Degree Show Install!

Over the course of the past week I have been installig my degree show work. My aim was to create a wall of motion with the prints leading you in and out of the space.

This corner represents my border landscapes in their current configuration. I wanted to create the sense that they could move at any time  (after john cage). 

The prints are built up of a body of work using a nunber of processes including relief, drypoint, monoprint, digital and screen print.

The seductive play between processes i hink is demonstrated in the image above (a detail of one of the border landscape prints). A blurring of the boundaries between traditional and digital print.

  I brought everything into the space, with scalpel, cutting mat and bone folder at the ready.  These prints only come alive together and in collaboration.

I cut prints in half,  cut spaces through to he wall- it was a nerve wracking process!

The log traving paper scroll represents the 'border landscape' in iys entirety.  That is, my fictionalised and mirrored version of it. It is an organic form which contrasts with the geometric and graphic black line. The organic is also brought in somewhat through the use of monoprint and colour but i hink this is something that could be enhanced in the work - a greater contrast between geometric and organic or free forms.

The triangle is an excavated piece of this landscape in contrasting luminous colour.

The tracing paper scroll is also referenced in the 4 colour photopolymer on the corresponding wall

Photographs on my travels...

Four Colour Photopolymer Printing

A technical challenge!

GlassGround Project

http://glassground.com/wp-content/uploads/2014/12/DSCF5614-1280x960.jpg

Info taken from GlassGround website describing project: 

GlassGround is the name given to a rural installation that encompasses a vast glasshouse and its surrounding landscape. The work enables the research of the experience of perception within the context of a contemporary fine art practice. The project encourages a discovery of physical, sensory and imaginary relationships between nature and the man-made structures which hasten the visceral immediacy of this topography. In this terrain, exploratory actions shape an exploratory journey etched by scenic views, sublime viewpoints and an often fleeting engagement with fellow travellers. The ground below carries traces of the land's recent and more distant upheavals. And, all around, umpteen reflections in glass and in water parachute images of the exterior land and sky to the space within. Like a giant mechanism for measurement, the glasshouse's shapes, shadows, lines and forms extend or retract, dappling the ground as light rises and falls. Images of the mobile observer's own body mingles with these tempora unfoldings, merging and coalescing with them, drawing experiences ever nearer to the sensory processes which invite them in. 

http://glassground.com/

Marco Cadiolis.

Abstract Journeys

 Reminds me of Edward Burtynsky photographs

Pivot Irrigation Suburb, South of Yuma, Arizona, USA, 2011, E. Burtynsky

Squares with Concentric Circles, Marco Cadiolis

 

Experimenting with the 4 colour process in different mediums

CM AND K!

Lasercut Plywood Blocks, to be printed CMYK

4 Colour photopolymer intaglio print: Preparing the plates for printing next week!

Relief, Mono Print, Drypoint, Digital and Screen Printed Experiments

Inked up lino plate with masked off areas and chance ink drips over the top.

Relief mono-print with digital print chine colle'd and then screen printed.

Trying to create a sense of both the photographic and original space with relief blends.Playing with ways of incorporating and suggesting the photographic/ how light falls on a surface.

Work for 'Print in space: space in print' exhibition at Chelsea College of Arts. Feedback was that it evoked movement, tapped into 'the commute' something that the majority of people can relate to. That 'nothing' 'in-between' space of travel: Non-Place.
Relief blend on fabriano paper, with digital print on tissue paper, chine colle'd between relief shapes.

Drypoint test over relief print on somerset paper. Soaked for 20 minutes and printed well. Next step: try on larger scale

Paper Sculpture. Fragility of the structure. Finality of the line.

Cloudy Brow, Tacita Dean

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Spray Chalk, gouache and charcoal pencil on slate

A sense of impermanence...

Studio Work Wk. Beginning 23.01.2017

 Initial Photographs

Drawings

Relief / Mono Prints

Journal: ...a day; time; a day's travel or work...

St Austell to London

Journey 1: Euston to Worcester Foregate St. 11.01.17

Red dots delineating a line of traffic parallel to the tracks.
Darkness.
Shimmering artificial white horizon line. Dotted and discontinuous. 
Parallel diagonal lines of light, drawing into a dimly lit platform: coventry.
Approaching dawn.
Warm orange lamp lights.
Harsh strip lights, against a lightening blue background.

Journey 2: Worcester Foregate St to London Euston 11/01/2017

http://www.etymonline.com/index.php?term=journal

Nederland/Belgie

Audio Visual Experiments

Plans and diagrams/ wall drawing

The Dome - potential as a space for both visual and audio

 
Projecting sound drawing/lithographic marks onto architectural plan/ dome drawing

 

Introducing the 'filter'
experiments with coloured acetate

Thinking about idea that the sound surrounding us on a daily basis is mechanical/ electronic/ manmade (bound to Lefebvre's notion of SOCIAL SPACE) what status does this give to physical space ie. nature?
Juxtaposing the two, thinking about they interact - the blurring of boundaries between fixed categories such as natural/urban, constructed/organic, photographic/autographic, audio/visual...

Documents of contemporary art: Sound

Introduction//Sound in Art

Caleb Kelly

Aiding this neglect is the view that sound is difficult to represent : one cannot look at sound in a book...
Page 13

Thinking about perception as discussed in invisibilia- our peripheral vision. As we travel our focus is on the destination.  We don't focus in any one element but we experience a multitude of sensual encounters : visual and sound in particular,  situated in relation to the body. 

As bull and back have noted, 'the experience of everyday life is increasingly mediated by a multitude of mechanically reproduced sounds...in parallel to this, cities are noisier than they ever were in the past.' Given this increased awareness,  how are we to re-listen to the sound world around us, and how do we situate our bodies and our everyday through these discourses?
Page 14

Audio Visual

The use of both sight and sound.

Invisibilia Podcast

Invisibilia (Latin for invisible things) is about the invisible forces that control human behavior – ideas, beliefs, assumptions and emotions.

http://www.npr.org/podcasts/510307/invisibilia

THE SECRET HISTORY OF THOUGHTS

How different schools of therapy think about thoughts:
1. Thoughts have meaning (Freudian). Thoughts, and where they come from, intimately related to who we are. 
2. Cognitive behavioral therapy. (Dr Aaron Beck). We shouldn't accept 'automatic negative thoughts' at face value. We should challenge/contradict these thoughts. Displacing popularized Freudian theories. 
3. Third wave therapy/ mindfulness. Some thoughts have no meaning. Don't contradict negative thoughts, ignore them. MEDITATION. 

But what happens when we 'lean into' dark thoughts?


HOW TO BECOME BATMAN

'Visual areas of the brain can be activated by sound and touch'

Is the audible so far away from the visual? Are they closer than we think?

They use the example: What does the street look like when you're looking at your phone? We have periphery vision, but we couldn't look at a sign/ read specific information. There is a theory that this can be achieved by blind people with echo-location, especially is learnt at a young age.

Physical reaction to music

Physical reaction to sound - foot tapping. Can i use this when creating my drawings?  Layer recording of ambient journey sounds with foot tapping. Demonstrates how experience is mediated by headphones- tapping corresponds to an soundtrack that isn't revealed. Like watching someone listen to music without knowing what the song is. This rhythm can then begin to be reflected in the drawings.

Lisa Traxler

Came across this artist looking at the RWS Show 'London: A Sense of Place' at Bankside Gallery.

'Remembered Experience', Lisa Traxler

Work concerned with
- space
- 2D/3D
- gesture

Walking and taking photographs as a thought process.

Landscape/ sound/ experience

'Noise of the Landscape (Part 2)', Lisa Traxler

Each print acts as research for the next

Drawing Connections

My most recent work [St George's Circus, below] puts me in mind of two works from my back catalogue. 

From a portrait project completed in first year of my BA. Painted whilst listening to an interview with the subject, who loved music, which is why I decided to focus on visualizing sound, which ultimately became a visualization of a conversation.

'Hampstead Road', Screen Print, Created for Slade Print Fair 2014. 

Photographed and deconstructed an alcove I used to walk past every day on my way to work. 

Deconstructed to reflect my experience of it:
- broken up by angular shafts of light
- grafitti
- enclosed and dominated by horizontal lines






And which went to inspire early 'movement drawing' at beginning of MA

What type of space...

The metropolitan trails project suggests we widen the parameters of the so-called 'urban'. That in a new era, with an updated definition of nature the gap between the natural and the man-made has narrowed; the two are now intertwined. Does this need to be considered negatively? Is it a distraction to focus on 'landscape' in my practice with the assumption that that only includes the 'natural' world? My definition of landscape is widening, a return to use of the word space to describe our surroundings, free from above categorizations. 

(Raymond Williams, Keywords: Nature)