Reflections on Group Crit. 4/11/14

I’ve chosen to post this video again via Vimeo this time to focus my thinking on it.

Generally the crit was extremely productive and looking at others work was stimulating.

These Skype chats are even more exhausting than the face-to-face experiences at CSM!!!

Sarah’s work is dealing in some ways with similar issues to mine , so it is exciting to see how hers is developing.

We feel like a coherent group now but it is a very different experience from CSM as everyone generally gives positive feedback and little negative.

I find this hard as I am used to a harsh but still productive experience…no holds barred.

Maybe this will change as we get to know each other better.

I have chosen to use Vimeo instead of YouTube, much to the derision of my 16 year old son!

The crit was very useful but my phone couldn’t cope with all the chat and kept crashing.

I’m looking forwards to having my new computer but it is still about 10 days away I think.

The crit highlighted some of the issues I have come across when other were commenting.

Peter felt Michealmas resonated with him and recognised the flashing images as thoughts crossing our minds when walking.

Keir felt that

‘the cadence of the sound fitted it together, to unify it , the crunch, break, crunch.’

Fraser had mentioned this when he saw it last week.

Interesting as they are both musicians.

Yvonne felt that both videos had a dream-like quality. but that they were disconcerting to the viewer in different ways,

‘The interpolated images of Michaelmas gave one a very unsettled feeling, like we are watching a crime that was committed but as in a dream where we can’t recall it all’

and Pascale agreed whist finding Michaelmas ‘intriguing’.

This is rather difficult for me as Helen felt that

‘It was like watching an episode of Lewis. Where the dog discovers a body’!!!!

and today Jon Shapley also said it felt sinister.

I had taken out the images of me lying on Salt Way from the original Salt piece as I thought they may be subliminally suggesting a murder but left in the ‘Red’ images.

I do not want to suggest this so do I change it or let it be and interpret it, let it be sinister and work with that.

As I respond to the place I did think at the time of making the works ‘Why was I doing this?’

I was consciously responding to the carrying of the salt from Droitwich to London, but, especially when I made the ‘Red’ images, it started to look like something else.

I even wondered if there had been some terrible murder there many years ago, at the site of my making these works?

Very odd and fanciful thoughts and not easily researched as there seems very little documented about the Salt Way in Banbury apart from recent history.

Do I decide to research this aspect of not.

I could construct this narrative but this is not really what my work is about now and is more like Sarah ( Robinson)’s constructed past…

Hmmm…..

Yvonne felt that  the clip of video ( Number two) projected through Cling-film was

‘as if one was trying to recall a memory, again. but only pieces are flashing though.

Very evocative.’

Sarah found it intriguing but Pascale

‘a bit more confusing, like memory fading’

When I explained to Keir my reasons for using cling-film ( liking the way it moves, is transparent and has associations with preservation), he suggested

  • Screen Printing imagery onto film.. (imagery from the videos containing drawn images ) There are on- line guides to screen printing at home … or maybe the local printing Group ( Roger)?
  • Placing multiple layers of cling film papers in front of each other and projecting through ( I’ve already got several layers but just of cling film sections). I explained that I want to want to draw over some of the projections and stills in real time.

Pascale and Yvonne were excited about the crazy and Kaleidoscopic imagery which may result and Pascal suggested using a more predictable material but, of course, I don’t want that!!!

Keir also suggested

  • using a cam that films me drawing and projects (?) ( I had planned using an observer to film)
  • using a projection of a drawing
  • a V/J package and a tablet to draw with ( This sounds interesting! )
  • Trying lots of different opacities of material- tracing paper, skin
  • Video -mapping which he says is easier than it sounds ( I will have to wait for my new machine to do that!)
  •  Using OHP’s, slide projectors ( done but not in combination yet ), lamps with masks.
  •  layering slides with video mapping and different materials.
  • using shadows ( which I had thought of re: Joan Jonas.
  • I explained that I want to project onto objects but not really assume their shape as v.m may do ( or maybe that is just my limited understanding.

He seem to be happy to discuss technical issues but his advice at the moment is to just PLAY!!!

I explained how I want to make some more slide film but was worried about the acetate catching fire if I printed onto that…..?

He suggested photographing drawings/video with slide film for re-projection which I’d already thought about a bit and will research getting and developing the film. Yvonne liked this retro theme…

Sarah suggested using Image Maker ( I assume she meant the Software but I realise now you can get something which transfers images from photocopies onto fabric.

I will order some and mess around with that.

One good thing was that Keir really did think it did express themes of change and co-existenceof past/present, as did Yvonne who said that was what gave Michaelmas the dream-like quality and the feeling that neither past or present are quite real.

This is great just what I am aiming for.

I asked also for feedback on Monday from the members of the Bodicote Church House Art Group and they generally gave similar descriptions of it ( M)  not necessarily being a pleasant walk, being about reflection, something I did over and over again.

Louise and Katherine also made similar comments but of course, especially Louise, know that I have made work along Salt Way so are not viewing from a pure stand-point…neither is Jon.

Today, 7th November. Jon came for a shared crit and saw the whole set up although it was not dark in the studio.

Through the cling-film Michaelmas was hard to discern, even more dreamy and the dog hardly visible.

Jon said this made it even more sinister as there as no real reason to be walking so he kept expecting something to happen…

When he viewed Be still my soul  Number One through the cling film I asked if he thought it sentimental because of the music.

He said no because the imagery was the opposite of sentimental and about destroying something.

Similar to the feedback Sam gave.

I explained about using Arduino to change the projection possibly as viewers move to the cling-film…However the shadows obliterate any projection in my small space.

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rhiannon evans

I'm an MA student at Camberwell College of Art studying for MA Fine Art Digital. Thanks for looking

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