Natural Projections

The shadows created through the trees along a path in the park was already interesting to see but as the wind picks up, the escaping sunlight darts around the floor, creating something that (particularly in #3) looks technically directed! The light becomes so playful toward the space whilst walking through.

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Summative Post: Documentation

Artist Statement

“Pure psychic automatism, by which one seeks to express, be it verbally, in writing, or in any other manner, is the real working of the mind. Dictated by the unconsciousness, in the absence of any control exercised by reason, and free from aesthetic or moral preoccupations.” André Breton

The personal belief that the society we live in now allows us to exercise our minds only in accordance to logical mechanisms of western society; damaging to the acceleration of the evolution of human consciousness, is what motivates my practise.

Exposed to an ethereal labyrinth, the viewer is intended to be embodied by the piece as to eradicate the subjectivity of my conscious mind as well as emphasise the meta-physical existence of consciousness that philosophy accounts for.

The projections derive from a collection of innate imagery, which represent significant experiences of my own imagination during unconsciousness. I aim to prompt members of the audience to reflect on their own conscious minds’ extraordinary capacity.

1. Dream Diary

This post explains the initial development of Dream documentation of which I consider a private artwork but undoubtedly the most crucial part for my use of imagery. I keep the diary near me while sleeping so I can document dream narratives, events and images before forgetting them.

2. Dream Collages

I collected imagery found within books and magazines from charity shops to put together dreamscapes that represented certain dreams or particular dream recurrences from the diary. This post shows the collages with the intensity and perception distortion I was aiming for.

3. Dreamscape Paintings

The collage work involved paint and drawing aswell, so I moved onto start complete paintings of the dream phenomena to practise depicting the dreams. This work was really satisfying because the imagery wasn’t extracted from elsewhere which allowed me to connect with it more. Having said that, it pushed me further toward collage because of the time frame that I was under.

4. Kaleidoscope Selection

Editing the artwork in this way occurred because I wanted to increase intensity to provide a stronger impact and serve as a prompt for the anxiety my dreams sometimes cause, but also because circular and rhythmic patterns are an aesthetic that I visually adhere to personally. This post shows the few, of many, patterns that I selected and the reasons.

5. Dark Installation Room

This posts is about the experimentation with a projector and several types of fabric to decide on the immateriality of the piece and how the imagery would project. I was able to clarify what I had learnt about installation art and embodiment.


Summative Post: Contextualisation

1: Graham Hancock – The War on Consciousness

This post is significant for the understanding of what excites me and motivates me to create artwork. The talk involves my passion for social change; at this point in my practise I realised that I wanted to project this passion onto other people and to use art to be in that position. I visited London to attend a very similar talk by Hancock also and his ideas were a crucial push in the direction in which my context went.

2: Andre Breton & Surrealism

I always considered involving my dreams in my artwork because they’re a significant part of my life but until I learned more about Breton and his strong manifesto’s, I didn’t feel the contextual connection. During my dissertation I researched heavily into surrealism, particularly Breton’s manifesto in 1924, where I discovered a strong resemblance between his and my own ideas and motivations which suggested a way in which I could engage people.

3: Claire Bishop on Installation Art

This book was crucial in understanding the deliberation of consciousness within art. Bishop’s perspective on what installation art is and can do in terms of disorientation and embodiment, left me adamant that my artwork must immerse my audience because of the impact that has on an individuals state of consciousness and self-awareness. Bishop’s ideas also satisfied my aim to consolidate subjectivity of consciousness, being a big influence in my decision to attempt installation practise.

4. The Red Studio – Henri Matisse

Working on surreal dreamscapes derived from a dream diary, I found Matisse’s Red Studio to influence how I depicted the obscure perception from within a dream. I incorporated the block colour in most of my subsequent collage/paintings/drawings, intending to distort the shape of a room the way Matisse achieved.

5. Richard Serra, Gagosian Gallery

Evidently leading on from being curious about installation art, I enjoy Serra’s artist incentive, but visiting his exhibition amplified what I knew about his material emphasis. I immediately understood his use of material by being immersed by it and that urged me to consider how I wanted a viewer to feel in relation to the elements that make up an installation piece and so I began considering the use of fabric to represent a metaphysical mind.


Footage of the Installation


Finalising the projections

The plan to project from iPads proved to be a problem because I was unable to put the images on a loop with soft transitions between each one. Additionally, as artists of the projection pieces, we are responsible for the turning on and off of our piece and so one of us organised a rota, whereby we take in turns to go in and be responsible for everyone’s projections: I didn’t want to leave an unnecesarily complicated set-up.

I spoke to the technician and we soon decided that the best way to go about it, was to burn my imagery footage onto disc and run through DVD player. The projectors can now be turned on/off with one remote control and that is all that will need doing over the next few weeks – I don’t know why that wasn’t the original plan that I had!

   
 


Projecting

Obviously my projectors need to be situated around the space with the intention of filling the space with my imagery. I found that at the centre of each wall at a height, allowed the image to project at its biggest and therefore fill the space. In hindsight I feel that I should’ve planned a way of projecting from further afield – maybe from outside of the space or with a bigger space – however, the projection covers a significant amount of the room and I am still waiting for the second one from university. After speaking to the technician, though, we’ve decided that the projectors can sit in the middle of two opposite walls of the space at the top, where the projection will go straight out and downwards, leaving only a small diamond shaped gap at the bottom in the middle of the space.

The images are not fully representative because there is light present but the experiments done before the show preparation began, assure me that the darkness makes significant difference to how the fabric picks up the light!


    


Labyrinth

      

After managing to fix a metal structure across the top of my space, I needed to understand where to fit my material ‘walls’ in. I had divided the space up for fitting the bars in, baring in mind the space needed to menouvre around. I wanted the path to be narrower in order to be more overwhelming but I also needed to consider the chances of people knocking into the fabric and effecting the layout by accident.