Installing the mirrors
I installed the square glass with brackets screwed to the walls today at 131cm in height. It wasn’t as straight forward as using adhesives for the oval mirrors (although there’s problems with the adhesives, which is covered in the text below) – When I first looked at the brackets, I was uncertain about whether the size of the brackets affected the mirrored prints on the wall. But because the brackets were silver it matched the visual language of the mirrors.
Health and Safety
Someone suggested using the screws only to prop the mirrors on the wall, but I was apprehensive about it. After talking to Mona, I decided it was best to stick to the original idea of using brackets because I was confident that the mirrors won’t fall.
I was able to ‘get away’ with using adhesive to attach the oval mirrors to the wall, although I know I can’t use the same method if the show was open to the public – it’s not worth the risk of having work fall in a show. If I was to install the oval mirrors again, I would use brackets to secure them onto the wall similar to the mirrored glass.
I’m finding the documentation of mirrors difficult, particularly in a shared space because it’s hard to control what I want to show the viewer in person, and in photos of the work. There’s a limitation mirrors in an open section of a space as opposed to a closed room exhibit, where even the reflections themselves are controlled.
De-installing the mirrors
I’ll take more photos on Thursday, then de-install the work and fill the holes with wood filler, sand and paint over the area.
I installed the oval mirrors with prints and took photographs of them. The first print is weaker than the rest in terms of the image fitting into School of Art architecture (the geometric shapes) in the reflection, as well as the positioning of the ink and the tone of the image on the oval.
It didn’t work as well as the other ones. The others had a darker tone that blocks out the reflection, allowing the viewer to see the image clearly while also having parts of the oval reflecting them.
The combination of mirrors and prints work best in a binary of: areas of ink that blocks reflection, and areas that are completely clear from ink that allows that space of the mirror to reflect the viewer back. I’ve tested this by standing in front of the mirrors and documenting it.
This one didn’t work.
This one worked.
This one worked.
The binaries of materials in relation to concept
The composition of the areas on the oval mirrors that are opaque with ink and the clear areas, is a physical tension where the ink is distributed on the mirrors: all or nothing. But also as a concept of binaries between make belief and physical architectural space. The tentacles on the images is a manifestation of the subconscious – the subconscious in itself can’t ever be proven to exist, so it’s the binary of the concrete reality with fantasy.
There’s also a tension between geometric shapes within the round shape of the mirrors, relating to the incongruence of nature (the shape of the mirror as a rounded structure of the human eye) and construct (the architecture) summed up by these artifices. It’s in the domain of the outside and inside phenomenon that the artists I’ve mentioned previously in my blog were looking at.
I’ve been documenting all the prints (done on paper) from this semester using a DSLR camera this afternoon, so I can organise them in a PDF document for the online submission on the 9th. Some of the prints worked well and others did not. The PDF would have a more detailed analysis and evaluation of the prints.
I’ve done all the printmaking onto oval and square mirrors last Thursday. What I need to do this week is install the prints onto the walls of the studio.
Here are some examples of prints I’ve recently printed.
The black and white style is suited to the subject I’m trying to portray, which is a personification of the subconscious as something quite raw and dark. I’ve looked at Buñuel and Dali’s film, Un Chien Andalou (1929) that shows scenes that flow like a dream. a clip I was interested in was a closeup of an ant infested hand reaching out of an ajar door.
For the drawings/prints I have done, I’ve drawn them from photographs I’ve taken instead of drawing them directly from sight. The camera lens distorts the image it captures. Another thing that occurs in the drawings is human error. I copy the photos and get angles slightly wrong, but it’s not noticeable in the first glance, this plays with the idea of the uncanny: familiarity and unfamiliarity of the domestic space I’m trying to draw. I’m interested in the type of uncanniness that’s subtle, like a gut feeling that the place isn’t quite right but one can’t put their finger on it.
I pushed the idea to the extreme on the last image, which I find takes that process of natural human error away because it’s a deliberate action
Why the process of human error is important
Human error is what the psychoanalysts and surrealists were looking at in investigating the subconscious. Freudian slips, automatism, association and games like the exquisite corpse were looking into lapses that created something new in the process.