February 2019 – Page 2

Research for my internship with The Diffusion Festival

I really want to learn as much as possible and gain a really good relationship with all I’ll be working with during this internship. I’ve never had such an amazing opportunity, and I’d like to use it wisely. I’ve been researching about this year’s festival and what I’d particularly like to learn more about and perhaps get involved in. There’s an event on the 4th of April organised called “Women’s Work”, which is described as; “Join us to hear from a range of women working in the audio-visual industry talk about their successes and how they’ve overcome challenges to become leaders in their fields. From making it in the creative tech sector or sound engineering, to working behind the camera, these women have persevered with their chosen career paths and are changing the face of their industries, inspiring many more to follow in their footsteps and make way for a different future.” This would be extremely beneficial for my work that’s always circulating around feminism, and I’m really excited to learn about the artists involved, and find out ways of interacting with this. #

The Foley Objects series also interests me greatly, which involves a game of synaesthesia. The work contains images of very disparate objects bearing captions that offer seemingly unconnected definitions. After studying the image, the viewer is able to understand that the words refer to the sound generated by the objects that are portrayed, that they give us a mental reference to an experience which has nothing to do with the image.

Kina has collected objects from various Foley artists and sound designers. This collection of images could be seen as an archive of sounds, as well as a twist between documentation and absurd playfulness.

The political nature of “Go Home, Polish” excites me and my theme of work, too, where Michal Iwanowski travels from his home in Wales to Poland after the racism and xenophobia that erupted form Brexit.

“In April 2018, Iwanowski set off on a 1900 km journey, on foot, between his two homes – Wales and Poland – a British passport in one hand, a Polish one in the other. He drew a straight line on the map, got a pair of good hiking shoes, and walked out of his Cardiff flat, facing east: Wales. England. France. Belgium. Holland. Germany. Czech Republic. Poland. His goal was to ask people about home, in a journey that would take 105 days to complete.

Although Iwanowski anticipated confrontation, polemics, and awkwardness, the antagonism never really came. On the contrary, people responded to the question in a deeply personal way: human to human, rather than citizen to foreigner. Most put their hand on their chest to show him where home was. Many wanted to tag along. Few mentioned their nationality. Only one chased him away.

As the journey progressed, the Go home Polish slogan became irrelevant. However, Iwanowski decided to keep it as a title, and a symbolic axis on which this project is set, a challenge to the language that dehumanises the other. To avoid generalisation and to look at the geopolitical agenda from the perspective of each individual.

And where is home? The answer is elusive and complex, a riddle that transcends time and administration.

This is hiraeth. This is heimet. Home.”

I think this work is absolutely extraordinary, and shows such a passion and commitment to his sense of being “home”, which would be incredible to be a part of.

Leonardo da Vinci: A Life in Drawing

I was able to see the Leonardo da Vinci drawings that are currently exhibited at Cardiff’s National Museum, but unfortunately, I wasn’t able to take any photos. The works have been selected to show the extraordinary scope of the artist’s interests – painting, sculpture, architecture, music, anatomy, engineering, cartography, geology and botany – as well as his use of different media – pen and ink, red and black chalks, watercolour and metal point.

The drawings I enjoyed seeing the most, which are hugely famous, was The Skeleton and A Standing Male Nude, pictured below;

Seeing such famous pieces from such a legendary artist was fantastic to view in Cardiff, and a great sense of belonging to a group of galleries all over Britain, where his work is also displayed. I’m thinking about going to view other works of his that are currently displayed at Bristol, since it wouldn’t be too much of a trek to go see them.

How To Properly Erect A Ladder Exhibition

This exhibition was from second year Fine Art students at CSAD, who were; Maria Paraschidou, jAmIe LeE wAlToN, Thomas Lloyd, and Megan Sophie. I really enjoyed their presentation of the exhibition, as they didn’t use any of the work that was displayed for the poster, only a ladder and stick man, which went with the theme of the exhibition very well. What I personally got from the exhibition was an underlining theme of masculinity, and how each of the artists chose to display their versions of masculinity. “Bob the Builder” is probably one of the more known stereotypes of men being practical, hard-working “manly men” who deal with heavy tasks, and this only, and him showing us how to erect a ladder adds humour to this stereotype. 52504176_10218425903744889_2136850146493726720_n

I took a few photos of what caught my eye at the exhibition. I especially enjoyed Jamie’s work, as well as Megan Sophie’s work, which contrasted each other heavily. The dimmed lighting of the tattooed man versus the colourful and bright collage of objects were beautiful to view, and really set the mood for the diverse work that was being exhibited there. I even thought about exhibiting at CSAD in the near future because of this exhibition, as I really thought it looked great in the studios with everyone’s spaces surrounding it, adding to its theme very well.

Sgan 3D

Rhoddodd Huw Williams y cyfle i ni fyfyrwyr cael cynnig ar y 3D Scanner yn CSAD. Roedd y cyfle hon yn Aberystwyth, ond doedd yna ddim amser i mi cael sgan o fy mhen, felly dywedais ia i’r cyfle arall yma. Defnyddiodd Huw fi fel esiampl o sut i’w ddefnyddio er mwyn gwneud model 3D o rhywbeth; yr amser hwn, fy mhen oedd o.

Dywedodd Huw yn y dechrau cepel o ffeithiau am sut mae pobl yn defnyddio y peiriant, fel yn y rhyfel yn Irac, ble wnaeth y llywodraeth penderfynu sganio bob dim mewn amgueddfa cyn y rhyfel er mwyn osgoi colli y gwrthrychau am byth. Mae Heddlu hefyd yn sganio golygfeydd troseddol er mwyn hel tystiolaeth.

Nodiadau am sut i’w ddefnyddio;

-Defnyddio y software “Sense” sydd ar gyfer “home use’
-Creu account eich hun ar y software
-Sganio y gwrthrych o fewn 30 eiliad
-Safio ar SD card oherwydd dyma ydi’r unig beth wneith y peiriant ei hyn gynnig
-“Export” i’r argraffydd 3D
-Wax printer yn SD card hefyd
-Sgan OBJ, Angen mynd trwy y software Cura cyn y 3D printer hefyd, wedyn rhoi ar y SD card G Code – wedyn rhoi yn y peiriant 3D printer

Dyma fy mhen ar ol ail-gynnig ar y sganio gyda ni y myfyrwyr, sydd llawn manylder gwych. Dwi ar y funud yn trio meddwl am gwrthrych i prosiectio ffilm arno, ac bysa gwneud sgan 3D o’r wrthrych yn syniad gret ar gyfer hyn. Mae o’n dasg i mi edrych i fewn i’r posibilrwydd yma, gan gynnwys maint a phris gwneud hyn, a gweld os bysa hyn yn gweithio.

Gap Crit preperation

I’ve been setting up for my gap crit, trying out different settings and lighting for the projected film, and editing the film constantly to sound and look better on the pieces. I’ve also chosen to take pictures of these projections with a Sony camera from Mal for the catalogue, as we have to take very high quality pictures for it.

I also created a more square piece of the strange breasts I created from the first film I made in my garden with clay, just to see how the projector fitted onto that, as the rectangular version really doesn’t fit it properly. The square worked better, but it still didn’t fit entirely, which will have to be investigated before I create the final piece for the exhibition.

I then set up the gap crit how I’d like the audience to view my work, which will be fairly close to the projection. I wanted this because the video really morphs from the clay on the MDF, and creates a more grotesque view of the film, linking to my initial research for these film of Cindy Sherman and ORLAN.

Pictures taken for the catalogue;

SONY DSC

My task will now be to choose two of these, then edit them to 300dpi and send them over. I’ve chosen to narrow it down to three, even though I have two boxes to fill in the catalogue because I thought it would be wise to have a spare. These are the three edited ones I chose;

I updated my set up in the morning because I felt that the audience just wouldn’t view my piece as well as it could be viewed on the ground. I decided to prop the pieces onto a table, leaning against the wall, and had the projector pointing towards them as before, but on a separate table. This is how it was viewed in the end;

Tristan Oliver Talk – Cinematographer

it was an amazing opportunity to hear Tristan Oliver’s talk on how film making applies to animation, and it really got me thinking about my own current films and how I could change their mood entirely through the right lighting and positioning. These were the notes I took during the lecture, and what will be tremendously helpful the next time I film.

Isle of Dogs

Creating a coherent world in the context of animation and live action – how these differ

Very small construction set for the animation – need to be able to manoeuvre it around the room for lighting

Drive to look cinematic and not like a kids tv animation

Soft lit effect through polystyrene sheets to bounce the light

dragonframe – has every piece of software you’d need to make an animation- for the first time ever

Kane – actors on stage but audience was painted in – influenced the mayor being in front of a picture of himself

Whenever you use green screen, you’re delaying your decision making process – advises you not to do it

Wes was never in the studio – contacted throughout the day quickly by email

Puppy whimpering was actually Wes’ child whimpering at 4 days old, who was born during the shooting

Paranorman – much flatter film done by the lighting

Human hair was used and can print the translucent tear onto the opaque face

Shallow focus and soft background

Can keep detail in high brightness to portray heat

Fantastic Mr Fox – flat and orange film

Before the time of good LED – grain of sand light bulb – all made for the film without LED

Glittering cave – shine light on party glitter – two discs with rotators behind the wall – got a ping/twinkling – looks less dull

Beautifying their environment – clingfilm for the running water fall underground – rotational disks of bathroom glass behind it – looks like beautiful running water

Questions and answers at the end;

What skill can’t be taught, only learned through the industry?

Unskilled interns who are willing to do anything – they will get the job – don’t have too much attitude – if you can live with them, you will continue to work with them – do lower than you jobs and you will then build to do more demanding jobs. Can you do a great job when you don’t feel your best? Keep learning.

Emotional response to directing for Wes – doesn’t explain why he doesn’t like particular lighting – hard to grasp why he’s chosen for something to look a certain way. He won’t accept why you physically can’t do something, so he’ll ask you to show him, but he’s not unreasonable with what he wants form his vision.

Andre Stitt Professional Development Lecture 2

Trace Installaction Artspace Cardiff

Bought a run-down house for his project Trace: 26 Moira Place, Cardiff 2000 – close to the old university campus – wanted to bring students around to see the work, had converted it to a gallery space.

Artists who performed at Trace:

Alastair MacLennan – recognised international performance artist – political – performed “Stolons” in 2000 at Trace. About the “root” of knowledge and information – a teacher

Performance art practice over the decades has often been predicted on the notion of meetings: context, contact and exchange

This process has lead to international networks of artists that form fluid amalgams and manoeuvres in and around existing art systems exemplified.

Domestic setting in a house was very important- food in the kitchen, people would hang out, sit with his cat Smitty, meet the artists who were staying in the house, casual

John Boehme “Fore Mien” 2004 – Canada – would hit golf balls onto a metal back wall and form a piece from the dents

Stuart Brisley – “Shopping For Shit” – got poo from all over the world and told stories of how he got the poo – “Curator Of Shit”

Julie Andree T. (Quebec) 2002 “Unexpected Thought”

Jimmie Durham – Building The Nation – Cherokee

Kevin Henderson – Scotland – 6am-6pm – about a murder in Scotland – strange enigmatic atmosphere – 2004

Cosey Fanni Tutti – read her autobiography – “Selflessness” – video instillation, 2005

Collateral Projects

Clemente Padin 2004 – arrested for his art in Uruguay

RHWNT Wales – International funding

Moved Trace into another identical building at another space to please the board and get his house back – too much for him to do

Preparation For Sending My Boyfriend a Nude

I’ve finally finished my first film after researching properly what I wanted from it, including the script and sound effects. I really like how it’s turned out, with a narrative I scripted to sound almost like a poem tutorial on how to send a nude, with a darkly humorous undertone to it. This was certainly my aim, as I added sound effects of eating, cutting, flesh, and sucking.

I’ve also had a practice run of showing this video on a projector media player, but the speaker doesn’t quite pick up on the sounds as well as on my laptop, making me think I’d need two speakers on either side of the film to be more effective. However, I do think it will be sufficient as a maquette to show my idea for my Gap Crit on Thursday the 21st.

The longer video of all three films will be displayed for the Gap Crit, seen below;

Bruno Wollheim Talk

Wollheim made a film between 2005-8 made about Hockney’s work in Yorkshire while Hockney’s friend, Johnathan Silver was dying in hospital. Johnathan wanted him to paint landscapes from Yorkshire, so he did. Hockney only wanted Wollheim recording him, therefore he was able to edit the film the way he wanted.

Hockney’s aim was to convince the audience that painting was more powerful than photography – almost against Wollheim’s work.

He captured 100 hours of footage over 3 years, which made it an almost impossible task to make a film from this and keep track of all the footage.

David Hockney has now resorted to painting outside instead of from a photograph, and worked all summer with assistant and worked at a pace of almost a canvas a day. He says a camera can’t capture everything, including the beauty. He claims that “The limitations of photography needs to be looked at.” He also took on photocollage in the 90s, then looked at the historical use of using mirrors to draw from, which historians often disputed.

He was at war with the direction of art in the Western world – challenging his past photography work. Has returned to “compete with the camera”, but also for Johnathan Silver told him to paint Yorkshire, he soon after died. He was ultimately painting Yorkshire to make him feel better while at hospital. They describe the journey to seeing his dying friend. Hockney painted from memory and little notes he made on his journey to the hospital, thus built a vocabulary and built a study to look at things like trees.

Secret Knowledge was the book he had published and was still obsessed with it, which was a book about how he devoted two years of his life in the aftermath of his mother’s death in 1999.

He later on goes back to photography work, completely contradicting his earlier task of challenging it.

Used Rembrandt drawings and Van Gogh as his guides, but most prominent influence is Picasso

he returns to Yorkshire to embark on the largest landscape painting ever made outside.

Professional Development lecture with Andre Stitt – Curating

Andre showed us that there are many different ways to be a curator these days – they’re normally in charge of more departments instead of just the curating of artworks.

Below are my notes from the lecture, and will be something I refer to as I plan my Women’s Empowerment exhibition, as well as my final third year exhibition;

Curating as responsive – ideas and inspirations – what’s current at the moment? Think of current debates and how you could energise them

Subcultures – slightly different in presentation – keep the viewer’s eye interested

Stakeholders, sponsors agenda, funders – interested parties – public, council, local supermarket, etc

(Wales Arts International – look for funding)

Collection displays – permanent exhibition – creative a narrative from these

Special display – implies something exceptional – differentiate from a collection display – called an in-focus display – archival? – larger themed exhibition that is very specific and perhaps called from other institutions and galleries

Temporary exhibitions – independent curator or artist or group – could fit with a large institution gallery – selection of artists who are in competition for an award – maybe a survey show? – theme about movement

Monographic exhibition – retrospective – mid-career

Historical exhibition – look at a certain period in time – are everywhere

Periodic exhibition – like the Biennale – “every other year” in Italian

Commissioned projects – opportunity to support an artists who’s in the development and production of their new work – include a host of stakeholders – sponsorship

Arts Fairs – selling art – relocating your business – touring exhibitions

Performance and live arts festivals and events – tempting failure – national review of live art – NIPAF – Nippon Performance Art Festival

What makes a great exhibition?

Learn when to step in and when to let go and let what will develop develop.

Exhibition outline proposal

Name of the curators and contact details
Proposal
Date and venue
Rationale for this choice
Expected scale
Type of work to be included
Displays
Concept? linear or narrative ? open access, open plan, how do the public move through the exhibition
Why is this exhibition relevant? does it need to take place at a certain time?
Contemporary relevance?
Last comparable exhibition – how does this one differ?
The potential audience – aim – broad public? – specific public?
Potential tour venues – cities – partners there – unlock money
Catalogue? writers, academics, critiques? Budget for this
Initial list of artists and the works included

Planning and spotting potential issues:

Always work well with other artists – cite them for the work they’ve done and contributed

Space planning

Budget and fundraising – realistic – stick to it – watch it doesn’t get out of hand – Contingency within your budget – financial accountability – funding/sponsorship – identifying and persuading sponsors – good communication and friendships – charitable trusts and foundations – touring agreements and fees – legally binding contracts –

Contracts, negotiations, and obligations

Contact – institutions, commercial galleries, artist initiatives, individual artists, other organisations

Exhibition fees – work out how much you want to be paid – curator fees, artist fees, and others, (invigilators, etc)

The artist newsletters paying artists guide on a-n

They offer a space and not tell you how much you’re getting paid – crucial to get this doc

Plan evaluations – walk through – space flow – visitor surveys – sponsors will want to know about them – and also able to prove that you’re capable – gives value to what you’re doing

Exhibition publication and merchandise – publication team, commissioned writers, design, overseeing print and production, merchandise design and production

Practical on-site initialisation and management – the venue and its architecture – exhibition design: CAD, scale, models and walking the space, sequencing your space and the works of art, how long will the visitor spend at your exhibition? technology and new media – booking AV equipment, black box spaces, building walls, wall colours, signage, artist statements and interpretive wall texts

Display furniture: plinths, vitrines, perspex/plexiglas covers – space and visitor access + object display and step back distance – barriers – insurance – for the work and public – transport for the work – safe storage – animal or insect infestation

Document the exhibition process – legacy of the exhibition – great for social media for promotional reasons

Health and safety – need warning signs – sharp edges? adequately distant from the visitors – suspended work? Strobe lighting? hazardous chemicals? electrical power? movable parts? organic materials that could catch fire?

Ethics – photography that involves minors, human DNA

Instillation – layout is critical

Handling works of art – wear gloves? bubble wrapped? instillation schedule -when and how – fixing work to walls – placing works on plinths, install rooms – AV tech – lighting – agreeing on a layout

Sign the health and safety issues off

Promotion – social media, press release, private view invitations, mailing lists, etc

During/after – doc the exhibition, scheduling regular tasks during the exhibition, such as invigilating, follow up enquiries and building your own network, taking down the show and get out transport

Talks, tours, public engagement, patrons, sponsors, stakeholders events – say thank you

Press, PR, interviews, networking with other curators, artists, writers, walk-through with public, instillation checks, thank you letters, evaluation and review – success, what you learned that didn’t work.