPZMTOmtbUn_JJlSB_DfnvyIDT5DFuhidCGyXKW9rz4aXKwEm-QCAkbrGkkKEDAHQJfEStLXcXe_epjCw8/s400/IMG_9601_preview.jpeg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5MUjCvhB66f-xKNpmGPtXMLHPy6hDTwX2ci6pIhEvUZthZxXXol9bOuvHroa7wMop7VFAAR9tiCe0c6K1huscV-DDwAprX6H9-TDkttHY9paGkw72PBGvAYHbAU7Y7CW5lFfKSiIJT3k/s1600/IMG_9630_preview.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5MUjCvhB66f-xKNpmGPtXMLHPy6hDTwX2ci6pIhEvUZthZxXXol9bOuvHroa7wMop7VFAAR9tiCe0c6K1huscV-DDwAprX6H9-TDkttHY9paGkw72PBGvAYHbAU7Y7CW5lFfKSiIJT3k/s400/IMG_9630_preview.jpeg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggZJVFnDN3uxf6QischesqnnpyLY-1u_-TVAdNCpz8vkRjo_qcQ9Da5t88Am2FhEGLBF2pOKtuISgIqtQHyuAyhhW7rRFRveeOSBI6uw6clU3ro1Pj0EjEmN3sSj8HFApFI6YCnI7oE-U/s1600/Photo+05-05-2017.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggZJVFnDN3uxf6QischesqnnpyLY-1u_-TVAdNCpz8vkRjo_qcQ9Da5t88Am2FhEGLBF2pOKtuISgIqtQHyuAyhhW7rRFRveeOSBI6uw6clU3ro1Pj0EjEmN3sSj8HFApFI6YCnI7oE-U/s400/Photo+05-05-2017.jpeg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmmsZ0EpivhZOT7xKR_fFf-NVBlZ-lETqzUm_UECFP3cimUeL2yAqwqB6705cmIJLpUWAQcFbdv8Ov3BWCXpwCpTcAwDDI3mD4HRLs7F_cZdw0vMjPdtbmLPrKWf0OX-YGZU0mFKGjc4o/s1600/IMG_9565_preview.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmmsZ0EpivhZOT7xKR_fFf-NVBlZ-lETqzUm_UECFP3cimUeL2yAqwqB6705cmIJLpUWAQcFbdv8Ov3BWCXpwCpTcAwDDI3mD4HRLs7F_cZdw0vMjPdtbmLPrKWf0OX-YGZU0mFKGjc4o/s400/IMG_9565_preview.jpeg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEVYaXsF5LIeD-K1Dry7nlgUaTcbg4TcZpWKDJAkY5jN7-ZQujHO3xMWIhCx6eNbdj-vl4Sq7TNLCrZJIuB78BTt_k5pdJe-M_dSeSw7EzUYGCRwQL3BHh5emVMvebcqqvsURf7r8RYMI/s1600/IMG_9587_preview.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEVYaXsF5LIeD-K1Dry7nlgUaTcbg4TcZpWKDJAkY5jN7-ZQujHO3xMWIhCx6eNbdj-vl4Sq7TNLCrZJIuB78BTt_k5pdJe-M_dSeSw7EzUYGCRwQL3BHh5emVMvebcqqvsURf7r8RYMI/s400/IMG_9587_preview.jpeg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ISV3cLkh8jyy_xeR1mrugviW1Q5RUIqY9AbKjo6C5log_G0vheA3p4u8pNuYL2lgvFpmZJqCmoL5tpfTwa-yInyVMcCmx5tulIxLaSAdYNJF-jdZG_edj0yAY0JW31uGD8HiwPSa1wk/s1600/Photo+05-05-2017-3.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ISV3cLkh8jyy_xeR1mrugviW1Q5RUIqY9AbKjo6C5log_G0vheA3p4u8pNuYL2lgvFpmZJqCmoL5tpfTwa-yInyVMcCmx5tulIxLaSAdYNJF-jdZG_edj0yAY0JW31uGD8HiwPSa1wk/s400/Photo+05-05-2017-3.jpeg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG3O4Yi_TGgwgdcuq0iQbAlezr76nyC_kU-AU5KGEHzFPF8sp5g9jD8Av_qgAXVGpULzElH1oIz3bWrkbqfeUa8eOWuN31NZLtRRRLRXzuDlthruScb0jW6WsZQqf5Dwqo1sKpeVS71IQ/s1600/IMG_9576_preview.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1000" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG3O4Yi_TGgwgdcuq0iQbAlezr76nyC_kU-AU5KGEHzFPF8sp5g9jD8Av_qgAXVGpULzElH1oIz3bWrkbqfeUa8eOWuN31NZLtRRRLRXzuDlthruScb0jW6WsZQqf5Dwqo1sKpeVS71IQ/s400/IMG_9576_preview.jpeg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeh9fl_s6D28fDBpVaAoBiEp7rLEm0lF9nNe9lj4cs39f9OGlmvyeDMeA6C0r5QKB7nwfRcVNpNNmD_WRedSm17725SW89pTw2fXlSQfDU62rh6VUxniRhkzm_H-S-tlpqXf5f6DKSZJo/s1600/Photo+05-05-2017-1.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeh9fl_s6D28fDBpVaAoBiEp7rLEm0lF9nNe9lj4cs39f9OGlmvyeDMeA6C0r5QKB7nwfRcVNpNNmD_WRedSm17725SW89pTw2fXlSQfDU62rh6VUxniRhkzm_H-S-tlpqXf5f6DKSZJo/s400/Photo+05-05-2017-1.jpeg" width="300" /></a></div>
<br />Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-47603733137343836122017-04-03T07:26:00.000-07:002017-08-26T15:23:01.298-07:00Damasked<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/194492096" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/194492096">LLOYD EVANS - canopy 2</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/194491836" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/194491836">LLOYD EVANS - canopy 1</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
Repeating each image a greater number of times I have sought to further defamiliarise and form a kind of moving wallpaper, I am keen to adapt and scale these to fit site specific locations. Movement within the works is subtle, and I see these projections occupying interior spaces where such wallpaper may be expected. This may allow me to play with the viewers perceptions, as a momentary destabilisation may take place where the exact nature (time-based/static) of the image as well as its content (Illustration/video) is unclear. <br />
<br />
<br />Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-11505048207547203792017-04-03T07:16:00.001-07:002017-08-26T15:24:02.201-07:00Can't See the Wood for the...These videos have been developed from combining, repeating, and reflecting video shot into forest canopies. By repeating and reflecting each video I have sought to use pattern as a means to defamiliarise. My idea was to create a kind of enforced order to the natural environment. I have been increasingly starting to consider the 'naturalness' of my sources of reference. The British isles contains very little untouched wilderness, most of our countryside is extensively managed, ordered, and controlled by man. I recently discovered that Britain is classed as the least 'wild' country in Europe as it's green spaces are so heavily managed, and it has no large predators left in its forests.<br />
<div>
<br /></div>
<div>
These works were made as reaction to these observations, while we may visit the countryside to connect with nature these spaces are not 'natural' they are constructs just like our towns and cities.<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/211308397" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/211308397">LLOYD EVANS -Canopy test3</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/211308028" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/211308028">LLOYD EVANS - Canopy test4</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/211309656" webkitallowfullscreen="" width="640"></iframe>
<br />
<a href="https://vimeo.com/211309656">LLOYD EVANS - Tree test4</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-34071147864024917602016-11-20T13:49:00.005-08:002017-08-26T15:39:06.309-07:00Obscura Camera<span style="font-family: "arial" , "helvetica" , sans-serif;">The function of a camera obscura was to help the artist 'trace' reality so that a clear likeness could be achieved. Here I have sought to use the camera or lens to obscure, hiding the representational and denying narrative and clear meaning.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<iframe allowfullscreen="" frameborder="0" height="432" mozallowfullscreen="" src="https://player.vimeo.com/video/192912195" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/192912195">LLOYD EVANS - Obscura camera (final cut)</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Below are some other tests using the same footage, I focussed on using pattern as a method of defamiliarising. The sound track in these clips is the original recording from filming. While I decided to change it in the final cut above I do like its ambiguous relationship to the imagery, from the 'knocking' heard at the beginning to the disembodied voices which can be picked out above a background of static. It suggests a more uneasy narrative where I feel the final cut above is altogether warmer. </span><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="432" mozallowfullscreen="" src="https://player.vimeo.com/video/192915941" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/192915941">LLOYD EVANS - SHADOW PLAY (TEST 1)</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<iframe allowfullscreen="" frameborder="0" height="350" mozallowfullscreen="" src="https://player.vimeo.com/video/192916152" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/192916152">LLOYD EVANS - SHADOW PLAY (TEST 2)</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-87725875752336719732016-09-04T16:05:00.002-07:002017-08-26T12:57:28.955-07:00Homeward Bound - Music Video for Kate Jackson<span style="font-family: "arial" , "helvetica" , sans-serif;">After shooting imagery to accompany Kate Jackson and the Wrong Moves performance at Pop My Mind's first birthday exhibition, I was asked to rework the footage into a music video for 'Homeward bound', Kate Jackson's latest release. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<iframe allowfullscreen="" frameborder="0" height="468" mozallowfullscreen="" src="https://player.vimeo.com/video/181424288" webkitallowfullscreen="" width="640"></iframe>
<br />
<a href="https://vimeo.com/181424288">LLOYD EVANS - 'Homeward bound'</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-44273493132458994582016-08-17T17:27:00.000-07:002016-08-17T17:27:06.135-07:00Summary - (It's about time!)<br />
<div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">I intend here to address key concepts or themes explored throughout my investigation, before attempting to pull these threads together to better give a holistic picture of my developing practice.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">The work produced in this module includes animation, drawing, painting, film/video, and photography. Each concept or theme will be considered in relation to how it informed or extended my thinking in relation to one or more of these divergent outcomes.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;"><br /></span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;">The haptic</span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">At the outset I proposed to explore how haptic qualities of analogue technologies might affect the reading of my work, however as the investigation progressed and ideas developed I focused primarily on digital technologies; looking at these with the same concern for tactile surface qualities. The need to distinguish between analogue and digital was questioned as I began to see past the boundaries of these terms, haptic sensation being generated through technique and not confined to specific processes.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">’To reduce the complex interactions of digital and analogue into a simple binary opposition is to grasp at essences where none can be relied on. Both the speed of innovation, and the unstable relation between bitmap and vector graphics and displays suggest that there is no essence of the digital to distinguish it from the analogue, and that instead we should be focussing as creators, curators and scholars on the real specificity of the individual work or process we are observing.’</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Sean Cubitt, Daniel Palmer and Nathaniel Tkacz - Digital Light - Open Humanities Press - 2015</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">My investigation into haptic modes of seeing led me to works by theorists such as Alois Riegl, Gilles Deleuze, Felix Guallari, and Laura U. Marks. Considering vision as both haptic and optical rather than purely optical the surface qualities of works became of paramount importance when developing both drawing and film. The viewer becoming an active spectator or participant who receives information through all senses, I therefore wanted images to appeal to the body in a more active role, the embodied sensation of experiencing the work becoming vital. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">In Laura U. Marks essay ‘The skin of Film’ she builds on Bergson, Deleuze, and Guattari to propose a concept of ‘haptic visuality’ in which the qualities of digital and traditional film are considered as a means to evoke sensory response. Including the graininess of the film, pixilation, changes in focus, under or over exposure, densely textured images; indeed she describes the haptic image as ‘less complete’. The haptic image occupies our senses, inviting association with past experience. This sensory reading draws upon the phenomenological idea of “embodied spectatorship” which Marks’s derives predominately from Vivian Sobchack’s ‘The Address of the Eye’</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">‘When our eyes move across a richly textured surface... they are functioning like organs of touch. Video, with its low contrast ratio, capacity for electronic and digital manipulation, and susceptibility to decay, is an ideal haptic medium, its graininess a lure for the roving gaze Marks describes.’ </span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Melinda Barlow -Review of: Touch Sensuous Theory and Multisensory Media’, Canadian Journal of Film Studies – 2003</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">These thoughts struck a chord as I developed works such as ‘Corpse’, ‘Chronos’ and ‘Process and Perception’. Footage in ‘Process and Perception’ and therefore ‘Chronos’ show clear signs of deterioration. This is foremost a product of the complex process of the work’s making. Each additional step acted to break the image down in the same way a picture repeatedly passed through a photocopier loses definition. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">In ‘Corpse’ the viewer is invited to move around the space in front of the screen, casting silhouettes filled with the back projected animation. Moving close to the screen they are also more aware of the pixilation caused by digital processes as well as the tactile surface of the paper screen itself. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">In ‘Process and Perception’ I see space transitioning between haptic surface and optical depth. As the work begins the spectator is presented with surface, an apparent flat screen which the charcoal animation sits upon. As the screen starts to burn the sensation of the work intensifies, fire being a known element to the viewer who will be aware of its heat, its sound, its smell. Our response to it is therefore felt through the senses and is haptic. However as it burns away we become aware of a space behind the picture plain, the forest environment, this creates depth as we are aware it sits behind the first screen and therefore must be further back; but also because the image itself obeys the laws of perspective, appearing to recede into the distance. This new space is therefore optical. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">With the burning of this second screen we become aware it does not recede but is again a flat surface, arriving back at the haptic. This cycle continues on to the last screen of the black void. Here the type of space is more ambiguous; I would argue that this black void is primarily rooted in the haptic as it appears flat. However back does imply infinity, the depth of space and therefore could be described as illusionistic. This black void is loaded with what has come before; we are aware of the different stages of the work, of each passage punctuated by the rupture of fire. This sites the void as another liminal passage, imbued with a kind of haptic memory.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Throughout this module I had been planning to make etchings from my drawings, unfortunately I have not yet realised this. However I see my recent layered photographic images holding a similar quality of line and tone to etched images. Exhibited as a set they present the viewer with a large fragmented surface to navigate. In some places they present flat web-like surfaces, and sometimes there is more space to recede into. Using these images as outcome and not just reference has opened up a new avenue I intend to pursue post MA.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;"><br /></span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;">Experience of the viewer</span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">In this module I placed great importance on the physicality of the work, considering the ‘embodied experience’ of the spectator more fully.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Experimenting with arrangements of projectors and screens I looked at how the viewer could more actively be immersed or engaged. In ‘Corpse’ the viewer’s physical actions directly affect the agency of the work, their silhouette is cast onto the picture plain revealing an image beneath. I believe immersing the spectator as active participant is more successfully realised here than in earlier work, namely my ‘Concepts and Contexts’ installation. Scaling back the size of installations was a conscious move as I sought to make more intimate or personal types of experiences; creating more subtle destabilisations using pictorial and optical illusions felt more effective as routes to ‘otherness’.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Much thought has been put into considering how the viewer can be encouraged to interact with the work, subtly manipulating them to move in-front of the projector beam. At first I focused on using central screens so the viewer could navigate 360 degrees around the work with the ‘recto and verso’ visible. For ‘Process and Perception’ as well as ‘Corpse’ I have settled on a simpler front facing arrangement. By containing the viewer to the front of the screen the rear projector is hidden, this destabilises the first encounter with the work as the viewer may be unaware how the image is achieved.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">The work ‘Metaphors we Live By’ uses the same arrangement of projectors and screen, piloting this at a recent exhibition the most common question I was asked was ‘how does it work?’ Many people didn’t realise there was a projector behind. The destabilizing effect caused by this added to the agency of the work. Watching people play with the image, stand closer then further away, wave their hands, even dance! I became aware they were held in front of the work for longer than one might consider a painting or other static image. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">’Process and Perception’ is also designed to be viewed from the front but does not require back projection and therefore the viewer’s relation to it is more passive. The agency of the work is tied more to the internal content of the image as opposed to the viewer’s bodily experience. Although by projecting onto a paper screen burning transitions become charged with a kind of ‘jeopardy’; as the first screen burns people have reported a moment of uncertainty of where the fire exists either on the ‘actual’ screen or the ‘virtual’ video. With my installation in the waterfront gallery space I have found that a consistent breeze acts to agitate the screen. I think his movement further destabilises the action as during transitions the movement appears caused by the fire on screen. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">As I move on from the MA I want to develop the work further so that its exhibition becomes more an event. As the final screen burns away revealing the void of the last section I will burn the screen in front of an audience. This takes my practice further into the realm of performance.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">By choosing to exhibit ‘Corpse’ in a dim but not black space I have endeavored to ‘soften’ the spectator’s transition into work. Finding black space in galleries often dictatorial and oppressive I believe if the spectator feels more comfortable they will be more inclined to experiment and play, moving around the space and more fully engaging with the work. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<br /></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<br /></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;">The Void</span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">A question at the outset of the module was ‘How are aspects of a contemporary sublime centred on obscurity and the void made manifest in my work? </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">The void is emptiness but what does this emptiness signify? is it the end, the beginning? or a transitional space, the potential to be? And how does it manifest itself in the context of contemporary art practice?</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;"><i>“The void is not silent. I have always thought of it more and more as a transitional space, an in-between space. It’s very much to do with time… It’s a space of becoming... ‘something’ that dwells in the presence of the work... that allows it or forces it not to be what it states it is in the first instance” </i>(Anish Kapoor - Bhabha, p11-41 - 1998)</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Reading the void as a transitional or liminal space I see the burning transitions In ‘Process and Perception’ and ‘Chronos’ evoking a sense of the void. However this liminality is fleeting, it is mere moments before the threshold is crossed and a new state of being is revealed. With each burning screen first there is a moment of destruction, being becomes non-being. This is quickly followed by the realisation that the destruction is new beginning, non-being becomes being again. With the final transition to black the void returns, but it is loaded with what has come before, asking the question of what is to come? The potential that Kapoor speaks of.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Being and non-being are therefore interdependent, non-being can only exist in relation to being. In Satre’s ‘Being and Nothingness’ Sartre sets out this relationship.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">‘Nothingness is the putting into question of being by being; that is, precisely consciousness or for-self. ... Nothingness is the peculiar possibility of being and its unique possibility. Since nothingness is nothingness of being, it can come to being only through being itself’</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Sartre - Being and Nothingness - 1958 - p.79</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">The annihilation and rebirth in ‘Process and Perception’ or ‘Chronos’ could be read ecologically, the destruction of our natural environment or as a personal one, linked to our own mortality.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Extending the final black void section of ‘Process and Perception’ I have tried to place it as another temporal space, like the videoed forest or charcoal animation. This hopefully charges the void as a transitional space with the potential for renewal. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;">Time</span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">One thread running throughout my investigation is the exploration of time. Duration both within the work, and within the experience of the work.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Henri Bergson’s ‘Matter and Memory’ has been central to the development of critical reflections throughout this final module. Bergson theorised two types of memory ‘Pure memory’ and ‘Habitude’. ‘Pure memory’ registers the past in the form of “image-remembrance”, representing the past, recognized as such. It is of a contemplative and fundamentally spiritual kind, and it is free. This is true memory. Pure memory or remembrance acknowledges that a memory was gained in the past, cannot be repeated, and is not internal to the body.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Habitude, is replaying and repeating past action, not strictly recognized as representing the past, but utilizing it for the purpose of present action. This kind of memory is automatic, intuitive, and inscribed within the body, and serves a utilitarian purpose. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">For Bergson the split between mind and body is a temporal one. The spirit resides in the abode of the past, the body in the present. The articulation of time, past, present, and future finds place through the union of spirit and body. The more the spirit descends into the past, the more one becomes conscious. The more one acts automatically, the more one exists in the present, the temporal domain of the body. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">When viewed with this lens I see the fast, abstract, intuitive charcoal animation of ‘Corpse’ residing in the body and therefore the present. It is a subconscious response to the past experience of the forest. While the video of the forest acts as Pure memory, it is the forest remembered as it was from a detached standpoint of the present but rooted in the past, therefore: </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">Video of forest - Past - Spirit. </span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">Animation of trees - Present - Body</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Moving around the work the union of these two states is considered, one is always seen in relation to the other exploring the dialogue between the two.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Here the concept of consciousness is explored only in the context of the individual. However as I look further at my work with an ecological perspective I have begun to question if the consciousness the work speaks of is the viewers own or something other. In Bergson’s concept of ‘Elan vital’ he theories that all living things have a degree of consciousness. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">‘From one point of view, we can say that some beings are literally more alive than others. This ‘aliveness’, that the French philosopher Henri Bergson called the ‘elan vital,’ has manifested itself more powerfully within them. We can see the whole evolutionary process which has taken life forward from amoebi to human beings as a process of ‘vitalisation’, by which living things become progressively more animated. As living beings become more ‘vitalised’ the intensity of their consciousness increases; so another parallel way of looking at evolution is to see it as a process by which living beings become more and more conscious.’</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">The Elan Vital and Self-Evolution -Steven Taylor - </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">New Renaissance, Volume 8, Number 4, Issue 27. - 1999</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Artist herman de vries (he writes without capitals to avoid hierarchy) explores the relationship between humanity and nature, seeing the production of art as an expression of consciousness which he too finds in all living things. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">‘this line of thought still guiding me now. i have nothing to say: it is all here.</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">art is not the definable. every definition of it is a limitation. but for me it has to do with the formulation of consciousness or with the process of becoming conscious. </span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">this consciousness i see happening around me in nature and i show what i have seen happening, what i have seen being’.</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Except from - The world we live in is a revelation - herman de vries - 1992 </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Re-assessing such work as ‘Chronos’ and ‘Corpse’ the past and present we witness could be seen not as an analogy for our own experience, but as a vision of the natural worlds detached consciousness. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">The destruction and renewal no longer represent our own existential fears but speak of ecological processes. the deep-time of ecological processes are juxtaposed with our own fleeting time frame. The awareness of having agency in these two temporal time frames is defined as ‘Shadowtime’</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">The term ‘Shadowtime’ is taken from the Bureau of Linguistical Reality and describes feeling the presence of two time frames simultaneously, human time and the deep time of ecological processes. As my investigation progresses many phases taken from an ecological context were used to describe the articulation of time and other concepts related to my work.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">The work ‘Chronos’ as well as ‘Process and Perception’ involve periods of relative stability and moments of significant change. The title ‘Chronos’ reflects the idea of duration as taken from the greek notion of time. In this analogy the liminal moments of rupture become Karios.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">“The Greeks had two notions of time: Chronos and Kairos. Chronos is the concept of time as a measure, a quantity that changes in a uniform and serial order. Chronos is, in a sense, empty; without content or meaning beyond its own linear progression. It is when nothing happens, and goes on happening…Karios, on the other hand, is a kind of time charged with promise and significance. It is time that saturates time…. The phrase ‘the fullness of time’ evokes the kairological, in a way it expresses the idea that time can be fulfilled and made anew through a profound change or rupture of some kind, making what happens thereafter radically unlike what has come before”</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Paul Chan - A Time Apart - 2010</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;"><br /></span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;">Nature and ecology</span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Throughout this module my work has relied on source material drawn from the landscape. This is a new development for a practice resolutely abstract for many years. This shift has seen me re-engage with contextual influences from landscape painters and photographers. The connection with nature I first viewed as functioning metaphorically, branches of trees acting like tendrils or interconnected webs reminiscent of earlier all-over pattern paintings. However, reading the work from an ecological perspective has become intrinsic to my thinking. Indeed much terminology used to describe concepts such as; time, loss, destruction, renewal and indifference are drawn from contemporary writings about the Anthropocene; terms such as solastalgia, stuplimity, shadowtime and apex guilt seam to ‘fit’ with sensations evoked by the work.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">‘<i>Many of these words are, clearly, ugly coinages for an ugly epoch. Taken in sum, they speak of our stuttering attempts to describe just what it is we have done.’</i></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Robert Macfarlane – Generation Anthropocene: How humans have altered the planet for ever - 2016</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">I see recent work fitting into a tradition of uneasy, unquiet or eerie British landscape art. Animations are agitated and disjointed, images build, become obscured then are erased. Colour is absent, and hand-drawn marks appear quickly, gestural, and with force. Whether reading my work psychologically or ecologically they are about transition, liminality, thresholds, being and non-being. Coming from and returning to the void. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">‘The eerie is monstrous precisely because it will not demonstrate itself (to demonstrate, from the Latin demonstrare, meaning to show or reveal).’</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Robert Macfarlane - Eeriness: Tracing an Unquiet Tradition in British Landscape Art. - 2016</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"> </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">I do not feel I have to decide between a metaphysical or ecological reading and see it possible for both to function concurrently. Within nature I have a subject with which all can relate to and draw their own conclusions.</span></div>
<div style="font-family: 'Helvetica Light'; line-height: normal; min-height: 14px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<i><span style="font-size: x-small;">‘The tree is a fundamental form. It’s a shape, a metaphor, a concept that we inherently respond to and find attractive. Trees have the potential to be read both abstractly and formally.’ </span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Katie Holten - interview with Stephen Sparks - On turning Words and Paragraphs into Whole Forests</span></div>
<div style="color: #00afe9; font-family: 'Gill Sans Light'; line-height: normal;">
<i><span style="font-size: x-small;">http://lithub.com/katie-holten-on-turning-words-and-paragraphs-into-whole-forests/</span></i></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 21px;">
<span style="font-size: x-small;"><b></b><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<b><span style="font-size: x-small;">Conclusion</span></b></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">In this body of work I see great potential to extend ideas further, layered photographic images and drawings are set to be translated into etchings, ‘Process and perception’ is set to develop into a performance, and further drawings and animations are planned. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">An original question posed to me was ‘why trees?’ Is this metaphysical as earlier work, or ecological. I now see both concepts functioning simultaneously and do not need to distingish between the two; indeed I believe ‘nature’ physically and symbolically facilitates a dialougue between the two conceptual positions. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">With both drawings and film the surface qualities of the work has become of paramount importance as I have tried appeal to the senses more directly, employing the tactile qualites of each technique and process. Utilising different types of layering techniques I have sought to break down or abstract the image whilst building ‘time’ into it. </span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">Indeed the unifying thread running throughout this body of work is the articulation of time. Banal time, deep-time, and human time, all liminal spaces full of potential for destruction or renewal.</span></div>
<div style="font-family: 'Gill Sans'; line-height: normal; min-height: 19px;">
<span style="font-size: x-small;"><br /></span></div>
<br />
<div style="font-family: 'Gill Sans'; line-height: normal;">
<span style="font-size: x-small;">As I developed both drawings, photographs, animation, and film terminology drawn from ecological ideas and concepts seemed to best resonate with the sensation and experience of the work. Indeed the ‘stuplime’ eloquently sums up a post-modern experience of the sublime, the post-modern sublime being central to all work produced whilst on the MA. Kant and Burke’s ideas re-imagined for an information saturated, disinterested present. To borrow from Barnett Newman, ‘The Stuplime is Now’!</span></div>
</div>
<div>
<br /></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-81803040529837812452016-08-13T16:42:00.002-07:002016-08-13T16:42:44.807-07:00Jillian Mayer & Lucas Leyva - Swing space<span style="font-family: Arial, Helvetica, sans-serif;">Artists Jillian Mayer and Lucas Leyva make work that explores our relationships with and within digital technologies. There work ranges from web projects, music videos, and expanded cinema. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /><b>Swing space 2013 </b><br /><br /><i>'A meeting of the virtual and the physical world, Swing Space creates a blissful immersive experience that approaches the sublime.</i></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>The skies in Swing Space are digitally enhanced to contribute to the sense of a mediated reality that is authentically enjoyable on various sensory levels. Visitors were welcome to swing in the installation during gallery hours.'</i><br />Jillian Mayer -</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> <a href="http://www.jillianmayer.net/index.php?/ongoing/cloud-swing/">http://www.jillianmayer.net/index.php?/ongoing/cloud-swing/</a></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgimJNACm4E5FueDRlCgnIFNPgNq5-Q9AU85VnEThNtEQ1RZkzUOmtMjJPQr3tIgDnRh4BqhXGvixopChdRwrnf46e5uvVpzcd2XJMzXO58OpqpXxobcl8ElV1TxNiwR67TCNfQx3u2BAE/s1600/Picture+6.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgimJNACm4E5FueDRlCgnIFNPgNq5-Q9AU85VnEThNtEQ1RZkzUOmtMjJPQr3tIgDnRh4BqhXGvixopChdRwrnf46e5uvVpzcd2XJMzXO58OpqpXxobcl8ElV1TxNiwR67TCNfQx3u2BAE/s400/Picture+6.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Swing space - 2013</span></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">I am uncertain this work 'creates a blissful immersive experience that approaches the sublime' more than using a swing in the regular context of a park might. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">For me this is a work enthused with melancholy and failure, the failure of technology to replicate those classical 'sublime' experiences of being connected with or within nature. Here the failure is made explicit. it is not a whole view we see but a stuttering fragmented one. while there is a playful otherness in the use of swings and projected clouds in an interior space there also seems a kind of dystopian melencoly that soon this is all the nature you will get. As technology develops the line between the actual and virtual become evermore blurred. The work seems to raise questions about a future in which nature is augmented; could we relax and recuperate in a virtual landscape as we do in an actual one? Would we even notice? Would we care? Is there even a difference?</span>Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-41189529667029451482016-08-13T16:28:00.002-07:002016-08-15T00:17:25.306-07:00Bibliography<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv2hxsWGWHHPVg4xXYt4yqrcFj39F3vBYljrEPVVR05QEaMu2ST6GzrT9ySqTORvrCDdJGsj-RnlF0HZzfyLgY9AsBeIsG2ZkKGVM-Wy66Y7j0vErDTa6T9MijNerTVRoMOfjsyQ4jY48/s1600/IMG_4154.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv2hxsWGWHHPVg4xXYt4yqrcFj39F3vBYljrEPVVR05QEaMu2ST6GzrT9ySqTORvrCDdJGsj-RnlF0HZzfyLgY9AsBeIsG2ZkKGVM-Wy66Y7j0vErDTa6T9MijNerTVRoMOfjsyQ4jY48/s400/IMG_4154.jpg" width="300" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Bibliography</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><br />Groom, A (2013) <b>Time</b>. London, Whitechapel Gallery</span><br />
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Morley, S (2010) </span><b style="font-family: Arial, Helvetica, sans-serif;">The Sublime</b><span style="font-family: "arial" , "helvetica" , sans-serif;">. London, Whitechapel Gallery </span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Ed - David Curtis, A.L Rees, Duncan White, Steven Ball (2011) </span><b style="font-family: arial, helvetica, sans-serif;">Expanded Cinema: Art Performace Film</b><span style="font-family: "arial" , "helvetica" , sans-serif;">, Tate Publishing</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Giles Deleuze (1989) <b>Cinema 2</b>, Continuum<br />Giles Deleuze (1986) <b>Cinema 1</b>, Continuum</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Giles Deleuze (2003)<b>The Logic of Sensation</b>, Continuum<br />Sigmund Freud translated by David McLintock (1998) <b>The Uncanny</b>, Penguin<br />Ed JJeffrey Kastner (2012)<b> Nature</b>, Whitechapel Gallery<br />Brian Massumi (2002) <b>Parables for the Virtual: Movement, Affect, Sensation</b>, Duke University press<br />Janine Marchessault, Susan Lord (2008) <b>Fluid Screens, Expanded Cinema</b>, University of Toronto Press<br />Henri Bergson (2010) <b>Matter and Memory</b>, Digireads.com Publishing<br />Yvette Biro (2008) <b>Turbulence and flow in film</b>, Indiana University Press<br />Tamara Trodd (2014) <b>Screen/Space: The projected image in contemporary art</b>, Manchester University Press<br />David Maclagan (2001) <b>Psychological Aesthetics: Painting, feeling and Making Sense,</b> Jessica Kingsley Publishers<br />Andre Bazin (1967) <b>What is cinema?</b> Volume 1, University of California Press<br />Andre Bazin (1971) <b>What is cinema?</b> Volume 2, University of California Press<br />Frederick Copleston (2003) <b>A History of Philosophy: 19th and 20th century french philosophy</b>, Continuum<br />Ferris P. and Moore, J. (1990) <b>Art from South Africa</b>, Thames and Hudson<br />Sianne Ngaio (2007) <b>Ugly things</b>, Harvard University Press<br />Sean Cubitt, Daniel Palmer and Nathaniel Tkacz (2015) <b>Digital Light</b>, Open Humanities Press<br />Claire Bishop (2005) <b>But is it installation art?</b> - Tate Etc. issue 3: Spring 2005 <br />Melinda Barlow (2003) <b>Review of: Touch Sensuous Theory and Multisensory Media', Canadian Journal of Film Studies</b>, University of Minnesota Press<br />Freud (2004) <b>Civilization and its Discontents</b>, Penguin<br />Sartre (2005) <b>Being and Nothingness</b> - Washington Square Press<br />Newman, B. (1948) <b>The Sublime Is Now</b>. In: Harrison, C. and Wood, P. (eds.) Art In Theory 1900–1990. Oxford: Blackwell Publishers<br />Robert Macfarlane (2016) <b>Eeriness: Tracing an Unquiet Tradition in British Landscape Art</b>, Tate Etc. issue 36: Spring 2016<br />Laura U. Marks (2004) <b>Touch: Sensuous Theory and Multisensory Media</b>, University of Minnesota Press<br />Robert Adams (1981) <b>'Truth in Landscape' from Beauty in Photography</b>, Aperture, Millerton<br />Vivian Sobchack (1991) <b>'The Address of the Eye: A Phenomenology of Film Experience</b>, Princeton University Press<br />Laura U. Marks (2000) <b>The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses</b>, Duke University Press<br />Eckart Ehlers, Thomas Kraft (2006) <b>Earth System Science in the Anthropocene: Emerging Issues and Problems</b>, Springer<br />Robert Macfarlane (2015) <b>Landmarks</b>, Penguin</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Naomi Klein (2014) <b>This Changes Everything: Capitalism vs the Climate</b>, Simon and Schuster </span><span style="background-color: white;"><span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><br /></span></span>
<br />
<span style="background-color: white; color: #666666; font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;"><br /></span></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-67720573723524130372016-08-03T09:21:00.000-07:002016-08-12T09:14:25.820-07:00The stumpsAfter creating my recent layered photographs I went on another walk to get new reference pictures to build work from. This area is known for its ancient oak woodlands and I was hoping the gnarly old shapes of branches and trunks would make excellent source material.<br />
<br />
However with it being summer the trees were obviously covered with leaves and the forest floor was obscured in ferns. When layering these images the 'busyness' of the leaves acted to camouflage the layers beneath. Layering has worked best with winter photographs as they contain only the structural shapes of branches. This allows space for other layers to come through, whilst shapes within the image can stay clearly defined. I will have to return to this landscape in winter and reshoot.<br />
<br />
Below are a selection of the images from this trip followed by later digital layering experiments.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4avrvQruMAmiZHtGoLfMlRVpP94xzoAtTSkDynZSYMSwD5UK70CREu77s8n-3iXH6Ixbf3urqr5AbCtb3nV4QhCfaQVNYCLU60lnH8DcBoaYoIoUbzBZS0xtI2zEw8RHIRj2J-Jfr6S4/s1600/old+oak1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4avrvQruMAmiZHtGoLfMlRVpP94xzoAtTSkDynZSYMSwD5UK70CREu77s8n-3iXH6Ixbf3urqr5AbCtb3nV4QhCfaQVNYCLU60lnH8DcBoaYoIoUbzBZS0xtI2zEw8RHIRj2J-Jfr6S4/s400/old+oak1.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNyGlmqluHiMk-Wle8WubaIIHcZhQRePF3vGuhu7cpHqbUbZ5uUOn1AQiMV8fRwFcKs4TvngM9-HPLy9by0nM4zUZeVIT4OG4gE_uIv7WDU04lLbQh06A_9IRtKVpZlfdM_2pWmGgNoY/s1600/old+oak6.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNyGlmqluHiMk-Wle8WubaIIHcZhQRePF3vGuhu7cpHqbUbZ5uUOn1AQiMV8fRwFcKs4TvngM9-HPLy9by0nM4zUZeVIT4OG4gE_uIv7WDU04lLbQh06A_9IRtKVpZlfdM_2pWmGgNoY/s400/old+oak6.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8kkhkn46L3LP_XR3fkkGQvaVb-O930LH6qjjI9UjeSpCDm6rYuNko0jUPaCrbaG3qQ-Bxa_7okWJSVKzstqUcRj6sPJouBE0_-5IO1x7_u91ODr_8yGlUGSrtHyG3hBbgwoOfMmxNBHQ/s1600/old+oak7.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8kkhkn46L3LP_XR3fkkGQvaVb-O930LH6qjjI9UjeSpCDm6rYuNko0jUPaCrbaG3qQ-Bxa_7okWJSVKzstqUcRj6sPJouBE0_-5IO1x7_u91ODr_8yGlUGSrtHyG3hBbgwoOfMmxNBHQ/s400/old+oak7.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcPFgvIRhJhDwuqRX_xsXxBnbnCiWRHtgsg8i0TXXUeXmWmMX68hHnPdZgtWyaZSWGE2wdsWFx2GFQOhon9vKM4dbibtH1PaXB86n-O5GssKv5dMcbgxExkhP3eJ3GXken9Z8tp4zb3_g/s1600/old+oak8.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcPFgvIRhJhDwuqRX_xsXxBnbnCiWRHtgsg8i0TXXUeXmWmMX68hHnPdZgtWyaZSWGE2wdsWFx2GFQOhon9vKM4dbibtH1PaXB86n-O5GssKv5dMcbgxExkhP3eJ3GXken9Z8tp4zb3_g/s400/old+oak8.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivGmvMTvCh5qvd0JwqMathVPMl9V62LquyPLwq4YGjgci6PKm5U2ChXBf10M2fIcSQ3Fg_DPbOL_RkBcuG4i3uGnn-x33oyjOBaLAF5J0-flOlOA_3YNV-BfWhnrZuZ67EytLT8cOKit4/s1600/old+oak9.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivGmvMTvCh5qvd0JwqMathVPMl9V62LquyPLwq4YGjgci6PKm5U2ChXBf10M2fIcSQ3Fg_DPbOL_RkBcuG4i3uGnn-x33oyjOBaLAF5J0-flOlOA_3YNV-BfWhnrZuZ67EytLT8cOKit4/s400/old+oak9.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNbxHRUboqSfLlZ7vnyvv75ZIpINj0SZG3pwMVa0zOkuewtKOY7EoYc5FeoHcxf8MRsp2JhyWJrVOhxa5Cb872E6-E-QIbHII214A6Hg3doCY9kF2YKV2Rault_v1kYHVGotwYmdNBt-8/s1600/old+oak10.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNbxHRUboqSfLlZ7vnyvv75ZIpINj0SZG3pwMVa0zOkuewtKOY7EoYc5FeoHcxf8MRsp2JhyWJrVOhxa5Cb872E6-E-QIbHII214A6Hg3doCY9kF2YKV2Rault_v1kYHVGotwYmdNBt-8/s400/old+oak10.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVIT5FvYHYaBnxjEEsbdyR_3fDtb93O9v-E9Uj1jyr6wPg7wjCVTr_LwI6NchSHXLVCOkwdifThh66dJjuBTAMJo-8rkEfQAIQtZ6KZBxX8Uv6gfqDengF7r3e6SS8Dv2KKCHHGMjUNrM/s1600/old+oak12.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVIT5FvYHYaBnxjEEsbdyR_3fDtb93O9v-E9Uj1jyr6wPg7wjCVTr_LwI6NchSHXLVCOkwdifThh66dJjuBTAMJo-8rkEfQAIQtZ6KZBxX8Uv6gfqDengF7r3e6SS8Dv2KKCHHGMjUNrM/s400/old+oak12.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgksBwE_XcQFTbK3u30NUzSIYJvBx47qxPqsUhvksqubevYY-PG4KEN0RQGEV_OfzRtDVzqIORUD9j7p7PfECE4OA7Oad4WQgkcbJvibuT2SuyJw50zdKURCCJQ6jJ0W3sieCi9Ol_Tae0/s1600/old+oak17.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgksBwE_XcQFTbK3u30NUzSIYJvBx47qxPqsUhvksqubevYY-PG4KEN0RQGEV_OfzRtDVzqIORUD9j7p7PfECE4OA7Oad4WQgkcbJvibuT2SuyJw50zdKURCCJQ6jJ0W3sieCi9Ol_Tae0/s400/old+oak17.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSh3AD7MoLuK_tUp8qxbj-HDuDJNHjnZx2hfrK6FWN86vRXvgy7a2Xz8aqaIDNYzLoEqfDtAVYAl7KQUBCon4xsIrz-0E4I-f38bqRK8n_Kcv-JFr74iOxBD6NjGMYPQP3eACfmF72TDw/s1600/old+oak20.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSh3AD7MoLuK_tUp8qxbj-HDuDJNHjnZx2hfrK6FWN86vRXvgy7a2Xz8aqaIDNYzLoEqfDtAVYAl7KQUBCon4xsIrz-0E4I-f38bqRK8n_Kcv-JFr74iOxBD6NjGMYPQP3eACfmF72TDw/s400/old+oak20.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNPMOyuK587GaGqP0lm22W1kkAOqyQk5wn8Gs1mZfPgw7p-F1rs0Nri3M9qy3po1uiX6RGQf6ShP_Y04fkGmrqEnO-NiQZMXAXtCqgf0SIDTwy4wIjI5zP95ewzT3ep_NvKAqvAG7_-A/s1600/old+oak18.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNPMOyuK587GaGqP0lm22W1kkAOqyQk5wn8Gs1mZfPgw7p-F1rs0Nri3M9qy3po1uiX6RGQf6ShP_Y04fkGmrqEnO-NiQZMXAXtCqgf0SIDTwy4wIjI5zP95ewzT3ep_NvKAqvAG7_-A/s400/old+oak18.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9bdWmim1mp1C_iOL7_DAJUHRkeMcRjmxM0FYqsig24DHmuXs5lXlb7d00dATE5ke7V6SggwMRVSRAHIuwjCJIGmWsGYoiTRuFwQpID27PbA9LdaWF8N5PBu56_4jHf9glBAhOO-THNH4/s1600/old+oak14.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9bdWmim1mp1C_iOL7_DAJUHRkeMcRjmxM0FYqsig24DHmuXs5lXlb7d00dATE5ke7V6SggwMRVSRAHIuwjCJIGmWsGYoiTRuFwQpID27PbA9LdaWF8N5PBu56_4jHf9glBAhOO-THNH4/s400/old+oak14.JPG" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYqgjOK885XJbGfhjjlZVRMjg7rKJ1QiJ3VdLDSGO3KmzNVbk8wUr_D1L4t_5CsFgvM121NN1VL2s2mvQfKvl_B1JcgfqbIk_mKNdbbbAt21hMZBfG-EYmnNDT932vr5OsRngJHKFcG7U/s1600/butley+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYqgjOK885XJbGfhjjlZVRMjg7rKJ1QiJ3VdLDSGO3KmzNVbk8wUr_D1L4t_5CsFgvM121NN1VL2s2mvQfKvl_B1JcgfqbIk_mKNdbbbAt21hMZBfG-EYmnNDT932vr5OsRngJHKFcG7U/s400/butley+1.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2b2tAcxyD2MX-hQ4zMZnVAr_vBHcw2WKCfHwSKdqZNdwOlqftLm0EPQ9uta__be7bcQtWCCW8VtAHq2cX6Mqi-FCw1u81T96yc5LZNFfaMp5RlZ3X4-KAycwNiWk8qHofStkx8S5j4zw/s1600/butley+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2b2tAcxyD2MX-hQ4zMZnVAr_vBHcw2WKCfHwSKdqZNdwOlqftLm0EPQ9uta__be7bcQtWCCW8VtAHq2cX6Mqi-FCw1u81T96yc5LZNFfaMp5RlZ3X4-KAycwNiWk8qHofStkx8S5j4zw/s400/butley+4.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8iOjWiGQMYWK5uK-1vAl1dsUWkFhMKf9mnFeL1m5_Uw_IayUc21eZjgbb1jNgddaP_K5M15dn1kyMlM5698KPtujT5ZzwYK07gqb-pqmKfWyeMQLVZHQ2M32Wn3H3bU2n9NZral0voyQ/s1600/butley+3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8iOjWiGQMYWK5uK-1vAl1dsUWkFhMKf9mnFeL1m5_Uw_IayUc21eZjgbb1jNgddaP_K5M15dn1kyMlM5698KPtujT5ZzwYK07gqb-pqmKfWyeMQLVZHQ2M32Wn3H3bU2n9NZral0voyQ/s400/butley+3.jpg" width="400" /> </a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-QebzFYmgaBSXlmPlcsMdAs4eA5Vs3F4BiPYhIQ6LoE8dEO64QYks0RHrOlMDFJfGWMbV_oduhxmxgLSJsAF6DP7z5-IwBE07FUGE5O0RJ1tWj25og7m9JXCRxYXVXSLwEsc51SvSfmk/s1600/butley+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-QebzFYmgaBSXlmPlcsMdAs4eA5Vs3F4BiPYhIQ6LoE8dEO64QYks0RHrOlMDFJfGWMbV_oduhxmxgLSJsAF6DP7z5-IwBE07FUGE5O0RJ1tWj25og7m9JXCRxYXVXSLwEsc51SvSfmk/s400/butley+2.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxTAsqDZ1xEdRV1VfB3Rn5p85GzSDmsCxnm34YU3rjErgT-hMVktgSeqjo6fJe_5pcBheCT8ZwusL7kubiQl4UR1fByYLk76NGmH4pvn_vi9AfXdh5qXag4HF8RS7NscvbaZUYBOTRUTg/s1600/butley+5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxTAsqDZ1xEdRV1VfB3Rn5p85GzSDmsCxnm34YU3rjErgT-hMVktgSeqjo6fJe_5pcBheCT8ZwusL7kubiQl4UR1fByYLk76NGmH4pvn_vi9AfXdh5qXag4HF8RS7NscvbaZUYBOTRUTg/s400/butley+5.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYOpFPrVWhOafnVCoOWpgj1g2nxINwgPyQnTN6jVEjkJHaEnsmhtl95vAa3Tu3pcZ6H71dSph75U3Va01KJy8Ms4yhC1ZZ3bJoy4iZdacsBEcS2miLulGJw4SbWKbZ7AHrLDezhbKGObM/s1600/butley+9.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYOpFPrVWhOafnVCoOWpgj1g2nxINwgPyQnTN6jVEjkJHaEnsmhtl95vAa3Tu3pcZ6H71dSph75U3Va01KJy8Ms4yhC1ZZ3bJoy4iZdacsBEcS2miLulGJw4SbWKbZ7AHrLDezhbKGObM/s400/butley+9.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwdlaUtgU_FHMyEPons5ZDmnOqQCugVIszSxDDUMJPw-8dirBmmg2MKhjef4GPJRPBDECq-Z-uVQqkFpaLKajmt7Wsx-0mk5PCz5fH_RjFwqfzuFghn5YDut7XKXErnipYLhl8QYKFHis/s1600/butley+8.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwdlaUtgU_FHMyEPons5ZDmnOqQCugVIszSxDDUMJPw-8dirBmmg2MKhjef4GPJRPBDECq-Z-uVQqkFpaLKajmt7Wsx-0mk5PCz5fH_RjFwqfzuFghn5YDut7XKXErnipYLhl8QYKFHis/s400/butley+8.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvhwhLVslTn8xqxaxuHqSbesG53E2I_C3B9Xq1Dl9csGoRDzsPlPgFaMV-3-r85DHRxx-PqBVuKkEj5YD_WFxF3MPalTt9xagSRkZRMx78U-5mv6u9aR53ycDLlbyrwSdTE61j7pnBAzo/s1600/butley+7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvhwhLVslTn8xqxaxuHqSbesG53E2I_C3B9Xq1Dl9csGoRDzsPlPgFaMV-3-r85DHRxx-PqBVuKkEj5YD_WFxF3MPalTt9xagSRkZRMx78U-5mv6u9aR53ycDLlbyrwSdTE61j7pnBAzo/s400/butley+7.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuc_Dvg_V0fyOJorFbWUrByaaEVtdyY085gi5tEd5os-HksEbbSS7tEW4MdB_A0zmVHU35JpIkwDw671eSCWMTNZG_R61enVHLnnBFaAsZIpT2DFLQ3AoK5utIK93IpGT4U8sE1ColDBI/s1600/butley+6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuc_Dvg_V0fyOJorFbWUrByaaEVtdyY085gi5tEd5os-HksEbbSS7tEW4MdB_A0zmVHU35JpIkwDw671eSCWMTNZG_R61enVHLnnBFaAsZIpT2DFLQ3AoK5utIK93IpGT4U8sE1ColDBI/s400/butley+6.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
Below the set is laid out to test how they might be exhibited. I favour this tight arrangement as it creates a fractured disjointed space which can be read collectively from a distance, yet close up provides enough detail for the viewer to consider each individually. Since this photo was taken another 8 have been produced creating a set that is 5 x 8. The human scale of this arrangement allows the viewer to stand within the borders of the image immersing them within it. </div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
In some places the images appears to carryover onto an adjacent frames, I like how this helps the eye navigate through the larger work. </div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU8lGQqM3gyA6Fh-CvhH2hf3wxozZAklrDm2KTPGwBcyBjhFYI7wioPe0CcdoJO5FhZTHeeX8g0yvlnJvNxb4HSN93zxCyohCi99wHRxM3jSZjCzGMPdoww7DBh2FYl4M2lXnBZosYLVs/s1600/IMG_4048.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU8lGQqM3gyA6Fh-CvhH2hf3wxozZAklrDm2KTPGwBcyBjhFYI7wioPe0CcdoJO5FhZTHeeX8g0yvlnJvNxb4HSN93zxCyohCi99wHRxM3jSZjCzGMPdoww7DBh2FYl4M2lXnBZosYLVs/s400/IMG_4048.jpg" width="300" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<br />Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-76174852587811051752016-08-03T09:15:00.002-07:002016-08-12T10:26:32.846-07:00Latest drawing<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Keywords: </b>Crystal image/ Virtual/ Actual/ Layering/ Temporal </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Alongside working on animations, video sequences, and installations I continue to draw and paint from the 'natural' environment. In these works I've been exploring ways to convey a sense of time though layering and gestural mark-making. The question currently at the heart of my practice is how can I best convey time? Past present and future. Here it is compressed, overlaid and fixed into simultaneous instants.<br /><br />How many layers used affects how dense and therefore how much the image breaks down into abstraction, becoming less readable as representational image. In the first and second images I have worked from successive reference photographs. As the layers build old ones are rubbed out to make way for new branches and trunks.<br /><br />In the remaining works layers have been completed and then more fully erased in an attempt to build a rich surface of image fragments. As the work progressed I stopped using reference and instead relied on intuition, reacting to elements already within the composition. Key structures were then picked out of the composition to arrive at point in which all instants are fused.</span><br />
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The 'virtual' image (past/future) is aligned with the 'objective' temporal image of the present. In the context of the cinema Deleuze theorises this fusion of temporal domains as the 'crystal image'. Objective present and subjective past meet, while the concept of a 'crystal image' has been formulated for the moving image here I am attempting to imply movement and time through layering of moments.</span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Deleuze described the 'virtual' as</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> '<i>opposed not to the real but to the actual. The virtual is fully real in so far as it is virtual. Exactly what Proust said of states of resonance must be said of the virtual: 'Real without being actual, ideal without being abstract'</i>“ </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Deleuze - Difference and repetition - 1968</span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Are these virtual works? while their layers </span></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">hints at duration, the</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> past of the virtual they are fixed in the impossibility of the present. They have become 'actual' art object. This contrasts with 'Corpse' double projections in which movement in the image unfixes it from the actual to become 'virtual'. But the 'Corpse' works include the 'body' of the spectator. Is not the body 'actual'? </span></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Brian Massumi believes the body occupies both positions of 'actual' and 'virtual' simultaneously </span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>The body is as immediately abstract as it is concrete; its activity and expressivity extend, as on their underside, into an incorporeal, yet perfectly real, dimension of pressing potential....the brain as a centre of indertermination; consciousness as subtractive and inhibitive; perception as working to infold extended actions and expressions, and their situatedness, into a dimension of intensity or intension as apposed to extension; the continual doubling of the actual body by this dimension of intensity, understood as a superlinear, super-abstract realm of potential; that realm of the virtual as having a different temporal structure, in which past and future brush shoulders with no mediating present, and as having a different, recursive causality; the virtual as cresting in a liminal realm of emergence, where half-actualized actions and expressions arise like waves on a sea to which most no sooner return.' Brian Massumi - Parables for the virtual: Movement, Affect</i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>, sensation - p31</i></span></span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I find charcoal allows me to work quickly, therefore the works contain more gestural movement. However I have always found charcoal to be problematic as qualities and definition are too easily erased. Maybe this transience suits work dealing with time but it is still frustrating! I often prefer pencil's quality of mark-making and line but sometimes when working more representationally work can appear too 'static', I especially see this in image two. </span></div>
<div>
<br /></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTCXq0_Nzc014-1-e7Bzc5DMLa7oY6_Ujuii07kxFQ0Nj93guUXjEafuoqGRSwRMoocImajQRSanEiUCOiKKn2gGwOanpnfGMV2v13A-D7AWVCCNf5g3REeWvqzF1SNYDnZgzY4hotnAE/s1600/palimsest3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTCXq0_Nzc014-1-e7Bzc5DMLa7oY6_Ujuii07kxFQ0Nj93guUXjEafuoqGRSwRMoocImajQRSanEiUCOiKKn2gGwOanpnfGMV2v13A-D7AWVCCNf5g3REeWvqzF1SNYDnZgzY4hotnAE/s400/palimsest3.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsBbD7uAc9LRkrjPczrtukMdaBcIRA3BULUiztXPa0RhTSJ3ZqSBmpvjgLgyH7EmItZOmQT3YukYmo2c5JXOrBcu3dP9YCmJDyzVvaWwxsCiNsmnRwBPpGZCQ5nFBFlqQPKE6wmuPgKzY/s1600/tree+drawing2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsBbD7uAc9LRkrjPczrtukMdaBcIRA3BULUiztXPa0RhTSJ3ZqSBmpvjgLgyH7EmItZOmQT3YukYmo2c5JXOrBcu3dP9YCmJDyzVvaWwxsCiNsmnRwBPpGZCQ5nFBFlqQPKE6wmuPgKzY/s400/tree+drawing2.jpg" width="400" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAyVE7aoTv-N-Cdh7O0Z8qNr8NPor-09zUuq1s0og101Jily1zI0LorsFf6LdNu9T5vzP6cvZ_6YtVXQD4Q_tyFDDrgtSaeLSeSgcCLBPZtROsdfqioR-3wVy08QBIeZzqzSMN9bvTXso/s1600/IMG_3953.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAyVE7aoTv-N-Cdh7O0Z8qNr8NPor-09zUuq1s0og101Jily1zI0LorsFf6LdNu9T5vzP6cvZ_6YtVXQD4Q_tyFDDrgtSaeLSeSgcCLBPZtROsdfqioR-3wVy08QBIeZzqzSMN9bvTXso/s400/IMG_3953.jpg" width="400" /></a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnhnYJlbtUjC54qc9izShyphenhyphenLNkRlBo35Q7jlSHswMgq5E-sQYI_fq-kdubUra7w8ApJEQVRJyLTqFwqnatFKH57_htmtKekkYK01RVZ-W39AvpQBGe2w07hQW3uZcYbOP9KIB_zlXtN2k0/s1600/tree+drawing1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnhnYJlbtUjC54qc9izShyphenhyphenLNkRlBo35Q7jlSHswMgq5E-sQYI_fq-kdubUra7w8ApJEQVRJyLTqFwqnatFKH57_htmtKekkYK01RVZ-W39AvpQBGe2w07hQW3uZcYbOP9KIB_zlXtN2k0/s400/tree+drawing1.jpg" width="400" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8-ftT8KIomG5OVsWINnTUHx4lcNJj8dRlMLFnXTk4oJsbRXoqsBMq5zLaAUaBAbXd48h8mZ25G1sG8cXZlTVbFS9quJ9dEOkW3xeOPbDITLtCmV6wT0vatNh_5U08XpBfldqO_vld8JQ/s1600/tree+drawing3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8-ftT8KIomG5OVsWINnTUHx4lcNJj8dRlMLFnXTk4oJsbRXoqsBMq5zLaAUaBAbXd48h8mZ25G1sG8cXZlTVbFS9quJ9dEOkW3xeOPbDITLtCmV6wT0vatNh_5U08XpBfldqO_vld8JQ/s400/tree+drawing3.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtqUapC2eV9jQRHnXuddXwMMynAwsR73zNkhDxU8HRLKwaQ5aI6SIV4f2SRb0WvQ9dsjknbbemrSqo7qfptx2-btwl-F_smCFnM0CrWIEpe83R_EE7MLM0wiHTiSP2TDr2hHY4F70oZBE/s1600/tree+drawing4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtqUapC2eV9jQRHnXuddXwMMynAwsR73zNkhDxU8HRLKwaQ5aI6SIV4f2SRb0WvQ9dsjknbbemrSqo7qfptx2-btwl-F_smCFnM0CrWIEpe83R_EE7MLM0wiHTiSP2TDr2hHY4F70oZBE/s400/tree+drawing4.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7-fVvU_lKq-sKlPQerIPGvXHwiDWws3qyIiuQr_zP53cndc0o8Jwb-Of89r7YSjjdWhCT7nyfcoKJSsYoojS-QNnzx_-9gCYvMCUogCPaDRJ6mMsi78TDcDhE4KuvDjgqNK-VNv4323c/s1600/tree+drawing5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7-fVvU_lKq-sKlPQerIPGvXHwiDWws3qyIiuQr_zP53cndc0o8Jwb-Of89r7YSjjdWhCT7nyfcoKJSsYoojS-QNnzx_-9gCYvMCUogCPaDRJ6mMsi78TDcDhE4KuvDjgqNK-VNv4323c/s400/tree+drawing5.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgepnRjDWJXIIqhPRXvYWvhO_DGkdmibpVz1BYI4iwIIzuRSH2inaGlCICRElhniY_LBLpTczxb4wecN8AMhM02vnChmG6MMKQP_d8k4Kwz5b0XPsUY4YoFvbVVtqSR7wJ9Gu5xnWn1uIY/s1600/IMG_4134.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgepnRjDWJXIIqhPRXvYWvhO_DGkdmibpVz1BYI4iwIIzuRSH2inaGlCICRElhniY_LBLpTczxb4wecN8AMhM02vnChmG6MMKQP_d8k4Kwz5b0XPsUY4YoFvbVVtqSR7wJ9Gu5xnWn1uIY/s400/IMG_4134.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisIgA455wdIhAvmgLbHIhFFjuNnB2SnoZgLSVQEwMNFrFBVHghTai2Iu6J7j-ACmbaxj1VicdkA3vU3zqcVevRrVHyNTY-buzqQcIGakhO55COPfHDFF9SJ4qMvHfD6HynwwXCXLLedvI/s1600/IMG_4139.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisIgA455wdIhAvmgLbHIhFFjuNnB2SnoZgLSVQEwMNFrFBVHghTai2Iu6J7j-ACmbaxj1VicdkA3vU3zqcVevRrVHyNTY-buzqQcIGakhO55COPfHDFF9SJ4qMvHfD6HynwwXCXLLedvI/s400/IMG_4139.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
When drawing I often take photos of the work as it develops, here I kept finding I preferred earlier more gestural stages of the work before the surfaces become saturated with mark-making. The two images below are both of drawings during their early stages.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbiWiYQYuzgYh1Vo5KR0jqDf6QJ0F7SajEAJit3IXCYfPPZwPVPieQXlAvcDpsvI_zOkVMbtYqxyg6HfSP61ciVn-07CjkSZ-MDoAGcpMpX8qukfDbFznBb-kS9I0PIerqtGk1NshulXo/s1600/charcoal+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbiWiYQYuzgYh1Vo5KR0jqDf6QJ0F7SajEAJit3IXCYfPPZwPVPieQXlAvcDpsvI_zOkVMbtYqxyg6HfSP61ciVn-07CjkSZ-MDoAGcpMpX8qukfDbFznBb-kS9I0PIerqtGk1NshulXo/s400/charcoal+2.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7yY4jiPy8EEfD6NCAkS9k4Fd11dwrbSBr5_PfBRimQ5BJj1gSTE9nfC6UyTrdpq3QoLjsY8k_W0Gh691SLp4R2FSDiNnwYcGx4UbyHgU3aBrB9Wc_qLrtlOlZOtaWBck9USqZF3SgSSs/s1600/charcoal+3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7yY4jiPy8EEfD6NCAkS9k4Fd11dwrbSBr5_PfBRimQ5BJj1gSTE9nfC6UyTrdpq3QoLjsY8k_W0Gh691SLp4R2FSDiNnwYcGx4UbyHgU3aBrB9Wc_qLrtlOlZOtaWBck9USqZF3SgSSs/s400/charcoal+3.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
In reaction to these observations I developed the work below. Of the two I prefer the space, movement, and suggestion of forms in the second image. I intend to try and create a set in this looser style which takes me away from the much denser earlier works. Here time is more hinted at through movement; also layering is much less suffocating with plenty of space between compositional elements.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGZlyOfXXuGNNd5HoxXtQ5I-ewTs7caZBhhyT7sD4wdTdg5Dj8YTTicIKG5luqZsWKXmAxI0aihzkHRhmnUaG07rqID9HBHlmD6JnRf9q7VuDaKxSdXWvwJR6zvHQCQrzWed0yg2XH-yM/s1600/charcoal1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGZlyOfXXuGNNd5HoxXtQ5I-ewTs7caZBhhyT7sD4wdTdg5Dj8YTTicIKG5luqZsWKXmAxI0aihzkHRhmnUaG07rqID9HBHlmD6JnRf9q7VuDaKxSdXWvwJR6zvHQCQrzWed0yg2XH-yM/s400/charcoal1.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLjKzY4DR4cqIKTzmA9f9l8oKNOvcwoLcbwaLdgaL2RPexeDn0eQCng22iBDB12F64uszzd0XD2yGgoJ24ET73SILLGbiOa2gB2ibDEIgLTwXvjgiLIHjW1lXPdPz7MsZD8lZj1TpHFn8/s1600/charcoal+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLjKzY4DR4cqIKTzmA9f9l8oKNOvcwoLcbwaLdgaL2RPexeDn0eQCng22iBDB12F64uszzd0XD2yGgoJ24ET73SILLGbiOa2gB2ibDEIgLTwXvjgiLIHjW1lXPdPz7MsZD8lZj1TpHFn8/s400/charcoal+4.jpg" width="400" /></a></div>
<br /></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-51581661053687608682016-07-30T06:55:00.004-07:002016-08-10T16:00:29.620-07:00Haptic visuality<b>Keywords:</b> Haptic Visuality / Digital / Deterioration / Optical / Dada / Uncanny<br />
<br />
When previously considering the haptic qualities of my work It has been in relation to such as the surface of the paper screen, the perceived heat and smell evoked by videoed fire, and the tactile understanding of natural textures such as bark, leave or dirt. In Laura U. Marks essay 'The skin of Film' she builds on Bergson, Deleuze and Guattari to propose a concept of 'haptic visuality', in which the qualities of digital and traditional film are considered as a means to evoke sensory response. The graininess of the film, pixelation, changes in focus, under or over exposure, densely textured images; indeed she describes the haptic image as 'less complete'. The haptic image occupies our senses, inviting association with past experience. This sensory reading draws upon the phenomenological idea of “embodied spectatorship” which Marks's derives predominately from Vivian Sobchack’s 'The Address of the Eye'<br />
<br />
<i>'When our eyes move across a richly textured surface, occasionally pausing but not really focusing, making us wonder what we are actually seeing, they are functioning like organs of touch. Video, with its low contrast ratio, capacity for electronic and digital manipulation, and susceptibility to decay, is an ideal haptic medium, its graininess a lure for the roving gaze Marks describes. Film, however, may also invite a haptic look by speeding up or slowing down imagery, enlarging grain, or deliberately enhancing already deteriorating nitrate.' </i><br />
<div>
Melinda Barlow -Review of: Touch Sensuous Theory and Multisensory Media', Canadian Journal of Film Studies - 2003<br />
<br />
Footage in 'Process and Perception' as well as 'Chronos' show clear signs of deterioration. This is foremost caused by the process of making the work. A drawing is digitally photographed as it is made, this is converted in Photoshop to a stop frame animation and rendered. This in turn is projected onto a paper screen and recorded, again being turned into another digital film which is projected back onto another paper screen to be viewed. All these steps act to break the image down in the same way a picture repeatedly passed through a photocopier loses definition.<br />
<br />
During filming in order that the projectors can sit clear of any burning screens two out of the three have to be back projected, this has the effect of 'softening' or slightly blurring each image. As the screens burn the video camera struggles to maintain an even exposure, sometimes quickly alternating from under to over exposed.<br />
<br />
When filming I tried to arrange each screen so that the maximum amount of the image could be used, however in every take there was a degree of zooming in to avoid any signs of picture edges which would betray the illusion of the work. This zooming in created further pixilation. I also didn't want to refocus the camera during filming as this would make the viewer aware the artists participation too early and 'pull' them out of the work. Therefore I had to compromise and the camera was focussed on the middle screen. This meant the first and third screen would always be slightly out of focus.<br />
<br />
All these factors combine to breakdown the image, in each of my 4 attempts to film this sequence you discern greater or lesser amounts of picture deterioration at different stages. This is is caused by factors such as lighting, equipment used (projectors/ cameras) or how close the screens are in relation to each other, which affected focus.<br />
<br />
The deterioration of the charcoal animation acts to 'soften' the image, especially in the first version where it appears more like a kind of blotchky ink drawing. The second screen of the forest I sought to keep as sharp as possible so it might function more 'optically', enabling the viewer to more easily believe the illusionistic depth of the filmed forest. Overall I am happy with the level of deterioration of the final cut, it navigates a path between haptic sensory surface and optical space. As the work progresses the spectator is pulled between the two modes of viewing as different surfaces and optical spaces are revealed.<br />
<br />
<b>Relationships between screen and image </b><br />
<br />
During the filming of 'Process and Perception' to avoid projectors 'hitting' more than one screen they were angled up over the top of the one behind. Behind my studio is a large oak tree, as a screen burnt away the action of the looped video continued to play on the leaves of the tree. Due to the darkened and fragmented surface presented by the leaves these images could be described as ghostly or ephemeral. Action and landscape could not clearly be 'read', however moments such as my silhouette moving across the screen, or the burning transitions proved particularly effective. The jeopardy of projecting fire onto a tree created a destablising effect, despite understanding that it was a projection there was a feeling that at any moment the fire may really take hold.<br />
<br />
Projecting onto objects/screens which have a dialogue with the image can be seen in work such as EXPORT's <i>Tapp und Tastkino</i>, Malcolm Le Grice's Horror film 1, Peter Weibel's Action lecture and Nekes's Operation (1968). In his essay '<i>Expanded cinema: The live</i> <i>record'</i> Duncan white describes Nekes's Operation (1968)<br />
<br />
<i>'the supposedly 'neutral space' of the usually 'invisible' screen into a less stable, living surface that is already marked. Footage of what appears to be quite invasive abdominal surgery is projected onto the filmmaker's bare torso creating an uncanny sense of displacement'</i><br />
<br />
I see the projections of fire into the tree functioning in a similar way to Nekes's projection of an operation onto a subjects bare chest. In both cases we are fully aware of the illusion but our perception fails to seperate the two events, trying to impose a false reading of reality onto us. The objects wholeness feels threatened and there persists a nagging sense something is wrong.<br />
<br />
In '<i>Paper landscapes</i>' by Guy Sherwin the screen is a dynamic element and site of action. On the mesh surface an image is slowly revealed before being destroyed. In the process of its revealing its creation is evident and a 'slipage' between the projected and the actual occurs as the movements of Sherwin the performer become blurred with Sherwin's projected past actions. This transitional work goes to extend the role of the screen and has informed both my work '<i>Process and perception'</i> as well as <i>'Corpse</i>'.<br />
<br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<i>'In Paper Landscapes the screen is a threshold, a fulcrum, a kinetic object, the locus of at least two different kinds of juxtaposed images (whose juxtapositions generate further complexities), a transparent frame and volatile membrane, Activated by Sherwin's actions upon it.' </i></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Nicky Hamlyn - Expanded Cinema (Mutable Screens: The Expanded Films of Guy Sherwin, Lis Rhodes, Steve Farrer and Nicky Hamlyn) - p214 - 2011</div>
<br />
In earlier modules I have more fully explored projecting in the environment out of a gallery space, due to our private view being on the 1st of september I decided early on against pursuing this line of investigation for my final module. Although the location around the Waterfront in Ipswich is rich for site specific work at this time of year it will not be dark enough for effective projections, even by 8pm when the private view officially ends. This is something I am keen to pick up on post MA.<br />
<br />
<br />
<span class="Apple-style-span" style="color: #0f0f0f; font-family: "open sans" , sans-serif;"><span class="Apple-style-span" style="line-height: 21px;"><br /></span></span></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-88313147892471209532016-07-29T15:02:00.003-07:002016-08-06T14:19:53.076-07:00Disquiet landscapes <span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">I have started developing my new digital forest collages into a large set of A4 photographic prints. After first experimenting with a range of pictorial spaces and surface qualities I have started to build a cohesive arrangement that at present contains around 50 images.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />I have decided to present them in a tight grid arrangement which very much links to earlier drawings for the Letheringham Lodge project. Indeed on reflection these photographs function in much the same way as these earlier drawings, with representational elements emerging out of a tangled mass of abstraction.This also links in with earlier writing about a post-modern sublime generated by reproduction.<br /><i><br />“networks of reproductive processes thereby afford us some glimpse into a postmodern or technological sublime, whose power or authenticity is documented by the success of such works in evoking a whole new postmodern space”</i> (Jameson, 2010, p.145).<br /><br />Re-considering these images as outcome and not just reference I have started to look at the work of photographers in whose work I see correlation with my own.<br /><span class="Apple-style-span" style="font-family: "lucida grande"; font-size: 11px;"></span></span><br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><br /></b></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<b style="font-family: arial, helvetica, sans-serif;">Paul Nash - Monster field</b></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Nash's 1938 series 'Monster field' documented fallen great oak trees, these are awkward broke objects and encourage a reading of broken hands or limbs. Nash himself described them as possessing 'the mysticism of the "living animate"' They are imbued with a macabre melancholy, twisted,fractured, shards that are not dead but have become something other, something monstrous. Healthy living oak trees in the background of these images act as a counterpoint, evoking the passage of time. To not take a metaphorical reading of these works is almost impossible, especially when considered alongside Nash's well known war paintings. These are not portraits of trees but portraits of deaths unknown horror.</span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGyXZnF9-JvLB8w_Jt1UbQtt9vU1w0rDN0MdW6OfkhiKM0vFmTH8X3fka4VmiJsyvq_IUDgIbK8F9j6_S_paXG5bLJQHtqymSZyiQHiGsziupYL6kBUEWviZqHRRFEJIhWlgtEDYi5a4/s1600/paul-nash-monster-field_0.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGyXZnF9-JvLB8w_Jt1UbQtt9vU1w0rDN0MdW6OfkhiKM0vFmTH8X3fka4VmiJsyvq_IUDgIbK8F9j6_S_paXG5bLJQHtqymSZyiQHiGsziupYL6kBUEWviZqHRRFEJIhWlgtEDYi5a4/s400/paul-nash-monster-field_0.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #333333; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; letter-spacing: 0.2800000011920929px;">Paul Nash - Black and white negative, ‘Monster Field’ - 1938</span></td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn1exONBStHODlqTwQzM3gKRJ_0MgLpM6KhS0mUrsGc5Ij0kaKrbyrpwej3wHt_VVHUoMqDHhaqEYZpNZt8Tpb_rOLuGtNTZBR2pV0FW6hyMjNcW1Ibz_pzOPfYc_Rru8IzwMTIrG3JU0/s1600/TGA-7050PH-1106-1_9.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn1exONBStHODlqTwQzM3gKRJ_0MgLpM6KhS0mUrsGc5Ij0kaKrbyrpwej3wHt_VVHUoMqDHhaqEYZpNZt8Tpb_rOLuGtNTZBR2pV0FW6hyMjNcW1Ibz_pzOPfYc_Rru8IzwMTIrG3JU0/s400/TGA-7050PH-1106-1_9.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #333333; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; letter-spacing: 0.2800000011920929px;">Paul Nash - Black and white negative, ‘Monster Field’ - 1938</span></td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDeddoHBggN7d9Fmp_knQfDqWdBxlmA0vE7HjMH_AGFyYW_nF07jRIharWYdYUt7_FeE3-SDJuqfRUxbGKVMLPFupiZCaKvDrhp4JQ6mAY1XB6-FjX-ZnErWQxSKtdf3wp7QXJS82C6Dw/s1600/TGA-7050PH-1109-1_9.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDeddoHBggN7d9Fmp_knQfDqWdBxlmA0vE7HjMH_AGFyYW_nF07jRIharWYdYUt7_FeE3-SDJuqfRUxbGKVMLPFupiZCaKvDrhp4JQ6mAY1XB6-FjX-ZnErWQxSKtdf3wp7QXJS82C6Dw/s400/TGA-7050PH-1109-1_9.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #333333; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; letter-spacing: 0.2800000011920929px;">Paul Nash - Black and white negative, ‘Monster Field’ - 1938</span></td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipqSL_eD6s2y5KrwrWn4Y67uBaIPh6tfcsHh1VqvXYM_ZN5URON7ScMn160GyKxSOs5cLlUp1_pVtw6gsTkVwyE5oMYvzgmUDLxJSuSoyb2OjfqK3KYe5ZmNZEx__eTwXwiA9AzoSis5A/s1600/TGA-7050PH-1111-1_9.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipqSL_eD6s2y5KrwrWn4Y67uBaIPh6tfcsHh1VqvXYM_ZN5URON7ScMn160GyKxSOs5cLlUp1_pVtw6gsTkVwyE5oMYvzgmUDLxJSuSoyb2OjfqK3KYe5ZmNZEx__eTwXwiA9AzoSis5A/s400/TGA-7050PH-1111-1_9.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #333333; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; letter-spacing: 0.2800000011920929px;">Paul Nash - Black and white negative, ‘Monster Field’ - 1938</span></td></tr>
</tbody></table>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><b>Robert Adams - Skogen</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">In his body of work 'Skogen' (Swedish for forest) American photographer Robert Adams explores the dense forests of his home state of Oregon. The images suggest and untouched wild, even primordial landscape. An eerie landscape suffocatingly packed with foliage, somewhere not to get lost. The title suggests a dark nordic fairy tale aesthetic. Tonally the work is rich, there are no extreme contrasts, all is subtle nuances of grey. The play of dappled light on the surface of branches and tree trunks becomes another texture in these tactile images. Each image within his Skogen series nestles somewhere between beauty and terror, simultaneously occupying both positions.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Adams landscapes are documentary in nature yet he believes the works agency is derived from combining multiple readings which we internally synthesise inform our own pereception.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">'</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Landscape photography can offer us, I think, three verities—geography, autobiography, and metaphor. Geography is, if taken alone, sometimes boring, autobiography is frequently trivial, and metaphor can be dubious. But taken together . . . the three kinds of representation strengthen each other and reinforce what we all work to keep intact—an affection for life.'</span></i><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Robert Adams - Truth in Landscape - 2005</span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Many of his 'Skogen' images despite a wealth of detail are still very readable spaces. However at points Adam's creates more abstracted compositions, managing to capture a complexity with one pictorial layer which I have only managed with two or three! </span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Seeing these images inspires and reminds me to visit nearby ancient oak woods at Butley corner in Suffolk. Time permitting I would like to experiment layering photographs of these old giants to be included in my growing set of prints. </span></div>
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibpEMkHNCv6zP6EkHLa7LCqSOgJQL96L3wGpwz8zMGYGn4QtV1Z8snnx-tSz2g3w2FRnIfOtE40pUxQuwggzETPGzQsjdvUMTWLMfjqlwyDIImpajXIJrZQbFPmtLkH8fIGL_iKvjlNnY/s1600/3.+Sitka+spruce%252C+Capo+Blanco+State+Park%252C+Curry+Country%252C+Oregon+%252830%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibpEMkHNCv6zP6EkHLa7LCqSOgJQL96L3wGpwz8zMGYGn4QtV1Z8snnx-tSz2g3w2FRnIfOtE40pUxQuwggzETPGzQsjdvUMTWLMfjqlwyDIImpajXIJrZQbFPmtLkH8fIGL_iKvjlNnY/s400/3.+Sitka+spruce%252C+Capo+Blanco+State+Park%252C+Curry+Country%252C+Oregon+%252830%2529.jpg" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Adams - Stika spruce, Capo Blanco State, Oregon</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_xctCcD564QYLUuXrJhi3LU1FEQhWTnD4lBG8LGQ5uO8BKPhUH8tWrzLj2IAvkjriA8Na58Xq4f2AHAUbc5VqBwvINsd1IPw7pCrNXfbnfauQeXm89M7PiSTj1ZubUpjRZCpgxvwZ5bo/s1600/10-1.+Clatsop+Country%252C+Oregon+%252858%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_xctCcD564QYLUuXrJhi3LU1FEQhWTnD4lBG8LGQ5uO8BKPhUH8tWrzLj2IAvkjriA8Na58Xq4f2AHAUbc5VqBwvINsd1IPw7pCrNXfbnfauQeXm89M7PiSTj1ZubUpjRZCpgxvwZ5bo/s400/10-1.+Clatsop+Country%252C+Oregon+%252858%2529.jpg" width="325" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Adams - Clatsop Country Oregon</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxghmaPmUvIs2tPDiS_E79ADERofQksN_a8JJXXw3ZKJvIBhLwtddUbSP7A4ixHCc13ti8uK0No64SlMOTV5f4h_3hw5qu-pKVc4xqz-O5GCkmASsazCTAe6tK2UjHNBeL6LnIVZtlkE/s1600/0913-clearcut-clatsop-adams_fva1mi.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxghmaPmUvIs2tPDiS_E79ADERofQksN_a8JJXXw3ZKJvIBhLwtddUbSP7A4ixHCc13ti8uK0No64SlMOTV5f4h_3hw5qu-pKVc4xqz-O5GCkmASsazCTAe6tK2UjHNBeL6LnIVZtlkE/s400/0913-clearcut-clatsop-adams_fva1mi.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Adams - Clearcut, Clatsop Country, Oregon<br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></div>
</td></tr>
</tbody></table>
<br />
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<br />
<br />
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 18px;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-weight: bold;"><br /></span></div>
</div>
<div>
<div style="text-align: left;">
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;"><br /></b>
<b style="font-family: arial, helvetica, sans-serif;">Ansel Adams </b></div>
</div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></span></div>
</div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Ansel Adams is best known for his photographs of grand open vistas, big skys, wide rivers, and great mountains of the American west. A romantic sublime of untouched wilderness largely absent of the presence of man. </span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">In the following images Adams turns his lens under the earth, documenting magestic and vast rock formations found inside cave structures. These are other worldly spaces, dramatic lighting within the caves creating strong contrasts abstracting further these already foreign spaces. Ansel's work is often characterised by space, lots of it. But here the space is compressed and claustrophobic. The detail on the surface of the rock is caught by the stong light sources, forcing the image to be considered as 'Haptic' surface rather than 'optical' space. Formidable staligmites/ stalactites act like hellish mightly redwoods. Where Ansel Adams path to the sublime is usally through awe and beauty here it is through awe and terror.</span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWQ-8rOVXjMCJPOVk7J-qXEng8nEXPD4pdYuzPsh-CAwL8f8p2CC3DT94ict2Zq-cRJiUbeOqFlof0gbOFdi-f7UD8COnMTPJQ1bqqLmrmv9d3gatj9QfOaguTRwCpNu4cRKPJhHRUTjg/s1600/giant+domes.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWQ-8rOVXjMCJPOVk7J-qXEng8nEXPD4pdYuzPsh-CAwL8f8p2CC3DT94ict2Zq-cRJiUbeOqFlof0gbOFdi-f7UD8COnMTPJQ1bqqLmrmv9d3gatj9QfOaguTRwCpNu4cRKPJhHRUTjg/s400/giant+domes.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ansel Adams - Giant domes</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpzUF51WUhSNqWylDdrMhW5GIkIoC2Al0AtVfE2OaGFtu6HiP-pP1umphYdAsDxxmgxpb-MFYQ9-0bja_Do2SpuTNv_SvhptlBGH_cvsaaRMuCPAi2t-LdJnTwVTK3SXdJaIi7SxOc154/s1600/in+the+queens+chamber.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpzUF51WUhSNqWylDdrMhW5GIkIoC2Al0AtVfE2OaGFtu6HiP-pP1umphYdAsDxxmgxpb-MFYQ9-0bja_Do2SpuTNv_SvhptlBGH_cvsaaRMuCPAi2t-LdJnTwVTK3SXdJaIi7SxOc154/s400/in+the+queens+chamber.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ansel Adams - In the queens chamber</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMxDBUbNrqzHIqmw49yvzZI6ucaNEqUCyot3ur-PkLT7yuEddEsj_a8rVLfiguRKE_qrFjnCBe2NfgjIA7cFd23ixqNKIms_CxDA6MOgFnN4mu_m-AlY1VWC8cqHfe-sXv-P7BXdIZZow/s1600/onyx+formations.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMxDBUbNrqzHIqmw49yvzZI6ucaNEqUCyot3ur-PkLT7yuEddEsj_a8rVLfiguRKE_qrFjnCBe2NfgjIA7cFd23ixqNKIms_CxDA6MOgFnN4mu_m-AlY1VWC8cqHfe-sXv-P7BXdIZZow/s400/onyx+formations.jpg" width="273" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ansel Adams - Onyx formations</td></tr>
</tbody></table>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></span></div>
</div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-53464789646644071302016-07-28T03:25:00.004-07:002016-08-07T03:30:08.981-07:00Film and Painting / Action and Object <span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Keywords:</b> Performance / Object / Context / Time</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">As I continue to develop work using multiple screens and explore engaging the viewer as active participant I am aware my work clearly falls into the categorisation of Expanded Cinema. For me the label of expanded cinema implies the historic lineage of the work is film/cinema, also that the normal boundaries of passive spectator and screen have in someway been subverted. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">However I still feel the starting point for my work is not the moving image of cinema but the static image of painting. Taking my abstract and then more representational drawings and animating them I see myself logically processing the ideas of action painting begun decades ago.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">'<i>In Pollock there is the suggestion that the artefact could be replaced by action in 'real time', a suggestion that would be taken up a decade later in the work of an entire generation of conceptual, performace and process artists who believed that the tribal experience of real-time art was the key to overcoming the deadening effect of the bourgeois art object</i>'</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Peter Halley - Nature and Culture - 1983</span><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">However I do not fully share the idea put forward here that the art object always represents a symbol of bourgeois authority. Performance art, Expanded Cinema, Happenings etc.. all run the risk of becoming contained structures supporting social hierarchies. After any 'event' it becomes conceptual object, which through documentation (this could be written, photographed, videoed or also verbally relayed) is susceptible to mythologisation and elitism. In some ways less tangible modes of artistic discourse are more at risk of </span><span style="font-family: "arial" , "helvetica" , sans-serif;">mythologisation</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> because direct experience of them is held by only a few, therefore we are forced to reassess the works impact, meaning, etc through a secondary lens. With traditional art objects such as painting and photography the object remains that we may encounter it through our own eyes and draw our own conclusions. Albeit from a different temporal and contextual viewpoint. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Artist Liz Rhodes addresses these concerns in her essay 'Unfolding a Tale: On the Impossibility of Recovering the Original Meaning. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>'The continuation of an idea is impossible, only a rendering of it. Within reproduction, modification takes place. Initial intention is fading fast. Its intrinsic purpose may have become irrelevant, incomprehensible, hence ideas may be modified or lost within or without repetition...</i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The continuation of the fact - of a thing performed or done - is in fact a facsimile or a re-make, a fiction, if you like, which may often be novel but is always a mock event. The continuation is an imitation. The paradox is that images 'here', although the same as they were 'there', cannot be displayed, repeated or repeat themselves in order for us to know the original. The images remain but the intention is irretrievable.'</i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Liz Rhodes - Expanded Cinema: Art, Performance, Film. - p221-222 - 2011 </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">When considering an 'art object' one might think of a painting, photograph, sculpture or other such physical object, but what of the film screen? in my projectons the hung paper screen is vital to the agency of the work, is this then an art object? and if so does it only continue to be so during the screening of the work? In 'The matter of illusionism' Kate Mondloch describes the screen as <i>'a curiously ambivalent object - simultaneously a material object and a virtual window; it is altogether an object which, when deployed in spatialised sculptural configurations, resists facile categorisation.'</i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Kate Mondloch - The matter of illusionism - 2000</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span> </div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Founders of the 'Museum of Non Participation' </span><span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;">Karen </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Mirsa and </span><span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;">Brad </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Butler </span><span style="font-family: "arial" , "helvetica" , sans-serif;">have a nuanced view of the validity of the art object in their practice</span><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>'We do not completely disavow art objects, but are driven to dislodge them from their central position within the field of art... We choose to look past the art object and relate to the etymology of “object,” from the Latin obicere, meaning to present, oppose, or cast or throw in the way of. We explore obicere through multiple, ephemeral processes: artworks as well as events and actions that neither we as artists nor museums possess through sole authorship. In a similar vein, we see “collecting” as not merely assembling objects, but as an act that assembles and ushers forth action and agency and does so through disruption. Our own practice involves presenting work that is hard for the art market to reconcile or redistribute. In this way The Museum of Non Participation aligns itself with conceptual art and the legacy of the dematerialized art object.' </i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Mirza and Butler -</span><span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;">http://www.museumofnonparticipation.org/</span></div>
<div>
<span class="Apple-style-span" style="line-height: 22px;"><span style="font-family: "apercu regular" , sans-serif;"><br /></span></span>
<span style="font-family: "apercu regular" , sans-serif;"><span style="font-family: "apercu regular" , sans-serif;">I also do not see myself as subverting the relationship between film screen and viewer, for me it is the relationship between canvas and viewer that I am reconsidering</span><span style="font-family: "apercu regular" , sans-serif;">. This may be evident in my choice of paper as screen. It is the viewers expectations of gallery and site specific spaces not the </span><span style="font-family: "apercu regular" , sans-serif;">cinema</span><span style="font-family: "apercu regular" , sans-serif;"> which I am primarily interested in questioning. </span></span><br />
<span style="font-family: "apercu regular" , sans-serif;"><span style="font-family: "apercu regular" , sans-serif;"><br /></span></span>
<span style="font-family: "apercu regular" , sans-serif;"><span style="font-family: "apercu regular" , sans-serif;">I continue to contextually explore the lineage of Expanded cinema and draw inspiration from artists such as Mersa and Butler, Liz Rhodes, Guy shewin, Chris Welsby, Mary Stark and more. Contextually I see my work existing in a limbo between the moving and static image, between the need to show time or imply it. </span></span><br />
<span style="font-family: "apercu regular" , sans-serif;"><b><br /></b></span></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-71014187252732052602016-07-28T03:18:00.003-07:002016-08-07T03:21:15.980-07:00Filming final takes 'Process and Perception' + 'Chronos'The following images document filming of the 4th and final take of '<i>Process and Perception</i>', as well as '<i>Chronos</i>' which is made of footage from the first 8 minutes of shooting.<br />
<br />
There are several amendments which I believe more fully resolve the work:<br />
<br />
1) By focussing the camera on the middle screen and arranging them slightly closer together the first charcoal animation screen is better in focus. In the last version of the work the front screen was more blurry, I do like how the image quality degrades to a certain extent but in the last version this was such that it was becoming unreadable as layered tree drawings.<br />
<br />
2) The second 'forest' video has been changed, the last video used for this was both too blurry and to zoomed in. Here I endeavoured to use as much as the image as possible and worked from a higher resolution original. However due to it having to be back projected the image is still 'softened' more than I would have liked. Due to the filming process however I see no way to avoid this and will have to live with this slight compromise.<br />
<br />
3) Filming using a higher spec camera I was able to avoid the banding seen in earlier versions. This was caused by filming a projected image, it is same issue one has if trying to film something on a TV screen.<br />
<br />
4) In the last version of '<i>Process and Perception</i>' as the final screen burnt away the video of the studio jumped back to the beginning with me again seen lighting the screen. This jump visually jarred and in some way revealed the illusion of the projection. In the new version the final screen stays with the studio keeping on this image as it burns away to the void behind.<br />
<br />
5) The final void itself lasts longer, holding on a black image for 25 seconds hints that it is itself a liminal or transitional space like earlier screens. This hopefully prompts a dual reading of the void as ending or new beginning.<br />
<br />
6) As I enter the shot to burn the third screen the lighting conditions were slightly different to the last filming, with me here appearing as a black silhouette. On showing this new version to colleagues they all had the immediate reaction that the figure moving across the screen was behind them and in front of the projector, not on the screen itself. This 'happy accident' further destabilises the viewers perception.<br />
<br />
7) The shorter 'Chronos' take now has a smoother, more seamless transition from the end of the clip back to the start. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS60BtLr0-shrqIWT-txXEgoZ2DJDdj2QOA9lpRryvU8j0IwWgNsc0jNxpWojni-6eqOxC-5UDdRnlTWtHmvslOkojTNkSrzOYEoL0oHI8_UEaXhb-i3zK-b0IilBTgayHloxCpW4SUHY/s1600/IMG_4007.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS60BtLr0-shrqIWT-txXEgoZ2DJDdj2QOA9lpRryvU8j0IwWgNsc0jNxpWojni-6eqOxC-5UDdRnlTWtHmvslOkojTNkSrzOYEoL0oHI8_UEaXhb-i3zK-b0IilBTgayHloxCpW4SUHY/s400/IMG_4007.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Three screens prior to burning</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ9frL5dkooP5JjGjxjdXMSdfVyi4OzDITaQZxm32BBJm3jKGw1y0EHbvz6Ln52XSO44XPI5wVt0-3n0iWukJwyKCGY8SlWor31gVtkrgxdM_dGDJ4PQdNahyphenhyphen8YqvKhG9t8PVst48ZQG8/s1600/IMG_4009.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ9frL5dkooP5JjGjxjdXMSdfVyi4OzDITaQZxm32BBJm3jKGw1y0EHbvz6Ln52XSO44XPI5wVt0-3n0iWukJwyKCGY8SlWor31gVtkrgxdM_dGDJ4PQdNahyphenhyphen8YqvKhG9t8PVst48ZQG8/s400/IMG_4009.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Setting up final 'void' transition</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZFxfA7AetH88Kvwh82Ykyy6ePPtWl_7EZ8OjcRPLvx0-O_wgdb-AllO_58iKmuisnDuCDi7unYDXpIGxmk7Q8yK6pc42SmhKSiJavaWMaZ_Jc8wxvL7MlfNR2kJDakPcCxi69AO2DWQ/s1600/IMG_4012.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZFxfA7AetH88Kvwh82Ykyy6ePPtWl_7EZ8OjcRPLvx0-O_wgdb-AllO_58iKmuisnDuCDi7unYDXpIGxmk7Q8yK6pc42SmhKSiJavaWMaZ_Jc8wxvL7MlfNR2kJDakPcCxi69AO2DWQ/s400/IMG_4012.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Revealing the void</td></tr>
</tbody></table>
<br />
<iframe allowfullscreen="" frameborder="0" height="512" mozallowfullscreen="" src="https://player.vimeo.com/video/176045129" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/176045129">LLOYD EVANS - Chronos (Final cut)</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/176577041" webkitallowfullscreen="" width="640"></iframe>
<br />
<a href="https://vimeo.com/176577041">LLOYD EVANS - Process and Perception (final cut)</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-20049608226714325982016-07-26T08:51:00.004-07:002016-08-07T03:01:16.314-07:00Unpacking the Anthropocene<div style="line-height: normal;">
<div style="line-height: normal;">
<div style="font-family: times; font-size: 12px; line-height: normal;">
<span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Keywords:</b> Anthopocene / Shadowtime / Epoquetude / Slow Ennuipocalypse / </span></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Neopangea / </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Teuchnikskreis / </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Blissonace / </span></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Shinrin-yoku / </span></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Solastalgia / </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Atmorelational / </span></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Apex Guilt / </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Stuplimity</span></div>
<div style="font-family: times; font-size: 12px; line-height: normal;">
<span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div style="font-family: times; font-size: 12px; line-height: normal;">
<span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div style="font-family: times; font-size: 12px; line-height: normal;">
<span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">As I continue to consider my work from an ecological perspective I have decided to further 'unpack' ideas, contexts, and terminology concerning the Anthropecene. </span></span></div>
<div style="font-family: times; font-size: 12px; line-height: normal;">
<span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div style="font-family: times; font-size: 12px; line-height: normal;">
<span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The term Anthropecene was coined by </span></span><span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">atmospheric chemist</span></span><span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span><span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Paul Crutzen and bilologist Eugene Stoemer in a article in Global Change newsletter of May 2000. </span></span><span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: normal;">It was used to describe the dawn of a new age, distinct from the Holocene the official current epoch. The Holocene stretches from the present back 10-12 thousand years, defining the time since the ice sheets retracted at the end of the last ice age and mankind began to better colonise the earth. They believed the formation of a new age was needed to define the impact of mankind's recent activity citing..</span></span><span class="Apple-style-span" style="font-family: "lucida grande"; font-size: small;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; line-height: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></span><br />
<br /></div>
<div style="line-height: normal;">
<span style="font-family: Arial, Helvetica, sans-serif;">“<i>mankind will remain a major geological force for many millennia, maybe millions of years to come</i>” <br />Earth System Science in the Anthropocene: Emerging Issues and Problems - ed Eckart Ehlers, Thomas Krafft - 2006</span></div>
<div style="font-family: times; font-size: 12px; line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">This geological impact is seen in our use of finite resources and the irreversible damage we have caused to ecological systems, Crutzen and Stoemer use this as justification for a new epoch.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i><br /></i></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><i>'They pointed to the explosion in the human population, the mass use of fossil fuels, demands on fresh water, the destruction of habitats and the dramatic loss of species as evidence for “the central role of mankind” in shaping the Earth’s geology and ecology. The word joins the Greek word 'anthropos', for human, to the suffix 'cene', meaning new or recent, to suggest an epoch defined by recent human activity.'</i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Ian Sample</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-size: 12px;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> <a href="https://www.theguardian.com/science/2014/oct/16/-sp-scientists-gather-talks-rename-human-age-anthropocene-holocene">https://www.theguardian.com/science/2014/oct/16/-sp-scientists-gather-talks-rename-human-age-anthropocene-holocene</a></span></span></span><br />
<div style="line-height: normal;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">The exact start date of the Anthropecene is much debated, the dawn of a new age is usually denoted by geological changes in the fossil record, but these kinds of shifts happen over thousands if not millions of years. The changes caused by mankind are affecting the ecology of the planet in a myriad of ways, each new ecological intervention offers us with a different start date.</span></span></div>
<br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>'One marker for the start of the Anthropocene that the group will consider is the sudden and global arrival of radionuclides left over from atomic bombs in the 1940s and 1950s. One advantage is that plutonium, caesium, strontium and other substances can be linked to a specific date in time as well as a clear line in rock, called a golden spike, in the business. “The boundary might be set at 1945 when that started,” said Zalasiewicz......</i></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Other options are the widespread use of plastic, the release of polyaromatic hydrocarbons from the burning of fossil fuels, and lead contamination from petroleum, which all leave stark traces in the Earth. Crutzen argued for the late 18th century as the start of the industrial revolution.'</i></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Ian Sample -</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i> <a href="https://www.theguardian.com/science/2014/oct/16/-sp-scientists-gather-talks-rename-human-age-anthropocene-holocene">https://www.theguardian.com/science/2014/oct/16/-sp-scientists-gather-talks-rename-human-age-anthropocene-holocene</a></i></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">In his article 'Generation Anthropocene: How humans have altered the planet for ever' Robert Macfarlane indicates that the Anthropocene Working Group of the Subcommission On Quarterly Stratigraphy are likely to decide that... '<i>the “stratigraphically optimal” temporal limit will be located somewhere in the mid-20th century. This places the start of the Anthropocene simultaneous with the start of the nuclear age. It also coincides with the so-called “Great Acceleration”, when massive increases occurred in population, carbon emissions, species invasions and extinctions, and when the production and discard of metals, concrete and plastics boomed.' </i></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="line-height: 21px;">Robert Macfarlane - <a href="https://www.theguardian.com/books/2016/apr/01/generation-anthropocene-altered-planet-for-ever">https://www.theguardian.com/books/2016/apr/01/generation-anthropocene-altered-planet-for-ever</a></span></span><br />
<br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">The working group tasked with deciding if the Anthropocene is adopted offically by the scientific community and are due to report their findings in mid 2016. More information about this project can be found at:</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; line-height: 21px;"> </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; line-height: 21px;"><a href="http://quaternary.stratigraphy.org/workinggroups/anthropocene/">http://quaternary.stratigraphy.org/workinggroups/anthropocene/</a></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="line-height: 21px;"><br /></span></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b>The Bureau of Linguistical Reality</b></span></div>
<div style="line-height: normal;">
</div>
</div>
<div style="line-height: normal;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-size: 12px;"><br /></span>The Bureau is run by artists Elicia Escott and Heidi Quante, it is a repository for terms which help describe feelings and processes linked to the ecological changes caused by mankind's recent activity. Anyone is able to nominate a new term for the collection which is made up of offerings from scientists, artists, environmentalists etc... </span></div>
<div style="line-height: normal;">
<div style="line-height: normal;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><i>'The Bureau of Linguistical Reality was established on October 28, 2014 for the purpose of collecting, translating and creating a new vocabulary for the Anthropocene.<br />Our species (Homo Sapien) is experiencing a collective “loss of words” as our lexicon fails to represent the emotions and experiences we are undergoing as our habitat (earth) rapidly changes due to climate change and other unprecedented events. To this end the The Bureau of Linguistical Reality is solemnly tasked generating linguistic tools to express these changes at the personal and collective level.<br />Cartographers are redrawing maps to accommodate rising seas, psychologists are beginning to council people on climate change related stress, scientists are defining this as a new age or epoch. The Bureau was thus established, as an interactive conceptual artwork to help to fill the linguistical void in our rapidly changing world.'</i><br /><a href="https://bureauoflinguisticalreality.com/mission-statement/">https://bureauoflinguisticalreality.com/mission-statement/</a></span></div>
<div style="line-height: normal;">
<br /></div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">It is worth noting that the Bureau of Linguistical Reality was preceded by Robert Macfarlanes own crowdsourced Anthropocene glossary called the “Desecration Phrasebook” which he describes as</span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>'a glossary of the Anthropocene: a lexicon recording the particularities of the environments and phenomena that our actions as a species are bringing into being. It would gather terms that describe a heavily harnessed or drastically deranged “nature”: a “Desecration Phrasebook”, as it were.'</i></span></div>
</div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Robert Macfarlane - </i></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Desecration phrasebook: A litany for the Anthropocene - New scientist - Dec 2015</span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">This he created in reaction to Finlay MacLeod's proposal for a "Counter-Desecration Phrasebook” which was intended to denote all which we perceive as vital in the natural world and in need of protection. The genus of this idea went on to become 'Landmark', Macfarlane's own glossery of terms which detail little known and specific terms for natural conditions. This is drawn from contemporary and historic langages of the British isles. </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>'This wordhoard included such terms as rionnach maoim, Gaelic for “the shadows cast by clouds on moorland on a sunny, windy day”; ammil, a Devonshire term for “the ice-film that covers rocks and vegetation when a sudden freeze follows a thaw”; and zawn, Cornish for “a wave-smashed chasm in a sea-cliff”.</i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Robert Macfarlane - </i></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Desecration phrasebook: A litany for the Anthropocene - New scientist - Dec 2015</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">
</span>
<br />
<div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">
</span>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">As my investigation continues I increasingly reference terms such as; Shadowtime, Apex guilt, and Solastalgia. The following is the definitive definition of these and other terms as recorded in the Bureau's collection, I have selected terms here which I feel correlate with my practice.</span></div>
<div style="line-height: normal;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">(I have changed text to blue to denote all information is in effect one long quote, drawn from the Bureau's glossary of terms.)</span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><b>Shad-ow-time </b></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><i><b><br /></b></i></span>
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><i><b>Definition:</b> A parallel timescale that follows one around throughout day to day experience of regular time. <b>Shadowtime</b> manifests as a feeling of living in two distinctly different temporal scales simultaneously, or acute consciousness of the possibility that the near future will be drastically different than the present.<br />One might experience shadowtime while focused on goal oriented conversations, tasks and planning for life as we have known it—(college, career or occupational ambitions). During such moments there is a creeping sense of concerns that would make all said planning obsolete or seem unimportant, i.e. the collapse of the Larson B Ice Shelf that will accelerate sea level rise. Shadowtime may also occur when one is preparing a meal for their child and suddenly realizes that an endemic flower that had evolved over 42.7 million years has gone extinct within their child’s lifetime. <br />Shadowtime is not exclusively a negative experiences demonstrated with <a href="https://bureauoflinguisticalreality.com/portfolio/epoquetude/">epoquietude</a>. It can make one reflect quietly on the tricksterish desire and escapism lying behind apocalyptic vision, as well as catalyzing an embrace of the unknown and a counteraction to anthropocentric hubris. While one may feel that shadowtime follows them always, the sudden experience of the presence of shadowtime amid day to day activities is often extremely disorienting.<br />Usage: Kane was intently working on his presentation which was due the next morning, but as he looked up and saw the moon it occurred to him that the moon had been rising and setting for 4.5 billion years, moving ever further away, he felt shadowtime for the rest of the evening.</i><br /><b>Origin:</b> Ranu Mukherjee, Alicia Escott, Field Study #009 Participants, California 2015</span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><b>Epo·qu<i>·e·tude</i></b></span></div>
<div style="font-size: 12px; line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"></em></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><i><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Definition:</strong> An antidote to crushing anxieties over the deteriorating state of the world, <b>epoquetude</b> is the reassuring awareness that while humanity may succeed in destroying itself, the Earth will certainly survive us, as it has survived many other cataclysms; and that, in the endless chambers of time, the lives of individual species, vast civilizations, and even entire worlds are merely brief notes in an inconceivable symphony, each sounding its distinct voice and then fading out, so that the music may continue.<br /><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Usage: </strong>As she gazed at the waves crashing to the shore, contemplating the ocean’s four billion years of existence, some of the pain and horror of the unfolding global catastrophe receded, and a sense of epoquetude settled over her.<br /><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Origin:</strong> Anthony Discenza, California, 2015</i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Slow·en·nui·poc·a·lypse</b></span></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><i><br /></i></strong></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;"><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Slang: </strong></span></i><i><span style="font-family: "arial" , "helvetica" , sans-serif;">Slowpocalypse </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Definition:</strong> While media often depicts the apocalypse as a sudden and dramatic event, <b>Slow Ennuipocalypse</b>, or <b>Slowpocalypse </b>(slang) offers the concept of a doomsday that occurs at an excruciatingly slow day to day time scale. Slow Ennuipocalypse, may occur in a geologic blink of an eye, but for the Homo Sapiens in </span><span class="s2" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">urban/suburban</span><span class="s1" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"> settings who are often disconnected from the natural cycles— it is painfully boring. </span></span></i><i><span class="s1" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "arial" , "helvetica" , sans-serif;">As a result of the perceived slow pace of the apocalypse or Slow Ennuipocalypse those who live through it feel a compulsion to distract themselves with ever faster technology, media and economic systems— all of which feed back into a disconnect from the pace of the natural systems we need to survive.</span></span></i></span></div>
<div style="line-height: normal;">
<i><span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Usage: </strong>Edgar escaped into his instagram account to distract himself from the news reports about the epic California drought that he had been listening to for four years straight.</span></i></div>
<div style="line-height: normal;">
</div>
<div style="line-height: normal;">
</div>
<div style="line-height: normal;">
</div>
<div style="line-height: normal;">
</div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><b>Origin:</b> Mike Arcega and Field Study 007 Participants, August 2015.</span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-size: 12px;"><b><i><br /></i></b></span></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><b>neo-pan-<span style="border: 0px; font-style: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">jee</span>–<em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">uh</em></b></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b><br /></b></em><i><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Definition</strong>: A hypothetical way of thinking of the world as no longer geographically separated. <b>Neopangea</b>, borrows from the concept that there was a “supercontinent” that existed approximately 200 to 300 million years ago, named Pangea. Neopangea, is the concept that because of global trade routes and the regular use of cargo ships, planes, cars, trucks ex cetera, once insurmountable geographic barriers (like the separation of continents) no longer exist in the way they have in the past, and we have returned to what can be thought of as a supercontinent like state. This affects how we think of species that are endemic to certain locations.<br /><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Usage</strong>: The Cutbow Trout is a species that can be thought of as endemic to neopangea, it is a hybrid between two separate trout species the Rainbow and the Cutthroat Trout’s that had, in the past, been geographically separated. The human induced introduction of the rainbow into the Colorado Cutthroats habitat poses a “serious threat to native cutthroat population” as the two mate and produce the hybrid Neopangean Cutbow.<br /><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Synonym</strong>: Repangea, Globalism.<br /><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Origin</strong>: Jason Groves, Alicia Escott, Anthony Shore, California, 2015.</i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Teuchnikskreis</b></span></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b><br /></b></em><i><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b>Definition:</b> </span>Using new technologies to tackle environmental symptoms and byproducts caused by other (possibly older) technologies, which will in turn eventually produce their own unintended by-products and problems— for which newer technologies will then need to be produced. Teuchnikskreis is characterized by a sense of being stuck in a vicious cycle or spiral, thinking technology will be the solution to the problems created by technology.<br /><b><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Origin</span>:</b> Andre Baier, Germany, during Paris COP21 Field Studies, 2015.</i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Blis-so-nance </em></b></span></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><b><em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></em></b><i><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Definition:</strong></span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">1. When an otherwise Blissful experience in nature is wedded to or disrupted by the recognition that:</span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"> — One is having an adverse impact on that place they are enjoying by being there.</span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">— The understanding of how the place will be negatively affected in the near future by: urbanization, climate change or other disrupting factors. </span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">2. The blissful short term experience of sunny, dry, pleasant weather that can accompany severe drought or other longterm climate changes — for which, the experiencer, has long term concerns and which portends doom for all living creatures that depend on water in that area. In this context <b>Blissonace</b> can be used synonymously with <a href="https://bureauoflinguisticalreality.com/portfolio/psychic-corpus-dissonance/" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.5s; -webkit-transition-property: initial; -webkit-transition-timing-function: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Psychic Corpus Dissonance</a> or Schadenfebruary. </span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">sometimes termed Blissodissonance (bliss.o.diss.onace)</span><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Origin:</strong> Stiv Wilson, and all participants in Field Study #004: Oceans, California, 2015, Portmanteau of bliss and dissonance</i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Shinrin-yoku</em> (森林浴)</b></span></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b><br /></b></em><i><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Definition:</strong> A Japanese term that means “<b>forest bathing</b>”. The idea being that spending time in the forest and natural areas is good preventative medicine, since it lowers stress, which causes or exacerbates some of our most intractable health issues. The “magic” behind forest bathing boils down to the naturally produced allelochemic substances known as <a href="http://en.wikipedia.org/wiki/Phytoncide" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.5s; -webkit-transition-property: initial; -webkit-transition-timing-function: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;">phytoncides</a>, which are kind of like pheromones for plants. Their job is to help ward off pesky insects and slow the growth of fungi and bacteria. When humans are exposed to phytoncides, these chemicals are scientifically proven to lower blood pressure, relieve stress and boost the growth of cancer-fighting white blood cells. Some common examples of plants that give off phytoncides include garlic, onion, pine, tea tree and oak, which makes sense considering their potent aromas.<br /><b>Usage: </b>Jasmine became depressed as she was no longer able to partake in Shinrin-yoku after they cut down her local forest to make way for new high rise condos.<br /><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Origin: </strong>Japanese 森林浴 (<span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">shinrin-yoku</span> しんりんよく, “forest bathing”), from Middle Chinese 森林 (<span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">ʂim-lim</span> “forest”) + 浴 (<span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">jowk</span>“bathe”). Existing word.</i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b>Sol.a.stal.gia</b></span></span></span></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b><br /></b></span><i><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Definition: </strong>Derived from nostalgia, <b>Solastalgia</b> is a form of homesickness one gets when one is still at home, but the environment has been altered and feels unfamiliar. The term is specifically referencing change caused by chronic change agents like climate change or mining. Used primarily to describe the negative psychological effect of chronic environmental destruction on an individuals homeland, or the place they call home. The condition is often “exacerbated by a sense of powerlessness or lack of control over the unfolding change process.*”<br /><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Usage: </strong>Samuel noticed no one seemed to say “<span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">the fog is rolling in</span>” any longer. Most people around him delighted in the sunny weather that was increasingly common as the drought progressed, but he experienced a mild form of <strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">solastalgia</strong>, longing for the often termed “marine layer.” The speed of the city itself seemed different now— faster without the fog. He couldn’t compare this feeling to the experience of those whose homes were forever affected by mining or deforestation, yet still a sort of melancholia and longing hung over him, and places that he knew so well seemed foreign and unfamiliar.<br /><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Origin: </strong>Glen Albrecht, 2003, Australia. Derived from the Latin solacium (comfort) and Ancient Greek algia (pain)</i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>The At·mo·re·la·tion·al<i><br /></i></b></span></span></div>
<div style="line-height: normal;">
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><b><em style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></em></b><i><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b>Definition: </b></span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">A relationship with, or interpretation of the world that is relational, and not object based. The <b>Atmorelational </b>Looks at the space or relationship between things as the primary point of focus. </span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">This idea offers that it is impossible to determine the exact beginning of a thing or its precise end and that there is a fluid porousness between where the body/self ends and another begins. The term The Atmorelational can be used in place of the term Nature. IE “let the atmorelational take its course”. </span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">The Atmorelational was influenced by the ideas conceptualized by the work of Caribbean poet and philosopher Édouard Glissant.</span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b>Usage:</b> </span>Faiza could feel the atmorelational at work all around her.<br /><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><b>Origin:</b> </span><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Léopold Lambert and Field Study 010 participants, during Paris COP21 Field Studies, 2015</span></i></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><br /><b>Apex Guilt</b><br /><br /><i><b>Definition: </b>Ones contemplation of a deep understanding that humans are the apex predator on our planet and what that feels like to be very in-tune and self aware of this; how this knowledge impacts our decisions or enjoyment; the implications, responsibilities, and deep and real concerns that has for our own species and those we consume or kill for our own existence.</i></span></div>
<div style="line-height: normal;">
<span style="background-color: white; font-size: 16px; text-align: justify;"><i><br /></i></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b>Stuplimity</b></span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">The term Stuplimity has a different lineage and was first coined by Sianne Ngai in her 2006 paper 'Ugly things', It is generated as counterpoint to the Kantian sublime which is <i>“involving an uplifting transcendence” – rather than the postmodern works which “tend to draw us down into the sensual and material”</i> Sianne Ngai - Ugly things - p267 <br /><br />For Ngai's the stuplime is <i>“The aesthetic experience in which astonishment is paradoxically united with boredom… This term allows us to invoke the sublime--albeit negatively, since we infuse it with thickness or even stupidity--while detaching it from its spiritual and transcendent connotations and its close affiliation with Romanticism”</i> Sianne Ngai - Ugly things - p271. <br /><br />This is a different kind of experience to the immediacy of a Kantian Sublime, It is not a moment of revelation but a <i>“a series of fatigues or minor exhaustions, rather than a single, major blow to the imagination”</i> Sianne Ngai - Ugly things - p272</span></div>
<div style="line-height: normal;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br />I feel the phrases or words defined above help better describe/define existential concerns which my recent work touches upon. A new vocabulary appears to more succinctly convey the sensations of living in a new Epoch. It also has a political function, more explicitly relating that while things appear to be changing slowly we are racing through the 6th great extinction, and altering the environment at ecological breakneck speed. Welcome to the '</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Slowpocalypse'!</span></span><br />
<div style="font-family: Times; font-size: 12px; line-height: normal;">
<br /></div>
<div style="font-family: Times; font-size: 12px; line-height: normal;">
<b><br /></b></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-27970258334678697122016-07-25T09:10:00.002-07:002016-08-13T16:49:10.645-07:00Vibrant Matter and other 'stuff'<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Keywords: </b></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Actant / Vibrant Matter / Elan Vital / Shadow-time</i><b> </b>/ </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Apex Guilt</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I have previously discussed my work though a bergsonian lens, the dualistic approach that our mind is routed in the past and body in the present. Full consciousness being an awareness and fusion of the two states. In work such as 'Corpse' The video of a forest talks of 'pure memory', image remembrance of a past event and external of the body. While the charcoal animation contained in the viewers silhouette becomes the bodies subconsious response to the same memory and is rooted in the present. Standing in front of the work the two states are seen concurrently, past and present are united.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Here I have explored the concept of consciousness only in the context of the individual. However as I look further at my work with an ecological perspective I have begun to question if the consciousness the work speaks of is the viewers own or something other. In Bergson's concept of 'Elan vital' he theories that all living things have a degree of consciousness. <b> </b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b></b></span><br />
<div style="font-family: 'Lucida Grande'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>'From one point of view, we can say that some beings are literally more alive than others. This 'aliveness', that the French philosopher Henri Bergson called the 'elan vital,' has manifested itself more powerfully within them. We can see the whole evolutionary process which has taken life forward from amoebi to human beings as a process of 'vitalisation', by which living things become progressively more animated. As living beings become more 'vitalised' the intensity of their consciousness increases; so another parallel way of looking at evolution is to see it as a process by which living beings become more and more conscious.'</i><br /><b style="font-weight: normal;">The Elan Vital and Self-Evolution -Steven Taylor - </b></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="font-family: 'lucida grande';">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">New Renaissance, Volume 8, Number 4, Issue 27. - 1999</span></span></div>
<div style="font-family: 'lucida grande';">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div style="font-family: 'lucida grande';">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Artist herman de vries (he writes without capitals to avoid hierarchy) explores the relationship between humanity and nature, seeing the production of art as an expression of consciousness which he too finds in all living things. </span></span></div>
<div style="font-family: 'lucida grande';">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span></span></div>
<div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>'this line of thought still guiding me now. i have nothing to say: it is all here.</i></span></div>
</div>
<div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>art is not the definable. every definition of it is a limitation. but for me it has to do with the formulation of consciousness or with the process of becoming conscious. </i></span></div>
</div>
<div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>this consciousness i see happening around me in nature and i show what i have seen happening, what i have seen being'.</i></span></div>
</div>
<div style="font-family: 'lucida grande';">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Except from - The world we live in is a revelation - herman de vries - 1992<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b> </b></span></span></div>
</div>
<br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Re-assessing such work as 'Chronos' and 'Corpse' the past and present we witness could be seen not as an analogy for our own experience, but as a vision of the </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">natural worlds </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">detached consciousness. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">The destruction and renewal no longer represent our own existential fears but speak of ecological processes. the deep-time of ecological processes are juxtaposed with our own fleeting time frame. Borrowing a phrase from the Bureau of lingistical reality we enter 'Shadow time', implying we become aware of existing within human and ecological timeframes concurrently. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">In her essay '</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Vibrant Matter: A political Ecology of Things - 2010</i>' Jane Bennett </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">builds on Bergson's '<i>ardent belief in the spontaneity of life</i>'</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> the concept of the '<i>Vitality</i>' of living things as well as Deleuze and Felix Guattari's '<i>Material vitalism</i>'. Expanding the remit of vitality to all matter and formulating the term '<i>Vibrant matter</i>'.</span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>'This habit of parsing the world into dull matter (it, things) and vibrant life (us, beings) is a 'partition of the sensible', to use Jacques Renciere's phrase. The quarantines of matter and life encourages us to ignore the vitality of matter and the lively powers of material formations, such as the way omega-3 fatty acids can alter human moods or the way our trash is not 'away' in landfills but generating lively streams of chemicals and volatile winds of methane as we speak.'</i></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Vibrant Matter: A political Ecology of Things - Jane Bennett - 2010</span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Looking at all of matter as 'vibrant matter' Bennett is asking us to question our relationship with the external world of 'stuff' be it ecological or man made. By viewing 'stuff' as active agent she is trying to prompt a reassessment of our understanding of environmental processes and affect political responses to these concerns. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">'<i>How would political response to public problems change were we to take seriously the vitality of (nonhuman) bodies?By 'vitality' I mean the capacity of things - edibles, commodities, storms, metals - not only to impede or block the will and designs of humans but also to act as quasi agents or forces with trajectories, propensities or tendencies of their own. My aspiration is to articulate a vibrant materiality that runs alongside and inside humans to see how analyses of political events might change if we gave the force of things more due. How, for example, would patterns of consumption change if we faced not litter, rubbish, trash or 'the recycling', but an accumulating pile of lively and potentially dangerous matter?..... Why advocate the vitality of matter? Because my hunch is that the image of dead or thoroughly instrumentalized matter feeds human hubris and our earth-destroying fantasies of conquest and consumption. It does so by preventing us from detecting (seeing, hearing, smelling, tasting, feeling) a fuller range of the nonhuman powers circulating around and within human bodies..... I want to promote greener forms of human culture and more attentive encounters between people-materialities and thing-materialities.'</i><br />Vibrant Matter: A political Ecology of Things - Jane Bennett - 2010<br /><br />Bennett is in no way suggesting that so called inert materials have consciousness as Bergson or </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">herman de vries</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> attribute consciousness to all organic matter but that they are 'Actants', active participants in the external world which should not be considered as passive. Actant is a term formulated by Bruno Latour to denote..</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"> '</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>a source of action that can be either human or nonhuman; it is that which has efficacy, can do things, has sufficient coherence to make a difference, produce effects, alter the course of events. It is 'any entity that modifies another entity in a trial', something whose 'competence is deduced from (its) performance' rather than posited in advance of the action'</i></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Vibrant Matter: A political Ecology of Things - Jane Bennett - 2010</span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">By seeing the nonhuman as active and not inert every object or substance becomes a process. When we throw away plastic packaging it is not the end of its story, it continues to be active in the environment. It develops a more explicit time bound legacy far beyond our own human time frame. The cumulative effect of our personal and collective guilt for actions affecting the ecology of the earth may weigh more heavily upon us, that we might reassess or relationship with 'stuff' </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Reflecting back on my own practice different forms of ecological guilt or 'Apex Guilt' can be projected onto the work. Burning transitions in both 'Process and Perception' and 'Chronos' signify very literal and abrupt ecological destruction. During </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">'Process and Perception'</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> I </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">can even be seen visibly burning a representation of nature, man-kind is directly tied to the crime of ecological violence. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">However there is another way in which the work speaks of ecological guilt, that is through the physical process of generating the work. In each take of </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">'Process and Perception'</span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">at least four 1.8m x 1.5m paper screens are burnt. In the works development I have re-filmed this process four times. Trees were most definably harmed in the making of this work! Filming requires using 3 digital projectors hooked up to 3 </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">laptops and is shot with a digital camera. All this uses electrical energy, while the material 'stuff' of the equipment (vibrant matter) the plastics/ metals/ batteries are the very things that will linger and affect our environment for thousands of years to come. Filming becomes comparable to an executenor taking a photograph of his victim before the sentence is carried out. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">This raises the question wether it is valid to make work about ecological issues using processes and materials directly responsible for the situation one is lamenting? </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span>
<br />
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Recent reading list:<br />Nature and Culture - Peter Halley - 1983<br />Scapeland - Jean-Francis Lyotard - 1988<br />The Natural Fantastic - Roger Callous - 1971<br />The Three Ecologies - Felix Guattari - 1989<br />Creative Evolution - Henri Bergson - 1907<br />Vibrant Matter: A political Ecology of Things - Jane Bennett - 2010</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Imagination and Matter - Gaston Bachelard - 1942</span></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-50407949806009707432016-07-24T10:53:00.002-07:002016-08-06T13:59:51.860-07:00Filming final forest videosAfter seeking feedback regarding which previous forest videos were most effective I went back to film one last time. The final two screenshots are from the videos I intend to use in my final exhibition. I was looking for a balance of depth, movement, and time. I wanted a video with trees from the foreground to background so that the building of depth in the animations would be mirrored. I also was looking for a mixture of young trees along with older decaying trunks, and broken branches which might further hint at long ecological timeframes.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxOrQUPKe_Ye_epNW1VdAkhfbY0VJyJdC-EfBgHW9BRtTsbMpWjmev5PQuv-4NYhy73QmDkUq_C7jPZOE6hADq9iLESDKP1QPte1M0cNUdybFSN-4yHbpzbdCfKCi6_Ts5Ln0hEEIm8ak/s1600/IMG_3734.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxOrQUPKe_Ye_epNW1VdAkhfbY0VJyJdC-EfBgHW9BRtTsbMpWjmev5PQuv-4NYhy73QmDkUq_C7jPZOE6hADq9iLESDKP1QPte1M0cNUdybFSN-4yHbpzbdCfKCi6_Ts5Ln0hEEIm8ak/s400/IMG_3734.jpg" width="300" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQqdOuQhpQDiEeEKWjfWqq6G9k-dUc-2nupVnJYtNOIpWUkkprJ1g46H9vmauLXQ2aNSqEQ_6wGIzocCelMVfV9Ak4g2Qm50PD4HzbDj9DDTuoHcvwZwcElNIbINrqKfOwpaS3g7bbC0/s1600/IMG_3928.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQqdOuQhpQDiEeEKWjfWqq6G9k-dUc-2nupVnJYtNOIpWUkkprJ1g46H9vmauLXQ2aNSqEQ_6wGIzocCelMVfV9Ak4g2Qm50PD4HzbDj9DDTuoHcvwZwcElNIbINrqKfOwpaS3g7bbC0/s400/IMG_3928.jpg" width="300" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVAkfhzkFWGlzvdxwgRB273NcOEDbxSPR646oPxf1EHhrPRrkc_P_RqUFcWS2Uh5T5pbcHajgJIK-DEla0jWDbZbDkKCyJqsIRKHCQX2NM5CpXGgegfxkNFZTtoMHWdBEmEeWl90fHAR4/s1600/IMG_3937.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVAkfhzkFWGlzvdxwgRB273NcOEDbxSPR646oPxf1EHhrPRrkc_P_RqUFcWS2Uh5T5pbcHajgJIK-DEla0jWDbZbDkKCyJqsIRKHCQX2NM5CpXGgegfxkNFZTtoMHWdBEmEeWl90fHAR4/s400/IMG_3937.jpg" width="300" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi65VVBZ2yjOZsukipQakcQggkEv94oeCvEjWnQFMwrnCpdEY6cAfBsnnJkJ9Yyqf_3EpiThsmO7_PD6_LoOk9yxVKoaSyIs4JlCH8SnXiWrQKOkZasI_S2vz_xZr0wyLHlRWLSn-SuI20/s1600/Forest+video+3.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi65VVBZ2yjOZsukipQakcQggkEv94oeCvEjWnQFMwrnCpdEY6cAfBsnnJkJ9Yyqf_3EpiThsmO7_PD6_LoOk9yxVKoaSyIs4JlCH8SnXiWrQKOkZasI_S2vz_xZr0wyLHlRWLSn-SuI20/s400/Forest+video+3.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from Forest video 3</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghmvujtHsMHAJIucx8-uPnzQaX2xWRL9iiUUA4HsH_UDaY56ZUxRyNlUB603XnsHAYxHN0x965-eHKX2HcnW2ztQIZqUsjq6W8gQwZ10Bf5PfOKRysDzsjGYIRXmCOJwyX54YloZlz0YA/s1600/forest+video+4.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghmvujtHsMHAJIucx8-uPnzQaX2xWRL9iiUUA4HsH_UDaY56ZUxRyNlUB603XnsHAYxHN0x965-eHKX2HcnW2ztQIZqUsjq6W8gQwZ10Bf5PfOKRysDzsjGYIRXmCOJwyX54YloZlz0YA/s400/forest+video+4.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from Forest video 4</td></tr>
</tbody></table>
<br />Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-1621791140136603412016-07-24T07:24:00.002-07:002016-08-06T13:57:27.746-07:00Final exhibition layouts<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Alternative arrangements</span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<div style="font-family: 'Lucida Grande'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Commonly with filmic work the projector is hidden often above and behind the audience. In '<i>Corpse</i>' it will be seen and placed in the visual domain of the work, the viewer walking in-front of it becoming an active agent in the work. The explicit relationship between projetor and screen can be seen in the work of artists such as Liz Rhodes and Steve Farrer. Discussing Liz Rhodes work <i>'Light Music'</i> in her essay 'Mutable screens' Nicky Hamlyn describes the effect of placing projectors 'inside' the work.</span></div>
<div style="font-family: 'Lucida Grande'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="font-family: 'Lucida Grande'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>'By placing the projectors in front of the image and thus incorporating them into the visual arena, Rhodes forces into conjunction several highly contrasted aspects of film: the bulky clattering machine, its delicate film strip, and the immaterial yet powerful image it throws out. This forced conjunction stresses the irreducible complexity of film as a technological medium of stages and parts.'</i></span></div>
<div style="font-family: 'Lucida Grande'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Nicky Hamlyn - Expanded Cinema: Art, Performance, Film - p216-217 - 2011</span></div>
<div style="font-family: 'Lucida Grande'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="font-family: 'Lucida Grande'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Here Hamlyn is talking about film projection while in my own work I use digital projectors, however I still see them acting on the work albeit with a different agency. This is not the mechanically clattering of the machine age but the quiet hot hum of a digital future. </span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">My first idea for the final exhibition was to display two identically sized projections side by side in my space. Projecting two different forest video onto the front of the screens, and using slightly different versions of my charcoal animations on the back. This would in effect create a strip which the viewer could walk along. However with this arrangement space for the viewer to move about the work is going to be tight, the screens blocking off at least one third of the space. (Plan 1)</span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_eEqlr7FiScH442DU0Cm-Dv8T0Qo2rZ1yAOlOqTuMReieBz9skcTUtHpzYmA5nUtAo2fN0JRyAns_-xmy1bpkUrK5UY48dsVAv5nSGPaa1FAvXditnzv_wdX3jg0YfaBYEagimpfWsBE/s1600/plan1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_eEqlr7FiScH442DU0Cm-Dv8T0Qo2rZ1yAOlOqTuMReieBz9skcTUtHpzYmA5nUtAo2fN0JRyAns_-xmy1bpkUrK5UY48dsVAv5nSGPaa1FAvXditnzv_wdX3jg0YfaBYEagimpfWsBE/s400/plan1.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plan 1</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Alternatively I had thought of projecting one single larger image which would bet placed centrally. Two back projected images would then be used to cover the rear of the screen. However this would create a join which may be visually 'messy' and would have to meet precisely with no overlap. This could be technically very difficult when taking into consideration other layout considerations such as placement of screens and projectors.(Plan 2)</span></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGPX0DaPxM0EaP-SANDk4dTsare4zQGokS-oFvhD4ytS_uqD_MXFqUMwNwymyf5gMEhIUjp1XpS3D8IHwZAGGN6zcnZxlqN0o7lj4UYicWFOiLAxCaZ9XEMeJBm2ySq2VlCT5O4oVoZxI/s1600/plan2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGPX0DaPxM0EaP-SANDk4dTsare4zQGokS-oFvhD4ytS_uqD_MXFqUMwNwymyf5gMEhIUjp1XpS3D8IHwZAGGN6zcnZxlqN0o7lj4UYicWFOiLAxCaZ9XEMeJBm2ySq2VlCT5O4oVoZxI/s400/plan2.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plan 2</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The 'Plan 2' arrangement would also have the drawback that a viewer will not be forced to move in front of the projection, thus revealing the image behind. I may have to put markings on the floor to indicate where the viewer would need to stand. Another more subtle way of manipulating the viewer would be to create a small internal wall to force the viewer to move in front of the beam on entering. (Plan 3)</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19urwrZOQPYWAN9pUcJDbYCxEu0RBG3TwM8q2d1BZT-rKhVIOFIdaU4XvW5fLeHqhlw-FldQvPTPVLJV5MG0CbdPbVlRaoFSAGL492n-HnqifGvUSD1dHxv-WsoTybBzqgkZm6WD3FcA/s1600/plan3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19urwrZOQPYWAN9pUcJDbYCxEu0RBG3TwM8q2d1BZT-rKhVIOFIdaU4XvW5fLeHqhlw-FldQvPTPVLJV5MG0CbdPbVlRaoFSAGL492n-HnqifGvUSD1dHxv-WsoTybBzqgkZm6WD3FcA/s400/plan3.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plan 3</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Setting up '<i>Metaphors we live by</i>' at Pop my minds first birthday exhibition I had been given a very similar space to the one I will be using in the final exhibition. Here I found the space worked better with the projectors placed in apposing corners and the screen pushed as far back as possible into the far corner. Using the corners maximised the space, having the screen cut off a corner gave the viewer a much better space to move into. The room still felt like a room and not a corridor.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The only drawback with putting a screen into the corner is it allows space for one instead of two. However I am starting to think that this more simple arrangement would be preferable. (Plan 4) In 'plan 5' the same arrangement is used as 'Plan 4' but an internal wall is added to direct the viewer into the path of the beam. In 'plan 6 'the same effect is hopefully achieved by marking out where the viewer should stand on the floor.</span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP2nGZ8AACJOqCEjWE7BwWlu-rhdi8R5G4JHZtDNMlJGeO1GyQ3pLNFTcce26D9aBjuvPBNK9PiRAyUv9Xe0xCCAGYAKjHIL9n-KZbtjAZjUNmN9ltS6T_tESwsNDYFJsrfL4tzQH9q7g/s1600/plan5.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP2nGZ8AACJOqCEjWE7BwWlu-rhdi8R5G4JHZtDNMlJGeO1GyQ3pLNFTcce26D9aBjuvPBNK9PiRAyUv9Xe0xCCAGYAKjHIL9n-KZbtjAZjUNmN9ltS6T_tESwsNDYFJsrfL4tzQH9q7g/s400/plan5.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plan 4</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiF80G7L2_MUBxIx1p917IKkj7Bleaf23THJG-0YNoDdf-MjJh9bB91VfdMKwXXxYUkvNbRkaPzx4Q_D_fBuzCAiN0wS0WfIdpLaygFu7mJUBqstqJd_Yvr6iIC08xjn91Bfjtzf_MDgk/s1600/plan4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiF80G7L2_MUBxIx1p917IKkj7Bleaf23THJG-0YNoDdf-MjJh9bB91VfdMKwXXxYUkvNbRkaPzx4Q_D_fBuzCAiN0wS0WfIdpLaygFu7mJUBqstqJd_Yvr6iIC08xjn91Bfjtzf_MDgk/s400/plan4.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plan 5</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijfr3znnPv3vVEb60fcK6tms8fL8L7dJ5gnwyRt4P1LirDmHZ-Giv4f2_pj5cqLg3Q23ME5IvEK9llfY6zCrwWxPjR9qF6UOZeslGYXYogSIl3ec_O4x3sJcnX8a8FhZNw-_1cOlv_fcI/s1600/plan7.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijfr3znnPv3vVEb60fcK6tms8fL8L7dJ5gnwyRt4P1LirDmHZ-Giv4f2_pj5cqLg3Q23ME5IvEK9llfY6zCrwWxPjR9qF6UOZeslGYXYogSIl3ec_O4x3sJcnX8a8FhZNw-_1cOlv_fcI/s400/plan7.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plan 6</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">It may be possible to project from all four corner with two screens arranged as a chevron in two adjacent corners. However the entrance to the space has been dictated as being in one of the corners, this would make the placement of a projector there problematic. I also think that visually this arrangement may look to 'busy'. (Plan 7) However I would be interested to see how the viewers silhouette would be cast onto both screens and how this would create a different kind of dialogue with the work.</span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEV0_a1HfztWa_5B5mQec6YyoWmBZP-ZymptD7c_bHIObgQnwJJfu4fuExBEiFPjycf7DfZbSAWtYwVzvD9QEVG0wHMx9w_bB_tl7y2RrOj6s_GL7S23B4uehqcVTfeNFFkGOrJikVm4A/s1600/plan6.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEV0_a1HfztWa_5B5mQec6YyoWmBZP-ZymptD7c_bHIObgQnwJJfu4fuExBEiFPjycf7DfZbSAWtYwVzvD9QEVG0wHMx9w_bB_tl7y2RrOj6s_GL7S23B4uehqcVTfeNFFkGOrJikVm4A/s400/plan6.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plan 7</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">'Plan 8' is the most simple arrangement and would only be used if I decided to exhibit 'Process and Perception' video instead of the 'Corpse' body of work. The only variation from this may be if I chose to project this onto a paper screen. The 'jeopardy' of projecting a fire onto paper is something I have experimented with and can create a moment of tension as the viewer may be uncertain if they are watching real or videoed fire take hold.</span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7TX8YcwSH48_fc3FFmme5HlRhjObnRjpyFPsj94iIfGDLB3xGXBfiOAVQMnxDUgsw27yUFdN9rhOIZyeRslewlRPFVQziolvgTeQ_WtJs3tKwSnPd1jO5doZHoWc_hGvO1OhgFd8Osa0/s1600/plan8.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7TX8YcwSH48_fc3FFmme5HlRhjObnRjpyFPsj94iIfGDLB3xGXBfiOAVQMnxDUgsw27yUFdN9rhOIZyeRslewlRPFVQziolvgTeQ_WtJs3tKwSnPd1jO5doZHoWc_hGvO1OhgFd8Osa0/s400/plan8.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plan 8</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">At present I favour Plans 1 and 5. In 'Plan 1' the viewer is encouraged to walk in front of the first screen to better see the second. Having two screen also presents a visually richer environment for the viewer to consider. However 'Plan 5' maximises the space and therefore screen size. While there is only one screen I'm unconvinced two screen really develops the narrative of the work beyond what is already achieved with one. The internal wall also helps 'push' the viewer in front of the projector beam so that they cannot see the work without being aware of the back projected image. The internal wall also stops the viewer seeing the projector behind the screen so they won't be initially aware how the image is generated.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Future projections</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While I will decide on an arrangement I believe best suits the exhibition space I see the future presentation of the work as open ended. </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Changing the context in which the work might be displayed would affect how I would display it in future. </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">One arrangement I would like to try would be for an extended strip of screens, between 5-7 all of which being of similar size to the one used in my final show. The viewer would then be able to walk along the the work seeing themselves actively 'passing through' a kind of fractured environment. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">I would also be interested to see how others might interpret and display the work. In Mersa and Butler's 'The Autonomous Object - 2008 - ongoing' the artists produce a film which once shot is sent off for others to decide how to present. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>'Formally incomplete, the work's final arrangement is the responsibility of someone else, ensuring each particular completion is subject to a particular place and time, thus replacing authorial ownership with a contingent use value in which film as a medium is subject to the way in which it enters the world of finished products and consumable goods'</i> </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Duncan White - Expanded cinema: Art, Performance, Film - p228-229 - 2011 </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Moving on from the MA I see myself exploring how works can be adapted to new contexts so that they exist not as copies or documents of an original event but as unique events with their own unique agency. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-75873048527813940582016-07-24T07:15:00.002-07:002016-07-24T11:18:31.695-07:00Pop my Mind - Private view<span style="font-family: "arial" , "helvetica" , sans-serif;">Taking part in a recent group exhibition I presented my '<i>Metaphors we live by</i>' response. The space in which I was given to exhibit was a small square room of similar size and proportions to the space I'll have for my final exhibition. This gave me a great forum to test out screen arrangements, as well as observe how an audience reacted to the work. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim49w0Ea3-Ksn47HZsdop-aH5KMTwcc-wtywIq4rhYIvdJ96HgX3WKYuKBTs4BGjPBR7DUxA0ZzQwUm7_Sugd1C8NwdT2y1vHru7f3e0tjhkd7F4shYbfqv-XM28usuEbyu3vqGXUzy_s/s1600/IMG_4019.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim49w0Ea3-Ksn47HZsdop-aH5KMTwcc-wtywIq4rhYIvdJ96HgX3WKYuKBTs4BGjPBR7DUxA0ZzQwUm7_Sugd1C8NwdT2y1vHru7f3e0tjhkd7F4shYbfqv-XM28usuEbyu3vqGXUzy_s/s400/IMG_4019.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Setting up 1</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAbh0TnSa49z9VwqmcWFNViWHEMTExYkq3tusbWQAqhAvCqXp4URNFn0kfWF0s3mtkgQeiT-c6gz2iSCcIv6oTZM4ygnpkeJJRmuD0NyqyskXYYEDDMNh09Fxo8qhQ5rdDwnm38Ab7MA/s1600/IMG_4022.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAbh0TnSa49z9VwqmcWFNViWHEMTExYkq3tusbWQAqhAvCqXp4URNFn0kfWF0s3mtkgQeiT-c6gz2iSCcIv6oTZM4ygnpkeJJRmuD0NyqyskXYYEDDMNh09Fxo8qhQ5rdDwnm38Ab7MA/s400/IMG_4022.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Setting up 2</td></tr>
</tbody></table>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83VxoPbOTxZswoJRlS6S2RKv9EaCMSBPhfMjuiSrDMipSbL1vpjx-pFFs1FzlhTkcPNiQVwirurtfi4LhlBsjSB48rm-v-TF8u3YsvrPB_jxPVr1PXqCd8nCWqlixYiwtwm_tj5UxOGA/s1600/IMG_4021.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83VxoPbOTxZswoJRlS6S2RKv9EaCMSBPhfMjuiSrDMipSbL1vpjx-pFFs1FzlhTkcPNiQVwirurtfi4LhlBsjSB48rm-v-TF8u3YsvrPB_jxPVr1PXqCd8nCWqlixYiwtwm_tj5UxOGA/s400/IMG_4021.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Setting up 3</td></tr>
</tbody></table>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Successes & 'room' for improvement!</span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">1) Setting up in the space the first thing I realised was that projecting from corner to corner instead of from front to back really maximised the space, giving the viewer more room to move in front of the work. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">2) The front projection successfully hid the rear image with white light so that the screen appeared blank. This created a moment of discovery when the image behind was revealed. However as the screen looked blank to begin with some people popped their head in the doorway and left without experiencing the work. In the final exhibition I must be mindful to create the conditions that the viewer is more successfully encouraged in front of the projector beam. With '<i>Metaphors we live by</i>' the front image is white light and so it is easy for the viewer to think the work is not present, however with my 'Corpse' animations the front image is a forest video so the viewer will be aware work is present.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">3) Talking with many of the exhibitions visitors who experienced the work I received much positive feedback. One key question that may asked me was 'how does it work?' Uncovering the image by standing in front of the front projector many didn't realise there was a second projector behind the screen. I feel this not knowing added to the otherness of the work, in my finial exhibition I will now try and make sure that the rear projectors are obscured so this dialogue is repeated. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">4) Many also seemed to enjoy the interactive playful nature of the work, moving and dancing around in front of the screen, or trying to match the movements of the performers in the video. However it was clear that some felt uncomfortable with having themselves projected onto the picture plain. Either way the experience of the work provoked a reaction beyond indifference!</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHB4YVkw0iZY15HpG7F3kLB2fgqe0JsfiJMXvALopJuHn1sGk4X_0W3aKR3uM_AB6Wvde7ZszxWZCfviofW1iD8PKEqTFvbsMglev-4xTvZShvvLDX7TdidiH4DRVSBkQscN0WR9cfyrY/s1600/IMG_4030.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHB4YVkw0iZY15HpG7F3kLB2fgqe0JsfiJMXvALopJuHn1sGk4X_0W3aKR3uM_AB6Wvde7ZszxWZCfviofW1iD8PKEqTFvbsMglev-4xTvZShvvLDX7TdidiH4DRVSBkQscN0WR9cfyrY/s400/IMG_4030.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Private view1</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWthjVg_HfPWP23hq48MDHLNOUKV09e1BoiqlWF-Tc1Vvds1buJm90cG9_INybMkX5kSwjiZ1wbwycCowijGgqFt9zY0UNNrt4NHxL5xJyWnZJUTQccjmJK9eUnc8EZEEoz4GEIxlz7Uo/s1600/IMG_4027.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWthjVg_HfPWP23hq48MDHLNOUKV09e1BoiqlWF-Tc1Vvds1buJm90cG9_INybMkX5kSwjiZ1wbwycCowijGgqFt9zY0UNNrt4NHxL5xJyWnZJUTQccjmJK9eUnc8EZEEoz4GEIxlz7Uo/s400/IMG_4027.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Private view2</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjugy-y2VZoUvzL_qm-067MdIy1SRuXHd6nV9DvIAYwVtdIIKh0aFT8M9KwdG3UktDMWuCxraNJ4d4YblaCUGS_kKiTwoLAZ1-Sk0J3ybUWhZHienbIGyM65My5Z765MtImq83V7_1jB0I/s1600/IMG_4028.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjugy-y2VZoUvzL_qm-067MdIy1SRuXHd6nV9DvIAYwVtdIIKh0aFT8M9KwdG3UktDMWuCxraNJ4d4YblaCUGS_kKiTwoLAZ1-Sk0J3ybUWhZHienbIGyM65My5Z765MtImq83V7_1jB0I/s400/IMG_4028.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Private view3</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">It is also worth noting that at this event my '<i>Amethysts</i>' video was projected behind 'Kate Johnson and the wrong moves' Who played a set at the event. This video was manipulated live by VJ Jim Horsfield from 'As Described'. </span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVetNk1JtqLv5Zb2qmMhwOTQNeTkug5Hd7XP5SwLEfiC8VeWoR-dQ9Ss_jBWwg4HD2jQZRs4nqsjAT8-xHk48QuHJAkeuekpqin0i6jW7fOKV_dhS8xAV51JU7Tb40KsLfouknWoG2yTU/s1600/IMG_4038.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVetNk1JtqLv5Zb2qmMhwOTQNeTkug5Hd7XP5SwLEfiC8VeWoR-dQ9Ss_jBWwg4HD2jQZRs4nqsjAT8-xHk48QuHJAkeuekpqin0i6jW7fOKV_dhS8xAV51JU7Tb40KsLfouknWoG2yTU/s400/IMG_4038.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Projection visuals</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ekgZxmLOmfQDelIoq2-dM3pdqiZ4ipQMR9ODPfXOytFIrnhYBULgj4P84NUEzI_2rXd5uKzGK0EqdI7UWL8eO08jXGciOItYQ9IQiBje29gAIuwpzBc0n8NgUniT7_OsBV-cAcnjZGo/s1600/IMG_4034.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ekgZxmLOmfQDelIoq2-dM3pdqiZ4ipQMR9ODPfXOytFIrnhYBULgj4P84NUEzI_2rXd5uKzGK0EqdI7UWL8eO08jXGciOItYQ9IQiBje29gAIuwpzBc0n8NgUniT7_OsBV-cAcnjZGo/s400/IMG_4034.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h3>
<span style="font-weight: normal; text-align: start;"><span style="font-size: x-small;">Kate Johnson + back projection + JV Station</span></span></h3>
</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH7Ka0Dn49ur4MvDVrdzIAq0DHX7dofJ5hiTcpE5eTTibBT_vsW_EGUHCSYf5QRFly0yyN3-L3UrQGquXCwB6uKsVsh8DkCC8qOwSA2EloFwMdYyKjKDStV0wewhvN1d2zSgX8obVTTNQ/s1600/IMG_4031.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH7Ka0Dn49ur4MvDVrdzIAq0DHX7dofJ5hiTcpE5eTTibBT_vsW_EGUHCSYf5QRFly0yyN3-L3UrQGquXCwB6uKsVsh8DkCC8qOwSA2EloFwMdYyKjKDStV0wewhvN1d2zSgX8obVTTNQ/s400/IMG_4031.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Venue</td></tr>
</tbody></table>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">It was interesting to see how someone else interpreted my work, forging a different kind of narrative. This was a fantastic and well visited event and proved a great opportunity to test my work in a 'live' setting.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/176048832" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/176048832">LLOYD EVANS - Projections for Pop my Mind exhibition</a> from <a href="https://vimeo.com/lloydevansstudio">Lloyd Evans</a> on <a href="https://vimeo.com/">Vimeo</a>.Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-18816922122758702072016-07-20T13:20:00.000-07:002016-08-06T13:49:10.218-07:00Art as experience / In defence of the dim!<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Keywords:</b> Digital light / Analogue / Embodied experience / Installation</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Originally I set out to explore using analogue technologies for there supposed haptic qualities. As the module has progressed ideas have somewhat dictated processes and I have stuck with digital projection. However as I continue to experiment with digital I have started to consider if the qualities and experience of the two systems are so apposed. Reading the introduction to 'Digital Light' I came across this passage which seems to echo the idea that the two processes are less distinct than first supposed.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i>
<i>To reduce the complex interactions of digital and analogue into a simple binary<br />opposition is to grasp at essences where none can be relied on. Both the speed of<br />innovation, and the unstable relation between bitmap and vector graphics and displays<br />suggest that there is no essence of the digital to distinguish it from the analogue,<br />and that instead we should be focussing as creators, curators and scholars<br />on the real specificity of the individual work or process we are observing.</i>'</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Sean Cubitt, Daniel Palmer and Nathaniel Tkacz - Digital Light - Open Humanities Press - 2015</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I agree that the agency of specific work is the primary concern, we should focus first on how the individual work functions. Technology is a tool and we should be open to pick up a different system as one might put down the brush and pick up a palette knife.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">In recent works which more directly involve or include the viewer agency is directly tied to their physical actions. The aesthetic experience is therefore primarily tied to their movement around the work. The phenomenological thinker Maurice Mzerleau-Ponty saw human consciousness as an embodied experience, our access to the external world being through the body and the mind together. How we perceive artworks is therefore tied to our bodily experience of them.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I view the context in which the work exists as therefore vital to its reception. The work is not only the screen on which the spectator sees a projected image, but also the space In which they can navigate and consider this image. Here the work has expanded from the picture plain to become an installation. In her article '</span><span style="font-family: "arial" , "helvetica" , sans-serif;">But is it installation art' Claire Bishop describes the conditions of 'installation' art</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>'By making a work large enough for us to enter, installation artists are inescapably concerned with the viewer’s presence, or as Kabakov puts it: ‘The main actor in the total installation, the main centre toward which everything is addressed, for which everything is intended, is the viewer.’ He reiterates one of the dominant themes of installation art since it emerged in the 1960s: the desire to provide an intense experience for the viewer.'</i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Claire Bishop - </span><span style="font-family: "arial" , "helvetica" , sans-serif;">But is it installation art</span><span style="font-family: "arial" , "helvetica" , sans-serif;">? - Tate Etc. issue 3: Spring 2005</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Therefore the environment in which the work is shown, how it is displayed, and which work it sits next to becomes of paramount significance in its reading. By controlling the environment around the work in my final exhibition I will be able to better immerse the viewer in its physical experience. However this separation detaches the work from direct dialogue with the rest of the exhibition. The relationships between the wider space and other works in the exhibition is a key consideration.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Using projection as a means to display the work in some ways dictates how the work can be shown, a darkened space is obviously needed for the projection to be seen with clarity. After experiments in the studio I have found that this space doesn't need to be completely black, with a dim light the work is still clearly visible.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I have decided to that using a dim background light is favourable as the contrast between my work and the rest of the exhibition is softened. I also sometimes find black spaces confrontational, especially within wider exhibitions lit under normal gallery conditions. The darkened video room can feel dictatorial, on entering one feels obliged to stay for the duration of the work - often not knowing how long a work is, or at which stage you have joined in. Leaving this space almost feels like a crime, as you slink off before the end of the work fearing judgement from more discerning spectators who have remained. I believe this feeling is caused by our cultural understanding of cinema. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The gallery space and the cinema space function differently, in a gallery one anticipates one can freely move around, you are '<i>master of the visual domain</i>' (Satre). While in the cinema you understand that you are entering as a passive spectator. You know approximately how long you will be held captive and how you are expected to behave when receiving the work, having subconsciously agreed these terms before you enter. In the gallery, especially in a group show containing more static forms of work such as painting and photography the viewer expects to browse, wandering between works freely. The amount of time a viewer might look at each work may be mere seconds. A dark spaces demand a different way of viewing, on entering one is losing a degree of control. The artist dictating how long the viewer should consider their work.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The dark space in a gallery context also speaks of the unknown, anxiety, loss of control. This links to the concept of the void discussed earlier, if exhibiting 'Process and Perception' as a work which ends with a 'void' a black space may have been more appropriate. However my 'Corpse' work which I intend to exhibit 'feels' less confrontational while still being concerned with destruction/renewal.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">In the cinema the darkness is not so threatening as the space is understood. We are aware where the screen is, are comfortably seated, and understand what type of experience we are about to have. In a gallery dark space expectations are not as clearly defined, we are less sure what kind of experience the artist has in store for us!</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">By exhibiting in a dim but not black space the spectator's transition into the work will be softer, and they will hopefully feel more free to move in and out of the space at will. The work is also looped with no obvious beginning or ending, this means there is no length of time to feel obliged to stay for. The viewer has more control to make the decision when they wish to move on. I believe if the spectator feels more comfortable with the space they will be more inclined to experiment and play, moving around the space and more fully engaging with the work.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Obviously 'dim' is not an exact term and the lighting conditions of the gallery space may not be controllable in the same way as the lighting in my studio. By creating a walled area and removing the lighting directly above this space I believe this will darken the space enough that the work is made clear. I also plan to create a natural linen canopy that can be used to control the light further if needed. This is as a back-up plan and hopefully will not be necessary.</span><br />
<div>
<br /></div>
<br />
<br />Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-84034809867043910882016-07-20T03:31:00.003-07:002016-07-24T03:56:05.299-07:00EtchingAt the very beginning of the module I had thought to try translating my drawings and projections into etchings. The qualities of etching such as the deep black of the etching ink, quality of line, and the physicality of a print really appealed. Together these attributes give it a tactile quality which lends itself to an investigation concerning haptic sensation.<br />
<br />
However creating an etching plate by directly drawing on its surface creates a 'slow' considered image where I would want them to be imbued with the speed and attack of my drawings. Therefore I decided to explore using photographic etching processes so that I may directly 'expose' a drawing onto the surface of a plate, not try and recreate it through drawing.<br />
<br />
Photograva - this looks like a labour intensive process and one I could spend months perfecting, in the first instance I wanted to try a quicker process with which I could test the viability of translating these drawn images into etchings.<br />
<br />
I have found a tutorial linked below which offers a much simpler and quicker process, I intend to experiment creating A4/A3 sized prints from both my drawings and recent photographic images. I feel the quality of line and the deepness of black that etching allows may really work with these new complex images.<br />
<br />
<a href="http://www.instructables.com/id/easily-etch-images-in-copper/?ALLSTEPS">http://www.instructables.com/id/easily-etch-images-in-copper/?ALLSTEPS</a>Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-87496168207920942552016-07-18T11:41:00.003-07:002016-08-06T13:44:14.535-07:00New starting points and eerie landscapes Keywords: Palimpsest / Unquiet / Deep-time /<br />
<br />
To create my large scale (A0) drawings I have been working from photographic reference originally used to create my charcoal animations. This reference comes from my local environment and includes images from Snape Maltings, Buckelsham Heath, Hemley, Walderingfield and Christchurch park. When creating drawings I'll work with one image at a time, slowly building up and stripping back layers to try and create visual complexity. Therefore the image evolves as it is being developed, there is no initial plan set out at the beginning to offer me an idea of the end result. Compositional decisions happen intuitively as the work progresses.<br />
<br />
I began to consider how I might work from a different starting point, by initially layering reference images I may be able to better 'map' the direction of a drawing or painting. The 'bones' of the work could therefore be decided at an early stage. This may help to more quickly test compositional ideas before getting to far into an image. I have found that sometimes as a drawing progresses and the hours of work gone into it mount I can become less inclined to take risks regarding the overall composition. However this new approach would shift the nature of the works aesthetics, visually layering might become less evident, being relegated to the initial planning stages. While undecided as to the merits of this approach I began experimenting layering reference images.<br />
<br />
Initial experiments with a photocopier involved the element of chance, sending a selection of images to print the same sheet was past two or three times through the machine to create a layering effect. I would also sometimes feed the paper through upside down to further confuse the image. <br />
<br />
Encouraged by the visual complexities of these initial experiments I took my reference photographs into Photoshop. Layering digitally gave me more creative control to quickly test ideas. Below is a selection of images from the first set made in this way.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQsRrv4Tzyo1Q4TSSr2wdwjDd7uZMX_qQhCLbkeWpfw15wt5lg6GqwS9mA19hMNZb06Xu3PQ6TGq649_9kHgNNkeTy7fg1rlB5IptDyFoKFGmRWRdDPAYX2f4Vf82hT-bQr7RBaOInz14/s1600/layered+trees1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQsRrv4Tzyo1Q4TSSr2wdwjDd7uZMX_qQhCLbkeWpfw15wt5lg6GqwS9mA19hMNZb06Xu3PQ6TGq649_9kHgNNkeTy7fg1rlB5IptDyFoKFGmRWRdDPAYX2f4Vf82hT-bQr7RBaOInz14/s400/layered+trees1.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC8EIxWcDtdnJ5nwNmEybqMUi7NLBiHokUn1IQYlgR6M_LW2l65Q0L0KwAqFdLB0x7l92ok4DKi_9qPgC1QQ1NbNmz1SGIMyNSp1xPB9mXtpXLwzgNQtLUC2Nv86AC4U71xOgpHYJjMl0/s1600/layered+trees6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC8EIxWcDtdnJ5nwNmEybqMUi7NLBiHokUn1IQYlgR6M_LW2l65Q0L0KwAqFdLB0x7l92ok4DKi_9qPgC1QQ1NbNmz1SGIMyNSp1xPB9mXtpXLwzgNQtLUC2Nv86AC4U71xOgpHYJjMl0/s400/layered+trees6.jpg" width="400" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxwf75tiCHbdcUZME5oRRuvN4vpVX6o-jSZQb7kEBixz6XJV3eIjWEUG8KL52tIHbkwnvy1i9W9xYvU1ME6va-rZCo2SQ9I3L-Rh34V0AeNpsTw7KbpO23UfBJTxzIwf5Do7wJorLOPMs/s1600/layered+trees3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxwf75tiCHbdcUZME5oRRuvN4vpVX6o-jSZQb7kEBixz6XJV3eIjWEUG8KL52tIHbkwnvy1i9W9xYvU1ME6va-rZCo2SQ9I3L-Rh34V0AeNpsTw7KbpO23UfBJTxzIwf5Do7wJorLOPMs/s400/layered+trees3.jpg" width="400" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9t1oGxFgQQaqfVv9APSB1PfPLVSANwP6sH-VPEIcGAYj0PfShh6UH2o67B7eVnz8N0vqqu5MURG-bcTI-mOQC0ddWGTNP3N1blplBiWvpWQHGXeZOfAUPwZEaTZJLgFwOXuWFaCSv8OY/s1600/layered+trees5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9t1oGxFgQQaqfVv9APSB1PfPLVSANwP6sH-VPEIcGAYj0PfShh6UH2o67B7eVnz8N0vqqu5MURG-bcTI-mOQC0ddWGTNP3N1blplBiWvpWQHGXeZOfAUPwZEaTZJLgFwOXuWFaCSv8OY/s400/layered+trees5.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcwi4rIZu_XPvwkvkkavO8yTzkESGUV0yN9xiOADvBf1iogO2Mz7E4gL6_e1bp3A1MRDEu5Tmm4iugcY3C10LwO_2pNOwqoGIxGDDVom3fkrOS_vKlAnGW9ZAh3BxeRAQiQDcWeI80aw/s1600/layered+trees24.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcwi4rIZu_XPvwkvkkavO8yTzkESGUV0yN9xiOADvBf1iogO2Mz7E4gL6_e1bp3A1MRDEu5Tmm4iugcY3C10LwO_2pNOwqoGIxGDDVom3fkrOS_vKlAnGW9ZAh3BxeRAQiQDcWeI80aw/s400/layered+trees24.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKc3fpiuSI61Q49ymV13lzIapv6y4_JEosHtlzd9rEVYl1fQPD4_9NT0NKBYWO2-3-ZSfDYPpm5XTVF4wP8KuNr6xvaaLrHaThJHbLMv1GlJXbQLVm6LM7ep8zs7vioEIlUHkdP5PoO9E/s1600/layered+trees20.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKc3fpiuSI61Q49ymV13lzIapv6y4_JEosHtlzd9rEVYl1fQPD4_9NT0NKBYWO2-3-ZSfDYPpm5XTVF4wP8KuNr6xvaaLrHaThJHbLMv1GlJXbQLVm6LM7ep8zs7vioEIlUHkdP5PoO9E/s400/layered+trees20.jpg" width="400" /></a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjawEGdeh0cI-vET131ZLaJ3t4BpYv9V3WJSirZda-wVt0cjScks8oZ2vKtLpWUVDVrWWmKtu5cYSjvl6Kt3GujrGGYM37dZdwMxumLqKxI2wnbBeOrIp_3f0uD7MEgmX_BPajLecG2w/s1600/layered+trees21.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjawEGdeh0cI-vET131ZLaJ3t4BpYv9V3WJSirZda-wVt0cjScks8oZ2vKtLpWUVDVrWWmKtu5cYSjvl6Kt3GujrGGYM37dZdwMxumLqKxI2wnbBeOrIp_3f0uD7MEgmX_BPajLecG2w/s400/layered+trees21.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj97QbZ1PWFpAd1YMtThBbal5CDiJqVLFOg_1-0BGBzRUgsUi4RTou-w5axyIvCD5Zgq76ELgIYTNiT1x5mzHnCq2LAivq9wMnbr3QC0RUf-0IJkx62b54Yx3UVVA29s9MaODvAaYg4PtE/s1600/layered+trees7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj97QbZ1PWFpAd1YMtThBbal5CDiJqVLFOg_1-0BGBzRUgsUi4RTou-w5axyIvCD5Zgq76ELgIYTNiT1x5mzHnCq2LAivq9wMnbr3QC0RUf-0IJkx62b54Yx3UVVA29s9MaODvAaYg4PtE/s400/layered+trees7.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgekWHEQvPJ_PONy77uhuVTvv4_o4DxzUSjHf6-Zs6cMhaz069sINIPM_-M5wzW7uLEB4McNFf7TwIZokSBMB-_FQXVHzhyphenhyphenV_liZ8wGCOMHmlBUQImyn4FDCG7YuMd0exEQC8PI-U8umXU/s1600/layered+trees11.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgekWHEQvPJ_PONy77uhuVTvv4_o4DxzUSjHf6-Zs6cMhaz069sINIPM_-M5wzW7uLEB4McNFf7TwIZokSBMB-_FQXVHzhyphenhyphenV_liZ8wGCOMHmlBUQImyn4FDCG7YuMd0exEQC8PI-U8umXU/s400/layered+trees11.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia4O0ZMs1tzgE7PjvtNJMAVSrtw_ABeMUBsn-kGhO9_ufrGkMTmL73Rf1GpjCqUVn4KMplCmqw5IAX8kEHvg4Oar6muZ4ocVkkiKOz-3gwf8cOo2B0B27Zmxf468v5WI4f58eeTLmbhQI/s1600/layered+trees14.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia4O0ZMs1tzgE7PjvtNJMAVSrtw_ABeMUBsn-kGhO9_ufrGkMTmL73Rf1GpjCqUVn4KMplCmqw5IAX8kEHvg4Oar6muZ4ocVkkiKOz-3gwf8cOo2B0B27Zmxf468v5WI4f58eeTLmbhQI/s400/layered+trees14.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtXjVF9K8ErssDxxFRnBoO11UGW_G5nv6nQ2fX29LSnBd8zrDs9hqGIzgqJe0DjHsQqZ6Aan2R_1mBxRZvQcGuHPDqN3FgHSW-FzsBNdhtU61ihEFAOkLcoQMPQxp958Ejdb39e9XJ0Oc/s1600/layered+trees16.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtXjVF9K8ErssDxxFRnBoO11UGW_G5nv6nQ2fX29LSnBd8zrDs9hqGIzgqJe0DjHsQqZ6Aan2R_1mBxRZvQcGuHPDqN3FgHSW-FzsBNdhtU61ihEFAOkLcoQMPQxp958Ejdb39e9XJ0Oc/s400/layered+trees16.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
From the resultant images the following observations or questions have emerged:<br />
<br />
1) These images relate more directly to my earlier web like paintings produced during 'Concepts and Contexts' and 'Independent Arts Practice' modules. While the images do have focal points and operate more as stand alone images and not patterns pattern has definitely returned. The fine weblike or mesh of hand-drawn marks is replaced here with photographic lines of branches and bark textures, the visual detail of both works giving the eye an image to really search. Illusionistic space is deeper here than in these earlier works where the marks all seemed to sit closer to the surface of the picture plain. This is achieved through scale and perspective, in earlier paintings marks were produced from the same brush, this implied marks sat closely in relation to one another, here with fine capillary like branches juxtaposed with thicker tree trunks and arterial branches a deeper space is created. This appears most effective when the images are most confused, breaking down into abstraction.<br />
The layering of different forest images also suggests a sense of time, a deep time of ecological processes. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAPgh5o2ZmhdfOTuIhuFymklspVwTziz5O_fKCbqXcc6WW3HV4lKoUgsiDG7_tcs9C0-YS84waGZa-lvXoppUs9HCjVng_ZPYx_RrICouhFx-PkybesUJa8vjPq8xF-lCopNnQGfW8btY/s1600/au+corant+painting1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAPgh5o2ZmhdfOTuIhuFymklspVwTziz5O_fKCbqXcc6WW3HV4lKoUgsiDG7_tcs9C0-YS84waGZa-lvXoppUs9HCjVng_ZPYx_RrICouhFx-PkybesUJa8vjPq8xF-lCopNnQGfW8btY/s400/au+corant+painting1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Digital ink drawing from Au Courant animation 'Independent Arts Practice'</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIpxUEsNq2syvd-WFw9PrHNhpI3jFvq-474jGYRgh9UyodHJxOssml9bDOurW8zNSdTVdEkyEdEp8APh5UFPWU2Yh1MpisoZo4Ui-W4qYubDbAo2jq7hrLxaAH6e-_LGbQ4R1xvgfj33Q/s1600/LLOYD+EVANS+MONO+BRUSH9.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIpxUEsNq2syvd-WFw9PrHNhpI3jFvq-474jGYRgh9UyodHJxOssml9bDOurW8zNSdTVdEkyEdEp8APh5UFPWU2Yh1MpisoZo4Ui-W4qYubDbAo2jq7hrLxaAH6e-_LGbQ4R1xvgfj33Q/s400/LLOYD+EVANS+MONO+BRUSH9.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ink drawing for 'Concepts and Contexts' installation </td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy7DosaNAcmIXwr6cbnlX1cDDuRF67BlZEpnE21TiKvZUbbXohzH08HpObFO1VCXF4zTeABMnIIcxc_jumAQ5l4myTi68-WKrOJnLT6DvfleOJogS1z328HiVszQRoEU4iSPMFSZ4HnQs/s1600/LLOYD+EVANS+BLACK+WEB.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy7DosaNAcmIXwr6cbnlX1cDDuRF67BlZEpnE21TiKvZUbbXohzH08HpObFO1VCXF4zTeABMnIIcxc_jumAQ5l4myTi68-WKrOJnLT6DvfleOJogS1z328HiVszQRoEU4iSPMFSZ4HnQs/s400/LLOYD+EVANS+BLACK+WEB.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from 'Concepts and Contexts' animation</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
2) With these recent experiments I feel I have more closely aligned my work with other artists associated with 'eerieness' within the British landscape. This is a concept I have recently become aware of after reading the article <a href="http://momus.ca/eeriness-tracing-an-unquiet-tradition-in-british-landscape-art/">http://momus.ca/eeriness-tracing-an-unquiet-tradition-in-british-landscape-art/</a> recommended by a fellow artist. This article by Robert MacFarlane sets out a definition and lineage of 'Eerie' british landscape art through the 20th and 21st centuries.<br />
<br />
<i>'A tradition of eeriness runs through British art of the 20th and 21st centuries. It runs, though, not as an overground river might – with a traceable and continuous surface route – but rather as groundwater runs; surging out here and there, springing up at times of heavy weather. For this eerie art has often emerged at or after times of crisis, martial or fiscal: during the economic collapses of the 1970s and 2000s, or in the years around and during the Second World War. There is no mystery to this pattern. The eerie represents a counter-narrative to the recognizable traditions of the picturesque and the pastoral in British place-art. Where the pastoral encodes order and comfort, the eerie registers dissent and unease. It is drawn to what Christopher Neve memorably called “unquiet landscapes,” and it is born of unquiet times.'</i><br />
<div>
Robert Macfarlane - Eeriness: Tracing an Unquiet Tradition in British Landscape Art. - 2016<br />
<br />
<div>
I see my work as 'uneasy', unquiet' landscapes, animations are agitated and disjointed. Images build, become obscured then are erased. Colour is absent, and hand-drawn marks appear quickly, gestural, and with force. Wether reading the work psychologically or ecologically they are about transition, liminality, thresholds, being and non being. Coming from and returning to the void. </div>
<div>
<br /></div>
<div>
My drawings and recent photographic works are also becoming increasingly abstracted obscuring landscapes as defined readable spaces. This also links to the concept of the 'eerie'</div>
<div style="font-style: italic;">
<i><br /></i></div>
<i>'The eerie is monstrous precisely because it will not demonstrate itself (to demonstrate, from the Latin demonstrare, meaning to show or reveal).'</i></div>
<div>
<i><span class="Apple-style-span" style="font-style: normal;">Robert Macfarlane - Eeriness: Tracing an Unquiet Tradition in British Landscape Art. - 2016</span></i><br />
<i><span class="Apple-style-span" style="font-style: normal;"><br /></span></i></div>
<div>
The subject matter and themes of my work also tie closely with the concept of the eerie which MacFarlane sets out. <i> </i></div>
<div>
<br /></div>
<div>
<i>'Certain key preoccupations are visible in modern British eerie art, returning across the decades (tropes as revenants). These recurrent motifs include trees, crops and foliage (especially elms and oaks); stones (often standing); fields and woods.... Its aesthetics include tangled undergrowth and the cross-hatch of branches, textures of fray and decay, echoes, hollows and shadows, concrete, bark and skin, skeuomorphism and mimicry. Intuition is preferred to positivism, mirage to transparency, repetition to progress.... All of it is animated by an understanding of landscape as a site of contest rather than of comfort.'</i></div>
<div>
<i><span class="Apple-style-span" style="font-style: normal;">Robert Macfarlane - Eeriness: Tracing an Unquiet Tradition in British Landscape Art. - 2016</span></i><br />
<i><span class="Apple-style-span" style="font-style: normal;"><br /></span></i></div>
<div>
Looking at my work through the lens of a eerie british landscape I have discovered a parity with painters and film makers I had not considered as contextual references for my investigation. These practitioners include Paul Nash, Jeremy Miller, Louise K Wilson and Joanna Kirk. I will look to analyse work by these artists in future posts. </div>
<div>
<i><br /></i></div>
<div>
3) These photographic experiments closely echo Mark Arron's recent digital web-like structures. We have both previously talked about a correlation between our work, however in some ways what we are doing is opposite. Mark looks to visualise 'BIG' data from social media and other contemporary technologial sources, in my own work the starting point is not data but nature. I see my work as concerning experince and perception of the world around us. The term data implies reductive systems in which information is compressed/summerised, in my work I seek to translate the 'RAW' of experince and perception more directly, Phenomenological experience resisting reduction into 0's and 1's. Mark looks to establish a new language to reflect our changing culture in the technological present. In his work time is flattened, the future is now. In my work the time is stretched. Ecological deep time is juxtaposed alongside human time. My work is more an overview of the relationship between past, present, and future while Mark's work in more rooted in the immediacy of the present.<br />
<br />
The sources material for are works couldn't be more different, while one is derived from digital data the other is from the landscape. However visually the images are similar, weblike structure both manipulated by the artist present intricate and complicated spaces. While one does appear slightly more 'organic' and one more 'vector' orientated the gap between the two is slight. Marks work speaks a whole new unknown language, in the twisted branches, tree trunks and leaves of my work there are glimpses of recognisable symbols for the viewer to hold onto. <br />
<br />
4) The final question these new experiments raise is are they starting points or outcomes? The photographic images have a quality which I will not and could not! reproduce as drawing or painting. Both the detail of these images, the spaces they contain, and sense of time they evoke in many ways accomplish what I have set out to do with drawing. The only thing missing is the explicit awareness of the artists hand, but is this needed?</div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-23969004608262313522016-07-10T18:19:00.001-07:002016-08-06T13:09:58.930-07:00Haptic Seeing<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Keywords:</b> Haptic seeing - Optic seeing / Surface / Sensation / Void / Liminal </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />The origin of the term haptic is the Greek word haptikos, which translates as "able to touch" Monique & Jones - 2006 - p.318<br /><br />'Haptic seeing' could be explained as touching an object with your eyes, it relates to interlinked nature of the senses where through experience of touch the brain can synthesis sensation by interpreting visual data from the eyes. The haptic response is therefore a bodily one not just an optical one contained in the mind. How my work may evoke this haptic or bodily response has been central to the development of my ideas. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />Haptic seeing as a term is most associated with Deleuze however Deleuze is building on the work of another, Alois Riegl. It is Riegl who first coins the phrase. Alois Reign 1858-1904 was an Austrian Academic formalist, best known for his work Spätrömische Kunstindustrie (Late Roman art industry) (1901) in which he coins the term Kunstollen. This roughly translates as 'will to art' and describes the human desire to create art to express a desired reality, not to just imitate reality.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /><i>'All human will is directed toward a satisfactory shaping of man's relationship to the world, within and beyond the individual. The plastic Kunstwollen regulates man's relationship to the sensibly perceptible appearance of things. Art expresses the way man wants to see things shaped or coloured, just as the poetic Kunstwollen expreses the way man wants to imagine them. Man is not only a passive, sensory recipient, but also a desiring, active being who wishes to interpret the world in such a way (varying from one people, region, or epoch to another) that it most clearly and obligingly meets his desires.'</i>Tr. C.S. Wood: The Vienna School reader: politics and art historical method in the 1930s (2000), p.94-95</span><span style="font-family: arial, helvetica, sans-serif;"><br /></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Riegl claimed that within the notion of his 'will to art' there were 3 distinct types of aesthetic principles, governing 3 different historical periods. These were the Egyptian, Greek and Roman. Riegl believed that in all three periods the ancients endeavoured to set the boundries of space, fixing the world in flattened two dimensional forms to represent external objects as clearly as possible. Riegl proposed that they had rejected an 'optical' style of looking which becomes prevalent during the renaissance because it presents a confusing view of the external world. Here they were trying to simplify and make clear. Spaces during these period are represented as voids, the absence of form. Depicted objects appeared isolated, separate and objective. The simplest way of perceiving an isolated object is through touch, the surface of the object reinforcing its material substance. Yet the hand cannot fully comprehend an object, vision is more adapt and quick to establish height and width and is able to establish an understanding based on multiple perceptions much more quickly. So a full understanding of an object as three-dimensional requires the synthesis of visual and tactile observations. Hand and eye come together to reinforce each other. He further stipulates that knowledge gained from tactile encounters with an object help the eye synthesise this pre-known tactile information. Thus Riegl introduces the concept of 'tactile' or 'haptic' vision in while the role of the hand is synthesised. Riegl's applies this term to ancient art but not to more modern art which employed the illusionistic devise of perspective. This he termed as 'optical' vision in which surface and therefore the hand becomes much less important, the eye being the dominant force for establishing space and form.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Deleuze resurrected the term in his 1981 critique of the work of Francis Bacon '<i>The Logic of Sensation</i>' Deleuze argues that </span><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>“With the haptic... space becomes tactile as if the eye were now a hand caressing one surface after another without any sense of the overall configuration or mutual relation of those surfaces. It is a virtual space whose fragmented components can be assembled in multiple combinations.” </i></span></span><a href="http://blogs.warwick.ac.uk/crpl_art/entry/the_haptic/" style="background-image: none; border: 0px; color: #7193b2; font-family: Arial, sans-serif; font-size: small; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">http://blogs.warwick.ac.uk/crpl_art/entry/the_haptic/</a><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The haptic is therefore the sensation of the surface, be it of a painting or a projector screen. We are aware of the surface qualities of a work rather than journeying into illusionistic space. Considering Film as haptic rather than optic makes one consider the need of the projected image to appeal to the body in a more active role. The viewer becoming an active spectator or participant who receives information through all senses. The sensation of experiencing the work becomes vital. this notion seems to suggest that sensation and perception are separate concepts, yet it is hard to cleanly separate them, indeed Gibson (1966) looks to consider the two terms interlinked and interchangeable triggers for a haptic experience or response.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">'<i>The sensibility of the individual to the world adjacent to his body by the use of his body will here be called the haptic system..... it is not just the sense of skin pressure. It is not even the sense of pressure plus the sense of kinaesthesia... The haptic is the sensory system through which one feels an object [relative] to the body and the body relative to an object... and by which... men are literally in touch with the environment</i>'</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Gibson - 1966 - p.97</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">My recent experiments have seen me trying to engage the viewer as an active spectator or participant. In Shadow time1 the viewers silhouette is projected onto the work exposing a second layer of projection hidden beneath the first. The viewer is also able to move 360 degrees around the work, exploring how the relationship between their physical selves and the work develops and changes. Indeed the viewer is a vital part of the work, without interaction only the landscape video is visible and the agency of the work is limited.The textural nature of the projected charcoal animation also creates a rich surface which one may 'feel', charcoal is an emotive medium as its imperfections make one aware of the artists hand. Viewing the silhouette filled with this handrawn image somehow feels more appropriate than on the reverse of the screen, here it is the videoed landscape that fills the silhouette. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">As a result of these observations I have decided that in my work for the final exhibition I will use this arrangement, projecting videoed landscape from the front and charcoal animation from behind. This will make it so the spectators silhouette is filled with the charcoal animation. I also plan to situate the screen so that it is not central in the space but to one end so that the spectator is unable to move behind the front screen. This is a decision I have thought hard about, I like the idea of viewing the work from 360 degrees, seeing the front and back or 'recto' and 'verso' (Daniel Buren - The Diagram). But in balancing the lighting of the projected images so that the back projection is hidden by the front one the 'verso' of the screen always appears much more visually 'messy'. With both images more evenly balanced in terms of intensity as the thickness of the paper works to soften the strength of the front image on the rear screen.</span></span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh34nGMU6eLgl-FH5xyR_MD3pXfyCJfLG8Wg8QgQOt3OWZfF4iEu9wD7GSKm3qQt-j0MaaXLwI_2YW3u1buT5-9EqOdQ8S1uJVV8iwT-A8gVsYpPYN6spGGV_RyAvDBJZz5wBhn90M-iIE/s1600/haptic+seeing.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh34nGMU6eLgl-FH5xyR_MD3pXfyCJfLG8Wg8QgQOt3OWZfF4iEu9wD7GSKm3qQt-j0MaaXLwI_2YW3u1buT5-9EqOdQ8S1uJVV8iwT-A8gVsYpPYN6spGGV_RyAvDBJZz5wBhn90M-iIE/s400/haptic+seeing.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Still from - Shadowtime 1</span><br />
<div style="text-align: left;">
</div>
<div style="text-align: left;">
<br /></div>
</td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lpogxb_U1yue9vW2Kv20r30z7ITWK4RdqqduFl-Mp9FJZUT_0l1mgsDCYTxW1jBmfHAj5xSL48Fg-2mvQgWiokyNuuBu4wUFzf4pPJ38A73MZJdx-G1meu0o8qZvyffBO7hgExvxIos/s1600/process+and+perception+screenshot.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lpogxb_U1yue9vW2Kv20r30z7ITWK4RdqqduFl-Mp9FJZUT_0l1mgsDCYTxW1jBmfHAj5xSL48Fg-2mvQgWiokyNuuBu4wUFzf4pPJ38A73MZJdx-G1meu0o8qZvyffBO7hgExvxIos/s400/process+and+perception+screenshot.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Still from - Process and Perception</span></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">In my work 'Process and Perception' I believe viewing transitions between the haptic and optical. As the work begins the spectator is presented with a surface, an apparent flat screen which the charcoal animation sits upon. As the screen starts to burn the sensation of the work intensifies, fire being a known element to the viewer who will be aware of its heat, its sound, its smell. Our response to it is therefore felt through the senses and is haptic. However as it burns away we become aware of a space behind the picture plain, the forest environment, this has illusionistic depth both because we are now aware that it sits behind the first screen and therefore must be further back, but also because the image itself obeys the laws of perspective, appearing to recede into the distance. This new space is therefore optical. With the burning of this second screen we become aware that it does not recede but is infact a flat image, and so we are back to the haptic. This cycle continues on to the last screen of the black void. Here the type of space is more ambiguous, I would argue that this black void is again rooted in the haptic as it is a flat space. However black does imply infinity, the depth of space and therefore could be described as illusionistic. When Anish Kapoor places a black circle on the floor or wall it acts as a hole, a portal which threatens to consume us, his blackness is therefore optical. However In 'Process and Perception' this black void is loaded with what has come before, we are aware of the different sensations of the work, the fire, the animation, all the screens. This sites the void as a liminal space, imbued with a kind of 'haptic memory' </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0tag:blogger.com,1999:blog-367202684381714313.post-31454939972282578532016-07-10T05:38:00.001-07:002016-08-06T13:18:34.379-07:00William Kentridge<span style="font-family: Arial, Helvetica, sans-serif;">William Kentridge<br /><br />Kentridge's work is tied to the politics of his homeland South Africa, speaking of racial discrimination, poverty, colonial memory and identity. While the themes of his work differ greatly from my own it is the techniques and process he uses to convey ideas and meaning which I'm primary concerned. Through his hand drawn charcoal animations he manages to carry great emotional charge. They are also very dark works, a sense of loss pervades all, here the loss is social, violence, injustice, colonial memory, racism and inequality. In my work too there is a sense of loss but it is either environmental or psychological. <br /><br />His short animations are made from large scale chalk or charcoal drawings. Each drawing will be used for a single scene with kentridge erasing and redrawing the image as the scene unfolds. Erased lines remain visible on the page evoking a scene of memory which is a recurring theme in his work. In one of the interviews linked below Kentridge explains how he uses charcoal as it can easily and quickly create a wide range of tonal values as well as being easy to erase. He further explains that this speed with which you can create or erase makes it a medium you can 'think' in.<br /></span><div>
<span style="font-family: Arial, Helvetica, sans-serif;">In addition to his filmic animations Kentridge produces installations, sculptures and drawings which often are made within books or on repurposed surfaces. This is again a form of palimpsest with the addition of his drawings altering the reading of text. <br /><br /><b>Felix In Exile - 1994</b><br /><br />Felix in Exile is Kentridge's 5th film in a set of 9 produced between 1989 - 1996, the collection is set in the devastated landscapes of Johannesburg as it undergoes social and political change.</span><div style="line-height: normal;">
<div style="font-family: times; font-size: 12px;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; font-family: times; font-size: 12px; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdD6mWD-5lgyTTpfxc3ZndiGtmb57HORwhwRX0eEzJReZJ-FyWqPJcYBdqjDcNRmdY7nCdrpAJifU1Cu2bTEJXiaVSanAB87i2G0fs1qIeC2kyW7j-6tDClgTsSVFkvmdjp2daVxmEKTo/s1600/T07479_10.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdD6mWD-5lgyTTpfxc3ZndiGtmb57HORwhwRX0eEzJReZJ-FyWqPJcYBdqjDcNRmdY7nCdrpAJifU1Cu2bTEJXiaVSanAB87i2G0fs1qIeC2kyW7j-6tDClgTsSVFkvmdjp2daVxmEKTo/s400/T07479_10.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;">Felix in Exile - William Kentridge - 1994</span> </span></td></tr>
</tbody></table>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<div style="font-family: times; font-size: 12px;">
<br /></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Felix in Exile follows two characters; the first we see is Nadi, an african woman who at the start is found drawing the landscape and recording acts of violence and massacre against black South Africans. This she sees through surveyor's instruments, it as if this violence is the foundations from which a new South Africa will be built. The second Character is Felix Teitelbaum who features in Kentridge's first and forth films as a compassionate character opposed to the brutal status quo of the era. Felix first appears in a hotel room, the character is naked and as such vulnerable. It is also worth noting that the Character of Felix appears in many of Kentridges works and bares a striking resemblance to the artist himself. The two characters meet through a surreal exchange in Felix's mirror. Through a telescope Felic sees the brutal past and Nadi's own death, as the scene plays out the room fills with water representing both tears of loss and grief as well as the biblical promise of a new beginning. <br /><br />Created just before South Africa's first democratic election Felix in Exile could be seen to question how the turbulent and troubled past would be remembered. Kenfridges crude stop frame technique means that that movement is jerky, awkward, violent. These are uncomftale images for an uncomfortable subject matter. The use of charcoal too personalises the action, these are images Kentridge has had to labour over, study, refine. In the past he has called the act of drawing his animations as a 'compassionate act' as labour and attention must be paid over long periods of time, bringing a scene of humanity to the brutal subject matter. However he does not say he makes work directly about apartheid rather its social consequences.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12px;"><br /></span></span>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i>‘I have never tried to make illustrations of apartheid, but the drawings are certainly spawned by and feed off the brutalized society left in its wake. I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain things. An art (and a politics) in which my optimism is kept in check and my nihilism at bay.’</i> - William Kentridge </span><span style="font-family: Arial, Helvetica, sans-serif;">Ferris P. & Moore, J. (1990) Art from South Africa. p.52.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />It is the way he creates such '<i>ambiguity, contradiction, uncompleted gestures and uncertain things</i>' which draws me to his work. The ideas and concepts behind his work are markedly different to my own but in the means by which he explores them there is a correlation. <br /><br />Like Kentridge I too think the hand drawn brings a human, 'compassionate' route through which the viewer can access the work. I also have been seduced by charcoal as a medium, the ease with which one can create and then redraw large scale works and its tonal qualities making it perfect for animation. The imperfect, gestural nature of charcoal offers a tactile and rich surface, and one that is as transitory as the narratives it depicts. </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12px;"><br /></span></span>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i>‘The activity of drawing is a way of trying to understand who we are or how we operate in the world. It is in the strangeness of the activity itself that can be detected judgment, ethics and morality.' </i><br />William Kentridge. London: Phaidon Press (1999) p.35</span><div style="font-size: 12px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKTGhu1Q6a1S0O0CfMyhCK2Q_0txMyGvt8c4uttANvayhhY484YY9r5qA-BaCTL1X3pvxaZtRhB18KorOmVj_FXkFSKOe5dUsK7gBINmOOyzB9G2RkUZyCD_8exme2ZFbwGrGN21tNGMk/s1600/william+kentridge.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKTGhu1Q6a1S0O0CfMyhCK2Q_0txMyGvt8c4uttANvayhhY484YY9r5qA-BaCTL1X3pvxaZtRhB18KorOmVj_FXkFSKOe5dUsK7gBINmOOyzB9G2RkUZyCD_8exme2ZFbwGrGN21tNGMk/s640/william+kentridge.png" width="640" /></a></div>
<div style="font-size: 12px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="font-size: 12px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
</div>
<div style="font-size: 12px; line-height: normal;">
<br /></div>
<div style="font-size: 12px; line-height: normal;">
<br /></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /><br /><a href="https://www.youtube.com/watch?v=5_UphwAfjhk">https://www.youtube.com/watch?v=5_UphwAfjhk</a><br /><a href="https://www.youtube.com/watch?v=s95x7CYAYhw">https://www.youtube.com/watch?v=s95x7CYAYhw</a></span></div>
Lloyd Evanshttp://www.blogger.com/profile/10130455190503421708noreply@blogger.com0