Printing the borders

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?


Printed Fabrics – trials with natural light

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.P1060657

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.


The Plan

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:

plan 1

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?

Scan on 01·08·2017 at 16·13·13[2]

Is the space just too small?


The border by the sea

A beautiful walk, light coming and going and a sense of discovery, trying to answer the question……Where does a border end? At the cliff edge? At the last post? The last pebble? The last picnic place, the last house or  in the gentle lap of the sea which erodes everything?


The last house in Scotland – a smuggler’s bothy with the light reflected close to the actual borderline as it enters the sea.


Incredible clear water – due to the distance between accessible points at the base of the cliff – the border has no human touch as it crosses into the sea


The last picnic place


The last post……..

‘things left behind’ – the sea in a box

Today I hand in my box to Judy Thomas to send to Japan.  I have perhaps wandered off task and created something unexhibitable.

At the bottom of the box – a mirror

The box contains something(s) collected from the beach, A memory – in the form of the poem below and an artwork – a series of printed transparencies, which might work together or might be separate items.  They record the presence on the beach of the items collected but also their existence as transparent, see through memories, already only leaving a trace.  They are not very aesthetic, don’t really relate beyond my act of collection, but can still be triggers for my memory, which through the words and images could be communicated to others or trigger memories in them.

The first transparent insert – abandoned trainers


things left on beaches

are warp and weft


time weaves people in fabrics and spaces


a pair of trainers

worn and punished


he swam out with the current and back with the wind



a half tennis ball

batted and dog torn


rain stopped play and tide took his wicket



frayed rope end

severed in a storm


boat lost the mooring and beached in the creek



hard plastic mesh

from a shattered creel


under the deck the eel lay dying


The layers together and held against the light.

Illuminating the Border – Critique

Yesterday we talked through the ‘illuminating the border’ installation as part of a group critique.

The first interesting note was how  people moved through the space. As we were a group of 10 or more, this put the installation under pressure.  Could people experience anything with so many interruptions.  It was great to see that people moved with relative ease and it created a thoughtful atmosphere.


The effect of shadow and reflection as backdrop and point of interest in its own right was interesting, The installation was added to by the interruption – this may be a really important point for development.  If I want the installation to be truly interactive, then it must ‘work’ better if people are in it.

There were those who were reluctant to enter. Noise was an issue – sound levels have to be right.  I thought of the idea of a warm whisper with louder interventions as a way of thinking about how the sound can attract people.



One colleague remarked the mirrors, he thought they worked much better with the installation, particularly in the interaction with the projection – where the stretched and distorted image broke across the mirror, which then reflected another part of the installation, really caught the eye. This, of course, was always changing, leading to viewers moving their heads to see themselves in the film landscapes, and seeing those landscapes change.


The smaller square mirrors, placed on the fabric and in direct line of the projection also changed the projection.  The square mirror helped, because it fitted the square nature of the projection, like a collaged image within the projection – this effect was emphasised when the projection against the muslin and gauze caused the images to repeat and overlap making a displaced image collage.




Borderlights – a guide

I felt that a guide was needed to the installation trial I was setting up.  I wanted to be able to give an idea to people how to enter and travel through the space. I wanted the instructions to encourage interaction and the use of mobile phones.  The tone of the writing is intended to link to the content as well.  The black and white high contrast is important.

Illuminating the border

Installing with projection

The ‘first Draft’ installation can be seen on this video

Setting up an installation using two types of looped video.  One displayed on a flat screen, the other by projection.


1st set up –  the projector placed next to the flat screen so that the images were opposite each other – using an informal screen of muslin. The films are different in  nature so there are contrasts with the method of display.


The reverse view shows the projection through the porous screen of hung muslin.


This set up also allowed the projection to spill and stretch onto the side wall.


Double layer of muslin doubles, but weakens the images. the laptop screen and flat screen TV adding to the multiple image.


Finally, inserting a mirror into the installation – pinned onto the muslin, distorts and breaks the images further.


The  installation develops the theme of the Border project and incorporates some work completed earlier.

The ‘first Draft’ installation can be seen on this video