Viewing single post of blog Degree Project: Digital Sketchbook

I have experimented a lot for the exhibition proposal and it was good to have feedback on all of the pieces I have done. I did a small presentation of all the work I have created for the proposals so far and it was mentioned that there was a clear different in comparison to Sweet Box, the small maquette, to the Sweet Tooth B&W exhibition proposal in the studio with and without cellophane as well as documentation of me in the space. This feedback really helped me get an ida of where to progress, see notes from class below.

My class mentioned straight away there is a series developing of different areas/aspects becoming pieces of their own. This is something I want to push further forward and create multiple works from one film, this film being, To Bite B&W Repeat, this is the one I have learnt from all my experimentation over this last year, works and receives well. I am currently using it this way to address it with a range of environments and how the environment also impacts the viewers and the work. The use of Sweet Box has an intimate feel, much like the cinema does which was the approach, I was so glad it’s been viewed this way. Sweet Tooth projected in the studio feels big and overwhelming to my peers.

Reflection 23/05/21: Continuing the overwhelming feeling, I projected Loop and Zoom To Bite B&W into the installation room today for impact/intensity. See below. I wanted to explore how the work would be viewed if it was in a dark enclosed space as the studio isn’t very dark. I really like it in relation to the way it complimented the film and in the photograph the space can be viewed clearly but I prefer the visual of the films of the studio. I liked the lighter element of being able to see the space. I took on the way Gary Hill documents his work, wide scopes of the space. The installation allowed me to do this more easily.

Reflection 23/05/21: Following my success of being present/watching the film in a space, I wanted to work with the change in scale. The size of the installation room helped the projection show and show the power it has over the audience when it can be projected large. The fact this film I used slowly zooms in and out as it repeats, is as though the solace is shrinking. It’s like as my work has developed from Christmas to now, there has steadily grown this seriousness/attention from e.g. Are You Watching? the pretty colours projected in the kitchen and on the breasts to wanting the audience to really focus/pay attention to the projection and the message now. Being this big below, does it become more about the teeth than the breast? And intrusive?


My peers mentioned the cellophane works well, this has been a positive piece of feedback I have always received about the work but a peer said it may be interesting to project onto a materials that is thicker but still slightly opac – organza. It has a floaty element to the fabric which I still really want to use and work with – may create some more distortion of the image that won’t become as confusing, due to the block like quality. Michaela said the organza would continue the relationship of basic to film with the flow-y, glamorous old fashioned cinema curtain quality, especially once projected on. I am yet to try a few there fabrics yet but this will help create another series of work from To Bite B&W Repeat projected.

Reflection 26/05/21: I tried pink and clear organza and it wasn’t successful, it did very little to the projection and didn’t block it anyway, it confused and washed out the image see below. I think the cellophane has worked the best so far it feels most responsive, my peers said 19/05/21/21 group crit, it’s as though I’m trying to hide something without hiding something.


The feedback from what was suppose to be a documentary piece of work of me watching/taking notes to see a comparison for size next to an audience but it has become a favourite by my peers, Jane and Gary. They all mentioned it puts the audience more in the space, being present, becomes about watch the audience watch the work as well as you watching the work. This is something I am to experiment more with and work towards as with this comes many more elements, e.g. gender of audiences does it effect the way the work is seen?

Reflection 04/05/21: Recently I have learnt yes it does. From my 1-1 with Gary we had discussed the way he had seen the work having a violent element, which is something I wasn’t working with, Matt said the same thing. However, my peers and tutors, who are mostly female have said they see consumption, aggression and male control/dominance which is what I worked towards while creating this work. It’s interesting to note how the work would appear with a male being filmed, viewing it? Would a male watching To Bite physically in the space watching, receive it more intensely than watching on screen?


From this feedback I have learnt to consider the audience much more, this was something I had started to do, but have realised I really need to observe the way men and women would view this work as it is confrontational. As well as, how to film the work with the camera being positioned in the the space with audiences. It makes the work feel more like an exhibition that is up and running. And I have also learnt that the moving around the space, (which was suppose to be a documentary film too!), capturing a new angel to the work which photos don’t do, has been very beneficial and has worked just as well as the stand still films.  The moving around films may especially work for a film for the end of year show as it will be online there won’t be the ability for viewers to come and see it themselves. It’s made me consider that some of my documentation has been/may be just as successful as my more finalised pieces of work. Jane mentioned in this feedback that the moving around film feels sensorous and spacious which is what the work needs.

Reflection 26/05/21: This was something I have learnt to develop more within my work – the audiences’ perception. I have recently created drawings that involve the audiences gaze/presence within the work/installation especially in the studio (a realistic idea) and then in a cinematic space with seats. It gains an visual of how the work would be perceived by the audience as well as respond to the space.