The Reading Room Event: Set up and Preparation – a few days to go……

12th and 16th July:

In between getting things ready to install at Camberwell for the Interim Show, I’d solve the problem of the wrongly cut lino and turned it into a benefit! see below by having both Positive and Negative lettering.

Fiddly to use but much more versatile.

I’d printed some posters to go with the cut-out newspaper ones used when I was using the Reading Room as a studio.

Took ages and very messy.

Making the posters seemed an important part of the process but I’m not sure it added to the Event in the end. It was important for me but did it work..?

After installing at Camberwell on the Tuesday I went on the Thursday  and set up the slide projector in case anyone brought any slides and tested out the new media player and film with the digital.

I’d been working on the final film to show at the event and it is about 30 minutes long.

I’ll have to reflect on this separately.

Richard is anxious about how many people will turn out for the event

Jane is baking cakes.

I’ll take biscuits and coffee.

Jon Shapley will come and document with photographs.

All the newspapers are brought in and placed so that Richard can position the tables. The workshop areas are set up.

Cut-up newspapers will be printed on newsprint. I’ve bought a small printing set to supplement the linocut but got rid of the large paper communal printing idea for this event as there is no table big enough.

I’ve asked my son to print out some QR codes for the links to Vimeo and Soundcloud for sound file archive and videos and I’m going to borrow my other son’s Chrome book for the Google hang-outs live feed to Youtube if I can get a signal on the day.

Work to date for group discussion of proposal

This post outlines my project proposal and looks back at some of work I have made since September.

The most recent is a video piece made for projection in combination with  ‘curtains’ of drawings on cling-film.

I’ve not done this yet though. I also need to reflect on this piece, specifically from a digital cultural perspective.

It could have ben made without digital technology but possibly is different as a digital piece. My reflections will be posted in full after the discussion….well not straight after!

Work shown was made most recent first.

 My key question is : how can digital technology contribute to the re-animation of action or event residue to demonstrate its co-existence with the present?

I am interested in the way we document and archive past events, the overlay of memory of past and present, and the fluid space in between.

Aims:

  • To combine the use of digital technology with physical action, objects and images (remains of place, time and events) to produce work that evokes emotional affect in a viewer.

  • To use digital technology and traditional art practice to make manifest concepts such as impermanence, change, continuation and layered co-existence, rather than static archive.

Documentation video ( fragmented edit)

As below but with video projected through.

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Documentation drawings on cling-film with digital projector

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Layered traced drawings of documentation video below

Abstracted video documentation of action with cassette tape

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Traced performance documentation images with fragments ( below) removed.

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Print Residue 2 detail US 14.09.14150

Ink residue on glass plate after drawing monoprint ( from performance action documentation image)

Binary seals and tablets process150            Binary Clay tablet150

Clay tablet and cylinders with Hamlet quote ( ‘more things in heaven and earth’) in binary

Experiments with analogue materials

I am aware that the soundtrack and its associations are loaded with cultural, as well as personal, meaning

(see above).

The former may override the latter for a viewer and so make my interpretation of the video in the context of my practice, irrelevant and invisible.

My concerns are those of personal experience of an event, how this experience is stored and accessed in association with future experiences; individual, shared or collective.

Also the effect of the senses, in this case: haptic, auditory and visual, and the resulting affect with its relationship to re-experienced events through remembering.

I have been thinking also about forgetting as an emphasis and I think this comes through unintentionally in these pieces.

More the destruction of memory than the preservation of it?

I think that, maybe in working on drawings of the documentation of an action, the material process acts as a sort of immaterial ‘processing’ ( of the archive?)