The work that follows is a new line of research encouraged by the choice of clown white paint and Sir Joshua Reynolds paintings. The inquiry is focused around the ideas of whiteness.

I have started to look at natural white light in relation to pigment white found in paint. In paintings the light is imitated through using white paint. This imitation has fed a history of constructed hierarchy that’s based on the idea of God being ‘pure’ light. The aim is to dismantle and expose the absurdities surrounding ethnicity, god, God, being and objecthood through live work that forces the body’s personified history through intuitive practice/cellular memory, with the objective to lift the veil of ‘perceived’ light and to expose object white as a foreign entity to one’s ‘own’ body.

‘own’, ‘individual’ – In the field of work i hope to also explore ‘ownership’ in relation to cubist theory, Hegel’s ideology of unrepresented forms, spirit and soul and Marcel Mauss ideas surrounding the individual and the clan being inseparable. The individual isn’t one thing, the own is made up of biological/ social/ technological/historical exchanges- make-up-experience and cannot be owned by an arbitrary expression known as myself.

‘self’ – Through performance based work my understanding of ‘self’ is that it’s not one thing. But of fragmented cubist appearance/s, these ‘selves’, appearances/ encounters can be provoked through receptive act and using ‘specific’ materials.  Materials that have a need , an urgency to co exist if not immerge with the body and for it’s spirit to be activated through an active dance. Material and immaterial inseparable.

‘I’ is another word for consciousness, it’s not simply a static portrait, but when  ‘I’ is written it becomes past tense, as if it can be had like an object. This is why its is so tricky to use ‘I’ when discussing live work, where immaterial/material has gone through a process of transformation. If  I is conquered, is ‘I’ still applicable in the eyes of the conquerer? And  do we ever truly own our own bodies?

Maybe ownership is relinquished through these acts of surrender.

Blog updated 3rd April 2017



Adobe after effects

Final Cut Pro X

I’m going to try both of the softwares whilst attempting to stabilize the handheld footage. I would prefer to have a tri pod effect which Final Cut Pro offers. I didn’t use a tri pod initially because within the Clown performance work it involves walking, the video is more of a documentation of the performance rather than an edited film. However the footage is shaky which I’d like to Stabilize I did do the performance again with my partner filming on a shoulder steady pod, however because he is walking opposite me its still shaky. I want to correct both videos as performances essentially are two different performances.

Laythorm explains that the tripod mode literally eliminated movement that was created by the drone catching wind . I was surprised how effective the software was with the video footage seen. The other mode is to stabilize but without clicking the tripod mode, the subtlety can be edited on a scale using the same box (left hand corner) the box is already open.  This is good for videos that want to show subtle movement as part of the concept.

With Adobe after effect you can highlight specific parts to stabilize, the video shown on the Tutorial has also been made through using a drone, which is positive as drone’s aren’t the most stable way of film above head. Cranes are often used for a very stable shot, however it isn’t flexible like a drone for such shots as a car in movement being filmed .

Click on effect and presets and type in stabilize

The tutorial that I’m looking at is by Colin Smith

Select warp stabilize

-position, scale and rotation seem to be best with of moving apparatus

On the boarders selection

Where it says framing click on scale, crop and auto scale

which doesn’t mean we lose pixels.

reserve RGB when exporting the film. Uncompress audio so that the audio isn’t effected when exporting video. We can keep going back to the video adding more footage, until the video is rendered.