Have had to make some tough decisions on leaving things out of the final Border Lights installation. This film only got to draft stage.
Finally worked out how to finish and hang the muslin banners.
Adding coins to weight the panels. Money weighing heavy on the border.
And a trial installation on the stairs….
And at quite a scale – it is taking more than an hour!!!
quite the largest thing I have printed, but working well considering the compromises on scale and resolution needed….at the bottom of this image is a black and white negative – I don’t think it would have the ghostly qualities needed without that analogue capture.
Starting to publish and maybe promote the forthcoming exhibition. I hinted at this in the trial installation in June.
I may have to work at getting this going – the potential interactivity is important. Borders are virtual as well as physical.
Using instagram to ‘publish’ has been central to the educational research I have investigated this year, as first presented at the NSEAD conference Danger in the jungle – Durham. One of the identified risks raised by students in the research period – losing control over image rights – is relevant, am I throwing way value or sharing more and building something unique and complimentary to the physical exhibition?
Trying out the transparent printed fabrics, trial sections created by Chromazone. Seeing which would work best for a ‘window blind’ piece. The trials were using a printed muslin and a standard mesh banner that is typically used for putting transparent images on ‘Heras’ style fencing around building sites or at events.
I am looking for a way that images can layer through transmitted light – eal background becomes part of the printed image.
The images interact with background well, holding their own, allowing light through and creating the layering transparent effect that I want. The see through nature of the material is perhaps too much for the window location – it is not functioning like a blind enough.
Martyn seen through the muslin….this works well – so the conclusion might be to use the muslin within the space?
The mesh banner material seems to create a more balanced effect with more priority to the fabric images and reducing the ‘image value’ of the background.
The quality of the mesh itself really suits this. It is almost like a mechanical grain and would work well with images captured on film. The conclusion is likely to be to use the banner for the window hanging.
Planning the installation is more tricky than I expected – I need to get the old work and new ideas to mesh in a single space. The first thought is to assembel the materials and then try to make things work. There is a danger of over-ordering printed work and incoherence creeping in. The plan could look like this:
There are still plenty of things to consider – overlapping projections – what will this do? Is the furthest Flat screen going to be seen, are the 4 films strong enough or just too many?
Is the space just too small?
Surface Texture – David Noonan’s pieces – seen in Tate St Ives and last year.
Each piece is screen printed onto fabric, creating texture and a sense of layering this is the ‘finish’ to works that use layers as part of the process. So the images are selected from old film stills, photographs, from books or other vintage sources. These are collaged and then re-photographed, re-collaged before the print process. The result is like a flickering film, almost a capture of a film image projected. The fabric (Noonan uses Jute, then stretched over wood) used in the print is perhaps the final ‘screen’. The fracturing and layering of images is the key here, Noonan’s intent is perhaps nostalgic, emphasised by black and white and sepia as key monochromes, it is also perhaps to do with memory and recalled experience (Do we dream in black and white?). The images seem to belong to a surrealist tradition, possibly in the most fundamental way – Andre Breton recognised photography as potentially the most surreal of the visual arts media.
These are issues I will need to deal with in editing the final installation. The decision to use black and white as the dominate opposite, the negative/positive divide, could be relaxed with colour, reducing or balancing the implied ‘nostalgia’ of black and white film captures. Fabric as screen in all its senses of the word is crucial to the final work. Screen – to close off, Screen – for projection. How that fabric keeps its texture and printed image as well as receives prove ion will be crucial
Jessica Warboy’s combined practice, including created objects and their representations on film overlapping, becoming sculptures and then animated or still props, is intriguing and If I had more time in my adventure in film and installation, should present a path to pursue. The Sea paintings, displayed in the big curved gallery at Tate St Ives were dramatic, layered and reflected beautifully in the glass. I was unable to photograph them directly because of the very highly organised stewarding. Instead, here are the postcards:
The canvas texture interacts with the paint to create surface.
I enjoyed the layering of images in the curved windows, where sea buildings and landscape merged and recreated like shimmering banners:
Phillip Eckart’s Utube review for Frieze (here) makes the link between the art object as ‘displayed’ and the art object as ‘performed’ in her work. Is there an element of performance I can include in one of the new films – hands in sand, the post, the fence. There would be a difference between using a found object and using a made ‘art’ object. Possibly text on paper in the landscape, on water. Warbles showed a large sculpture in aluminium sheet increased in scale from a paper piece that had been filmed blowing across the water……