Reflection 04/02/21: I took this imagery and projected it into the bath with water for my Lockdown and Light virtual exhibition submission.
As I was photographing into the mirror in my previous series of Up Close and Pink But Up Close, I considered how light would react with these sculptures as you point it in the direction of a mirror. I loved the vibrant light, I decided to take a photo of the cushion in situ with the lights and the mirror. See the images below.
I projected this onto the figures to see how it would change the appearance of the sculpture as well as the space around it. As it’s a small sculpture and a small space, it gave the illusion of a large installation, see below – are my up close images/films more successful than these?
Reflection 29/03/21: This series of works were just experimentation, playing with material projection, colour and lay out. I also wanted to work with the brightest colours but currently I realise its not always about the vibrancy of col0ur.
I like that the mirror gives you two perspective of the form at one time. Reviewing this work I could see Pipilotti Risk’s installation works present. Risk’s Pixel Forest see below, the installation that comes to mind: colours/imagery of things hanging down/consuming the viewer shares this relation to this experimentation – the projection of Untitled – Pink creates an illusion the body is being caressed by the ‘feelers’. It created patterns on the sculptures which immersed the body into the image/space.
Pipilotti Risk, Pixel Forest, 2016.
Risks use of colour is reflected well in my use of the bright colour scheme I have. Risk explores the female body and sexual objectification and the “experience of intimacy, vulnerability” (Momus), she proposes images of moving bodies around the space to make you feel as though you are in that moment. One thing I really enjoy about my images, is the intensity of the colours in the environment/the inclusiveness it feels through an image. The recollection of Risk and her installation pieces made me think of my bright bathroom projections I had created.
Reflection 29/02/21: I took this element through to Congruous for Are You Watching?, to bring an immersive feel to one area of the kitchen, a burst of colour and display. The bold pink hugged the walls and the kitchen tops as well as the breast sculptures.
To continue this exploration and worked with Up Close film/projection as film – felt even more intimate than just the photography because its bigger than life size. See above, this was something me and Jane spoke about during CUBED – life size. These images show details you wouldn’t see from another angle where you can see how the body has been made/imperfections – similar to the way we see/feel about ourselves and other, we see our insecurities but others may not. Under the breast you can see the rough sculpting which I haven’t noticed before, I like this it shows the relation to artists and the physical making. The reflection of the image reflected back so close to the projection suggests this intimacy between the body’s projection and reflection. The use of the mirror allowed me to double up with the projection – an intense self gaze, feel as though we may be interrupting, see below.
- The projection makes the colours colder, feels like a darker gaze. Does it make it stranger to look at from a viewers POV? How would a male feel looking?
Does it become hard to see what is being projected and what is reflected? A peer noted that ‘the reflections from the mirror are slightly distorted and stretched’ – does this relate to how we see ourselves? Not for truly who we are? What we see in the mirror is different to what other people see? E.g. Untitled Film Still #2, Sherman addresses a beautiful young woman hoping to see something other than herself, e.g. a more idealised figure, even though the young women is beautiful. It plays with this relation of the eye tricking the mind/obsessive?
From my dissertation research, the “mirror is a reversed version of the way we actually look” (bright side) so it initially is a false perception and is distorted from the first glance. Christian Metz, a film theorist, explores that the cinema is too like the “other mirror” (Metz, 1982, p 4) because the cinema shows you an unrealistic reality much like the mirror does. The screen of the cinema was and is another way to gaze in at a moment in time and to place yourself into an idealised scene for us to build our ideal egos. But really it doesn’t quite reflect us at all, much like the way a mirror doesn’t really reflect our true selves – distorted.
See above, I added pink cellophane in front of the projector to play with a soft nude. Does it sexualise it again? I edited the film to play continuous, there’s a rocking motion present, as though you’re swaying while you watch…?
I projected Pink But Up Close. Pink is such a powerful colour when explore the female form, it adds life and awe to the artwork, it becomes striking/transfixing. The body also looks extremely wet, almost blood like? Sinister? Gorge? See below.
!!! Reflection 24/03/21: There is a lot of relation to the word sinister/weird previously in my work but I haven’t properly noticed before! – This wasn’t properly brought to my attention till my group crit 24/03/21, I’m finally exploring this with no colour and it appears they’re just as successful as in colour.
