Yesterday my space was finally ready to put the mechanism for holding the fabric on across the top of my walls. I marked where the divides needed to go equally and the ones that met in the middle were tied with cable ties. I made sure it was sturdy and then began mapping the floor (with tape) of where the viewer will walk through.
Once all the artist’ spaces were constructed, I began to prepare my own. Gum taping the edges and joints of the walls allows paint to sit flat over the top, covering the bumps and edges. At the time I was unaware that there would be white gum tape available as the brown tape will obviously require more coats of paint to disguise it!
Gum tape needs 24 hours to dry successfully and so after this I had to decide how to adapt to my space. The construction plan originally was to use a strong wire across the space to hang the fabric from, including the entrance/exit of the space. However, part of the wall construction includes white metal bars that can be screwed into either side [seen in the previous picture], which will look more professional but also be stronger and sturdier for the fabric.
I then felt that the entrance may need to be more obvious and legitimate so with the help of others, we screwed a piece of timber in across the opening and screwed a 4×8 ft in underneath that. We then realised that the piece of timber would add height to one side of the bars that would correspond with it, therefore the opposite wall running parallel needed it too.
We began the process of building the Fine Art degree show spaces by disembling the walls used throughout the year. We then removed the unecesary walls and used a floor plan to reassemble them to create a new arrangement.
The walls had to be attached with metal joints and screwed together which proved difficult because of the weight and size of each wall (8×8 ft.): there were a few falling walls resulting in some injury but as a group we learnt that the job needed lots of hands and support!
Toward the end of this process, a few of the joiners around the space had been attached the wrong way round or with one too many angles which meant going round and either reassembling them or cutting the excess of with the hand saw to tidy it up.
Once all the walls were up, we shuffle them around to ensure each space was comfortably accessible and the best can be made out of it for each artist!
The task was quite difficult; we had to pull together with the tutors to figure out how to get things done efficiently. I think we worked really well at cooperating and helping each other out which is so important to create a smooth degree show and a happy atmosphere during a stressful time!
These installations use technical properties to provide a visual that distorts perception, similar to The Red Studio by Matisse: the beginning and ending of the architectural elements are unclear because the projection has suggested a paradox of the space.
Throughout architectural space in the 2014 Venice Biennale, Koolhaas’ research lead him to scrutinize the existing fundamentals of our buildings (from floor to fireplace to staircase). The result of Koolhaas’ part in the Beinnale included permeating the ordinary spaces to respond to the presence of people in a ‘smarter’ way.
Imagery of the revitalized space such as the image above, shows how space can be visualy manipulated through the floor to provide a different perspective. When my space for the degree show is ready to build in, I will be able to adapt the projections to create a space that can alter the perception of outside of the space, to disorientate and confuse the viewer much like the feeling I have from within a dream scenario.
This short film is footage of the result of today’s installation. I set up a fan to move the material slightly; this was to see how the material could emphasise being more immaterial than its surrounding walls.
I set up the fabric projection in a dark studio to understand how to achieve clearer and stronger imagery on the fabric. I wondered whether I might need to experiment with the lighting to settle on somewhere between the lighting of my studio space and the darkness of a blacked out room but I found that this very dark space worked to my advantage. The imagery is strong but the inevitable light provided by the projector allowed the fabric to be visibly present anyway.
It also proved more cost effective than anticipated because the fabric allowed me to drape it over a fixed length of string across the room which equally complimented the fluidity I am aiming to achieve from the use of fabric.
When I am assigned my studio space I’ll be able to work with it to create the pathway for my audience to journey through. The simple string technique will enable easy alteration aswell; after asking some others to walk through the installation I can figure out the ideal ergonomics for the embodying effect that I’m aiming for.
A false awakening during the sleep cycle is where the subject believes to have woken but in fact has not. The experiences with this myself has been very realistic perceptually and therefore been vivid and often terrifying until I have actually woken and realised the difference in realities. Research would suggest a phenomena called sleep paralysis, of which I would like to incorporate because I believe it to be correspondent of the anxieties I get from the society I live in, which is where this artwork originates from.
A company named Urban Projections, who create immersive and sensory stimulating environments provoked an idea I will be able to incorporate when building my space: http://www.urbanprojections.com/#!sensory-environments/c17t5
The imagery that particularly resonated was that of the silhouette of a figure seen through fabric in a certain lighting. The figure is evidently distorted because of the changing contrast depending on how close each body part is to the fabric and the light source, which I feel has potential to represent the sense of uncertainty about the reality of my dreams. It also obtains a sense of mystery as to the existence of the figure which is similar to how sleep paralysis makes me feel.