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Journal

A reflective journal of my practice, process, and thoughts.

Posts tagged physical
Low Residency

The low residency last month was a wonderfully enriching experience in a number of ways, and prepared me for moving forward in my project contextually and practically. Meeting everyone in person felt very seamless, and I think it is a strength of the course format that after having only communicated online to that point, as a group we are close in being knowledgable of the rhythms of each of our concerns and processes.

I felt this strongly in the group tutorial session on day 2. Our group was led by the MA Designer Maker course leader Maiko Tsutsumi, and I shared my work with Michelle, Chris, Lyu, and Omer (IG @omerder) from the Designer Maker course, who showed us around his ‘work in progress’ show installation - something which I think we were all very grateful for. There is a tenderness to Omer’s use of materials in his sculptural work - an echo of the inner subjects which reveal themselves on closer inspection - relationships between gender, place and expectation, identity and geological activity. I found the installation cohesive and the work itself seductive, and this has since made me pause to think more about exhibition and presentation of my project and how that might work. The gallery visits, tutorials and workshops on 3D printing and Virtual Reality work, have pushed those considerations forward as discussed within my Mid-Point Review material and evaluation in my last blog post.

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Gillian and George in the 3D workshop guided me through the practical refinement of the extruded model from my primary school achievement binder scans I’d been struggling with in Fusion, and printed a sample of the model for me which demonstrated how the properties of what I had produced in Fusion would result in a brittle, spiky surface. Part way through the print, the sample looked much closer to what I had hoped for, with a more ‘readable’ topography than the finished piece in which the detail had been pulled out from the base of the mesh to such an extent that it resembled more of a forest, which I felt overshadowed the subject and lost clarity. George shared an alternative method of producing height maps in Blender which seemed much more appropriate than Fusion - much faster and easier to configure, and more intuitive to me, and he explained to me how I could use a plane to cut through and achieve a surface that did not taper into the tall spines that the original produced.

Our visit to areByte gallery fed into the VR workshop I attended, led by Fine Art Digital alumni Alejandro Escobar, and both experiences were thoroughly constructive and informative. Alejandro showed us how to animate scenes and export as 360 video in Blender, as well as explaining the context of contemporary VR work in art-making, and an introduction to the vast array of technical considerations or variables that related processes involve. Both the workshop and the ‘RE-FIGURE-GROUND’ show at areByte were incredibly engaging, (I found Lorna Mills animated GIF work and Eva Papamargariti’s sequencing of CGI, text components and live-action film especially compelling) and, building on the tutorials I had with Gillian and George, the week coalesced to a great learning experience in which the vitality of the media and processes at the base of interdisciplinary VR, CGI, simulation, and print gripped my attention and gave me many ideas. These have informed the second version of my Project Proposal.

Installation shots credit: Christopher MacInnes https://www.arebyte.com/installation-shots-refigureground

Yellowhirlaway, Lorna Mills. 4-channel GIF animation, 2017.

But for now all i can promise is that things will become weirder (Trailer) - Eva Papamargariti

The stream of human knowledge is heading towards a non-mechanical reality. The universe begins to look more like a great thought than a great machine. Mind no longer appears to be an accidental intruder into the realm of matter. We are beginning to suspect that we ought rather to hail it as the creator and governor of this realm.
— Sir James Jeans (1930)

Alejandro Escobar, 2018 www.alejandroescobar.com

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Thanks to Danni (thank you again!) I had the opportunity to attend a performance of WHIST at the Watermans Arts Centre, which again was so motivating and tied into the same considerations and concerns. One of the most immediately clear benefits of attending Alejandro’s workshop was to be able to interpret and analyse WHIST in the context of it’s design and also functionality as a VR piece, and to be able to apply questioning which has begun to inform ideas for ways forward in my own project. The problems I experienced with the object identification element (the Augmented Reality component) during the performance hindered the immersive continuity of the narrative, and this, while being maybe my only substantial criticism of the piece, which was otherwise wildly compelling and pretty much unlike anything I’ve experienced before, did make me think about applying focus and a thorough process to ideas that might run the risk of being interpreted as over-reaching or unintentionally disparate. This specifically is something which I try to be mindful of as I map out what I referred to as the kind of ‘borderless geography’ of the narrative I’m developing. Certain pieces in the areByte exhibition also highlighted the technology not ‘being quite there yet’ in different ways - a few of us actually hit the gallery wall in the corner where Claudia Hart’s VR stage piece was shown as we attempted to physically navigate her maze of capitalist symbolism wearing the headset, and the joystick seemed to over-complicate the accessibility of the piece. Alejandro’s workshop generated a lot of very valuable questioning and discussion on issues from health and safety considerations to simply utilising the technology you have to it’s most effective potential rather than pushing for something that weakens an idea. I intend to begin forming sequences of animated scenes to work into larger pieces, and the experiences of the low residency week will certainly help guide me in making informed practical decisions.

 
 
The Fault Line
It is a characteristic of our species, in evolutionary terms, that we are a species in despair, for a number of reasons. Because we have created an environment for us which isn’t what it should be. And we’re out of our depth all of the time. We’re living exactly on the borderline between the natural world from which we are being driven out… and that other world which is generated by our brain cells. And so clearly that fault line runs right through our physical and emotional makeup. And probably where these tectonic plates rub against each other is where the sources of pain are. Memory is one of those phenomena… And I think there is no way we can escape it.
— W.G. Sebald
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This Is_Land / Process & Print
REIGNITE BRITISH SPIRIT (2).  2018.

REIGNITE BRITISH SPIRIT (2). 2018.

I am still deliberating over the ‘success’, at least in terms of having positively communicated some ideas and questions, of a project I exhibited earlier this year at Artlink Hull, and carried through to the Hull Print Fair last Sunday. ‘This Is _ Land’ grew out as a branch of my research last year, when I realised that my interest in social ecology in relation to migration was very much interwoven with my concerns about geological change, and a number of broad questions bloomed from that: how do we respond to climate change or resource driven migration in humanitarian ways in an age of rising nationalism and an intoxication with borders?

The Banksy piece on Scott Street Bridge in Hull which appeared back in January. To me, it feels gesturally powerful in it’s location at the end of Hull’s City of Culture year, a city in which the majority of voters in the EU Referendum opted to Leave, something which still does not quite correlate with my experience of the general values of the people I have grown up with and around. Maybe this vote was both a decision given to the public and taken away at the same time; personally, I wonder to what extent the result was a demonstration of the stranglehold of right-leaning press and mainstream media power, and rising populism on opinion, promoting experiences of the past lived vicariously, because none of us were there when we knew economic harmony; ‘It didn’t used to be like this’, so the headlines ‘remind’ us. Fear the unknown, for it is worse than it ever was.

The Banksy piece on Scott Street Bridge in Hull which appeared back in January. To me, it feels gesturally powerful in it’s location at the end of Hull’s City of Culture year, a city in which the majority of voters in the EU Referendum opted to Leave, something which still does not quite correlate with my experience of the general values of the people I have grown up with and around. Maybe this vote was both a decision given to the public and taken away at the same time; personally, I wonder to what extent the result was a demonstration of the stranglehold of right-leaning press and mainstream media power, and rising populism on opinion, promoting experiences of the past lived vicariously, because none of us were there when we knew economic harmony; ‘It didn’t used to be like this’, so the headlines ‘remind’ us. Fear the unknown, for it is worse than it ever was.

Part of my objective with the project was, possibly, to have more of an objective. It is part of the nature of my process as it stands, that I simultaneously try to distill, while naturally abstract information. This is perhaps not especially unique, but my aim here was to explore a slightly more ‘direct’ aesthetic - to utilise saturation in order to comment on saturation, and I wanted to play with a type of visual counter-point reflective of the binary modes we are conditioned to process feeling through politically, with at least reductive and at worst catastrophic - and unwanted - results, as a way of opening up questions on what we are being fed by sensationalist news feeds and agendas. The idea of, on some level, subverting convenience was present in this as well. This began to take the form of screenprints from digital manipulations. I am always interested in the suggestion of the halftone as being a mediator, and the screen as a mechanism for processing and transferring information, conferring emotive material, the basis even of an agenda, through the code of black dots (or something like that). This is obviously ingrained in the ‘press’. In parallel to the physical work, I created a separate instagram feed for the project, and as I worked through a range of different combinations and churning of those into screens, it became increasingly clear to me, especially after the Artlink show and in evaluating that, that the digital work seemed much more potent and engaging in it’s digital form, and with the print based work I received better feedback for the pieces that were less busy, with fewer layers. In designing the digital manipulation layers for the screenprint series, drawing from sensationalist tabloid cuttings, screen grabs from pixelated propaganda films and news reports, iOS function symbols, I realise now that they became overwrought and slightly laboured, whereas the digital pieces did what I had originally intended much more effectively. This has brought about a real sense of question for me now as I move forward - what is the physical ‘stamp’ of the print doing that the digital representation isn’t. The question of what it means to digest print digitally is something which I am now thinking about a lot. This context might be creating an interesting ground for innovation in print. In an article from July 2009 on the site Printeresting, exploring a web-based program which allowed the creation of protest-poster style graphics, designed in reaction to the aftermath of elections in Iran of the same year, the term Metaprint was used to describe the generation of the work:

“At the risk of overusing the ‘meta’ prefix, the Internet seems to be creating an era of Metaprint. Historically, images had to be distributed by physical means to affect change. Now, distributed is executed through an electronic network and reaches the audience without a printed component. The print (if there is one) is the last step, a step farmed out to the audience as an optional souvenir.”

Selection of social media post collages, IG: thisis__land, 2018.

Selection of social media post collages, IG: thisis__land, 2018.

The word ‘souvenir’ connotes a number of things and if they tend to be keepsakes or tokens, then there is an element of souvenirs representing memories, or as being ‘reminders’. This is something that also fed into the act of participating in the Print Fair last weekend. Back in the lead up to my spotlight show earlier this year I labelled a number of pieces ‘Reminder’s - postcard size screen prints on reflective card representing geological change and excavation, and these were exhibited beneath larger, more densely layered collage pieces at Artlink. That particular choice of wording ‘souvenir’ in my reading of the article has a slightly negative tone which suggests that the physical piece would essentially be the inactive, obligatory object. This is interesting in itself, and while that’s not necessarily representative of how I feel at this point about print work (the physical piece can ask of a small investigation from the viewer, is a gestural communication, is a space, and is an important mode of presentation in so many ways whether this is referring to a mounted piece, a print in a smallholder’s display rack, a publication), the argument is compelling and something I intend to be mindful of in my process - the pursuit of making work engaging in a saturated environment, and using those platforms which are now very much a mainstream visual currency, inside and outside of the gallery; the screen.

In evaluating the project now, I can identify a few important action points for moving forward. The work I have made so far has bloomed into a broad collection - probably broader than I had originally intended, interrogating a range of visual sources from life rafts in online museum collections and tabloid articles perpetuating misinformed immigration hysteria, to technicolour renderings of oil spills and ecological catastrophe in 1970s National Geographic issues and photographs of thawed animal remains from the Siberian permafrost. This wide, exploratory approach both in terms of subjects and mediums has led me to reshaping my intentions. In a return to the basic questions I had at the beginning of the year, I have recently begun discussing social ecology and political myth with regards to nationalism and climate change, with Dr Jeremy F. G. Moulton, Associate Lecturer in Environmental Politics at the University of York, and these discussions are having a significant impact on my knowledge of the issues surrounding my concerns. In a collaborative spirit we are continuing to ask questions of one another’s concerns from the perspectives of our individual practices and experiences, and I am planning on publishing transcriptions of these conversations online soon, as part of a dedicated This _ Land __ site. The site will also feed from the project instagram account, and be a screen-based experience and space for continually developing visual work, as I learn more about the specific contexts I am addressing and how my experiences of those have been shaped, through related ideas and possibilities arising from collaboration.

What I stand for is what I stand on.
— Wendell Berry
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