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?
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……..
The trip to the border yesterday, with the large format camera, produces little film work due to fogged or damaged film – lots gone wrong but what? A few have a ‘feel’ about them when scanned, but not a work of genius……need some technical support, to make sure I am being properly accurate.
This image usable? but tiny depth of field.
The above image taken on the lane that IS the English Scottish border……
Just north of Berwick is another lay-by for people to stop to rest or record their crossing. This time the flags dominate. The ‘Scottish side’ had fine flags:
Spent time trying to capture them with a perfect furl, in shadow and light:
and their location with the view across to the english flags:
and then the ‘English side’:
The English flags, including one from Northumberland were tattered and twisted.
I also shot some video which may become something later. I also shot on the large format camera which mirrored some of the video and stills shots.
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.