26/03/21 we had a session on our exhibition proposals, see initial notes from session below.
In relation to this module we have to create some installations or drawings/collages. I was really interested in creating both drawings, maquette and actual installations. Mike Kelley’s exploration of maquettes pushed me to create one as it’s more than unlikely I will be able to create a cinema installation room due to COVID. Kelley’s miniature Centre Pompidou is so detailed/life like you can really envision it, see below.
Reflection 26/05/21: I have really taken on Mike Kelley’s use of visioning a physical space except I have done this through multiple digital drawings/collage by visually placing the work in situ. It’s allowed me and my peers to understand my ideas I am unable to follow through with.
In this session we bounced ideas/envision how we would create our installations if possible or represent them. I aim to continue the exploration of mirrors, projections, cellophane, photography and film. As discussed with Catinca, small spaces and diverted eyes/gaze would be exciting in regards to the space as well as how to look/approach the art. The two initial ideas were:
- A small box with holes which would contain the projection – kneel down to look, it interacts ideals of the gazers’ gaze. See digital drawing below.
Reflection 26/05/21: The image above explores similar issues resorting around the cinema to Valie Export’s Tap and Touch Cinema – female representation and the falseness that is explored on the cinema screen. It was interesting to see the way Export used her box as a physical part of the performance, allowing people to touch and feel her body/breasts to show the realism of the female form. The viewers viewing my box would have to bend down and look through, similar performative element involving the audience.
- A larger box that would be open as a physical maquette appearance of a cinema – use to project into included cellophane draped and mirrors (?) see drawing below.
Reflection 30/04/21: The feedback from the imagery that come with this box was very effective. It gave the feeling of a small compact space in the image which is a present feeling in the cinema. I think this worked well in relation to building me up to projecting larger in the studio.
Reflection 28/04/21: A comment made by Jane reflecting on my feedback from my exhibition proposals seems as though I am exploring/creating a series of works for this exhibition proposal – effective. Allows the same work to have different perceptions/perspectives.
This session was very helpful as I had this in mind for a while but never got round to trying it. I drew the initial idea I wished to go ahead with in regards to creating (the larger box Sweet Box). My peers suggested it sounded like a theatre/cinema and to play off of this further. See developed digital drawing/collage below, I tired to have a clear path of what I wanted to do/achieve. I aim to display it as an actual cinema e.g. carpet floors/black walls and a white space for the projection in a cardboard box. – As the film Sweet Tooth B&W is becoming very eery, it feels this maquette will engross this idea further especially as it plays in a small enclosed space. My peers mentioned artist Olafur Eliasson to revisit as he works with transforming a space for his art to be in, like in Beauty below, the room became the water – this is what I aim to work with with cellophane/projection.
Reflection 07/04/21: The angling of the photography/filming in Sweet Box, of the space and work made the space feel like it could’ve been a room – this is what I wanted!
Reflection 19/05/21: I re-visited this drawing above and created an ideal situation which I don’t think I could create at uni with or with out COVID, it would be situated in a cinema space with large seats for the viewers to sit and watch. Could even be present in an actual cinematic space.
I want to use the box/space way above to capture low angles of the projection, like I did for Sweet Tooth B&W projected that I used for my group crit /03/21 – successful and gave the audience this feeling as though they were peering into something they shouldn’t/didn’t want to watch. So I decided to use a large cardboard box, see below, I worked with where the projection would sit, I cut off 1 and 1/2 sides to it to allow movement of the camera yet still enclosed enough and used gum strip to seal off any rips/cracks that any disrupt the projection or box presentation. I kept the projection running so I could mark out where the projection would project on the board – I painted this white so it acted as a cinema screen & for the projection to be bright/clear. I really enjoyed this.
I placed in a piece of grey carpet, it immediately gave a cinema vibe. I wanted to accentuate the use of angling the camera low and gazing up, as though you’re in the front seta at the cinema watching the glorification of women being consumed – to encourages emotions of discomfort and you could see this already with the camera angle, see below. This is more a in-depth maquette in regards to the content/context compared to the structure like Kelley’s physical detail. The white screen really sets off the cinema lay out.
I then use cellophane as it was part of my experimentation when projecting Sweet Tooth. I included the cellophane in the whole space, so you would have to move in and around it, almost creating this sweetie wrapper feel not only to the work but the space. See time lapse below of installing the cellophane (and final images further down) – this brought the maquette together (you can also see the size of the box in relation to me).
Reflection 07/04/21: After projecting into it the images give this immersive feel, the cellophane is so close to the camera its as though you’re in it. – suggests ideas of horror films/suffocation?? Too much?
19/05/21: Kieran mentioned this space makes the film projected in feel intimate and personal.