Oil studies

Acidic greens and anemic pigmentation dapples the skin as artificial light floods through the window pane.  

Timothy Armstrong's 'Chromatic Mutations'

       Recently i spent the afternoon at the Doncaster council museum, although i did not look into what exhibitions were being shown prior to arriving but i was pleasantly surprised to come across the work of Timothy Armstrong, an artist i was unaware of up until that point. His work 'Chromatic mutations 1969 ' consisted of  two large geometric wall installations hung side by side. Curved perspex has been used to cause a visual abstraction as the viewer gets closer to to the image by which it appears to flicker and adjust w/ permutations to colour and shape. The picture beneath is made from screen print. I am very interested in creating my own chromatic mutations using similar methods but instead using the patterns of a bus seat fabric. I think optically it will exaggerate the peculiar linear swirls and movements that already exist in the material promoting the surreal and absurd notions of how we travel. I would be interested in keeping the hexagonal frame too, as it complies with the shapes light may make when it shines through a window and has a similar aesthetic quality as the liquid light shows i have been researching. 

It seems little is known about Armstrong, however i'm researching his work further to see if there any other mutations and what his work is primarily about. 

Video installation. Types of media to use.

How to make a light show.

Will make one with all the colours of a bus seat.

A Critical Appraisal of Heather Philipson's 'A is to D what E is to H'

A Critical Appraisal

A is to D what E is to H (Excerpt) from the exhibtion - ‘Yes, surprising is existence in the post-vegetal cosmorama’
21 June 2013 - 13 October 2013
Heather Phillipson


Heather Phillipson is both a contemporary poet and artist. I first came across her work in The Baltic’s ground floor gallery in the summer of 2013.

 Her exhibition, ‘Yes, surprising is existence in the post-vegetal cosmorama ‘ , was creative, and exuded a physicality and sense of play I was immediately drawn to.  A set up of three separate rooms allowed the viewer to navigate their way through mulch-faceted environment in order to watch a selection of 3 videos, each framed in their own peculiar scenario. Each room had been laid out meticulously and the structures on which the films were adhered to ( a car, speed boat) were mounted in such a way that the viewer simply had to climb inside and become part of an ever changing art project. The videos consist of a female omnipresent narrator (Phillipson) who talks directly if not often distractedly to the individual.
Personally ‘A is to D what E is to H’, Is a favorite out of the trio. Phillipson’s vocabulary combined with the jazz music and incidental footstep echoes creates a lush and distorted sound-scape for the imagery to play against. The visuals themselves could be said to appear brash and simply edited but that is the reason I enjoy it so much - It’s a personal, step by step thought process.  For instance moments of human error or desire ‘’… And who doesn’t like French kissing (CUISINE) ..’’Simply achieved by layering vocals together. Editing jump cuts, and using conversant images to familiarize the viewer. 
The current narrative project I’m working on at the moment exists as a group effort, but it shouldn't noticeably be about particular individuals involved. Just a how phililipson never directly shows her identity.  Although it is based on our collective experience of dreams, it will be displayed rather as a mesh of different sensations and film recordings. My reasoning for presenting it in this way is because I enjoyed the interactive quality of Phillipsons work. To send an invitation to the audience bringing them into it, should contextualize it into something relatable and memorable.  Her work is vivid and only understandable in the minute. As though she were reading from a diary, background information isn't given in her scenarios and so it’s less important. That of course in no way means that her work isn’t introspective and well thought out.
To conclude, From her work I will take specific filming techniques, appreciation on space – the interlocking of an audience and the installation, and further explore the spoken word used in film.


From watching this, i want to examine the feeling of travel and use a personal monolgue to lead the viewer around my mind while making my route around my home town. I will use a fusion of art, writing and situational images to distill this in to my audience. 


http://vimeo.com/54438084

In the train i gather my thoughts, and this seemed to me so wistful and lonely. The longing becomes unendurable.  I want a healer for all wounds. Held back with fear, abruptly i begin talking to you - its terrifying all year.

How The Public Reacts?

Around my home town, there are now several 'I Have Now' posters tacked to walls bollards. I selected the ones i found most interesting. I want to go back in 24 hours and see what is left of them, it could  easily be that they have been removed completely. 

I liked this sign, as its ambiguous when combined with the premise of my project. 

What will happen on the train? Why must i worry?

Artist Research In Terms Of Style, Theory And Aesthetic

Rebecca Fin Simonetti

"Vancouver born visual artist and photographer Rebecca Fin Simonetti does not convey a sense of narrative within her work but instead tries to create an ambiguous psychological state for her viewer, and chooses not to work within the framework of ‘fictional reality.’ As a modern day Surrealist, she often shies away from the banal and boring, describing her own heavily graphic themed work as “schizophrenic.” Fin Simonetti’s photography often leans in the direction of being girl centered, but definitely on the darker side of things."  - FCP Photography blog.

With Simonettis more oil paint based work, theres are definite feel for gestural painting implemented with the delicate strokes. From this picture alone you can see that Simonetti has gone into depth with the central figure whereas the lamp, bedding, and background are largely made from grand sweeps of colour, the tone is set but unimportant and the viewer is drawn into the mysterious white haired woman's  world.  This style of painting encouraged me to look at lapses in detail when painting, to extensive use a certain colour palette that is something other than realistic.  

Jemima Kirke 

MONOLITT

Imagine if the the marble statues of Ancient Rome spurted out paint like a fountain, but the colors reflected the general mood of the empire's populace. MONOLITT, an interactive installation created by Syver Lauritzen and Eirik Haugen Murvol at the Oslo School of Architecture and Design, experiments with a similar idea, as a miniature pedestal takes crowdsourced "sentiment analytics" and turns them into physical paint data visualizations.

In a video detailing the project, above, we see users tweet messages like "Annoyed" or "Feeling good," which triggers certain paint colors that then dribble out of the top of a white statue to make a "procedurally generated three-dimensional painting." Though the clip doesn't explain the technology, we'd guess that MONOLITT is equipped with Raspberry Pi and an API that turns the social media data into physical manifestations. 

Though the Oslo-based MONOLITT sculpture trickled out vibrant globs of pink and blue (presumably associated with positive tweets), we wonder what an NYC rendition of the installation would look like. If we had to guess, there'd be so many opinionated, impatient tweets that a Manhattan MONOLITT would look like a messy spray of bleak goop. 

http://thecreatorsproject.vice.com/en_uk/blog/emotional-tweets-make-this-sculpture-leak-colorful-paint