After editing the Polyopia effect into my film to show the flow in the hands. As a stopped and started the film, I realised the still images were quite interesting. The effects it created is a trailing effect which looks ghostly in the image. I decided to keep the photographs in colour to keep the realism within them. The different movements created an interesting series of photographs for my exhibition. I decided to included this in my final exhibition on ArtSteps because the movements in the gestures are highlighted through the effect and this in a series creates stories of the different emotions within each piece. The movements in these artworks are real life movements which I have produced whilst in a distressed state. You can see through the irritation in the hands and the intense pressure as the hands collide. I wanted to express this emotion because it is one which is commonly shown through body language.
Silvia Grav is a Spanish fine artist and creative director based in LA. The artist pulls and distorts the image to cause it stress resulting in the figure in the image showing distress. Grav’s art is characterised by distorting and changing bodies which blur into dark spaces. The ghostly imagery creates a disturbing view for the audience. I came across this artist through researching different ways to change an image for my work.
Grav’s work has a darker meaning than my own but, the intensity and darkness within the materials are relevant to my own and have an inspiration on my work. The actor in each image has readily prepared the photograph for it to then be further distorted through editing.
I enjoy her work because it holds great intensity and distortion through the stressing of the figure. This is relevant to my work because the monochrome along with the figure dissolving into the background. This distortion ins interesting but, not something I want to do with my own work. It is relevant though as another way I could produce my work with a deeper darker meaning. The trailing and blurring effect in her work is something I have used in my own.
After completing the film which has both hands, I decided it didn’t work with the movements I used and the Echo effect as a film. As I was editing the film I was fascinated by the still images. The blurred effect worked so well as images and showed a story through the dominant movement and the trail. After editing them on Photoshop by cropping and altering the brightness and contrast I feel I have created some interesting pieces. I can really feel the emotion and power through these pieces and have express a story or pattern of change in emotion through this series.
Picasso and Paper’s exhibition was predominately painting and drawing however, it was concluded with a video time lapse of Picasso drawing. The footage was displayed on a very large screen in a blackened room with some benches for the audience to sit on. The cinematic setting created a powerful ‘premiere’ of Picasso work. The exclusive footage displays the artist in his studio at work giving the audience a taster of how the artist works. the time lapse presents the methods Picasso carries out to produce his work. The setting too the blackened out room with a projection of the film gives a feeling that the audience are in an art class being taught by the master. Picasso is showing the ‘students’ his process of creation. Although Picasso does he communicate in the film, he is clearly showing his methods and materials he uses which in itself is a lesson for the audience. Having this piece at the end of his exhibition was a strong way to finish it because it has left the audience with a memory of the artist.
In terms of my own exhibition, I think the idea of having a blacked out room with a large video is the best way to represent my work. The cinematic display will provide a powerful presentation of my work. The current situation of Covid-19 has changed the ideas I have for my work drastically therefore, the virtual exhibition has provided me with the opportunities to present my work in this way. I think if the virus did not cause such disruption, I would not be able to create such a display. In that case I would have used a projector on the wall instead. I think this display would still create a powerful piece through it size but the light environment may neutralise the sensory mood. The blackened environment would focus all of the audience’s attention on the video and will create more intensity to benefit the work itself. This exhibition by Pablo Picasso has inspired me with my own exhibition because the experience I had in this exhibition is something that I wanted my audience to experience. The whole Picasso and Paper exhibition was displayed as a journey through the different stage of Picasso’s career to celebrate every part of it. I think this is a strong way to display art especially at the end of my degree because it will provide me with the opportunities to present my audience with the journey I have taken to complete my degree.
Yvonne Rainer is a contemporary artist who produced a video, Hand Video, 1996 (see blog post about her). The little project has really inspired me during this time of change with the current Covid-19 situation because it was a simple yet affective piece which I feel could help me to develop my work further.
After being stuck in a rut with my drawings and where to take the them, the change in location and way of working, along with her video as inspiration, I decided to begin creating short films (no longer than 10 minutes) of my own hand. The video consisted of a plain white background with nothing but my hand moving in front of it. The movements started small and again to get more lively and aggressive and then quietened down again at the end of the video. The reason behind this development is to explore the dynamic movements of a hand and be able to look back at the work to explore it further. I found it has been an interesting way to be think my ideas for the exhibition and why I enjoy exploring hands.
I began editing my film on iMovie where I was able to cut and paste, edit the sound as well as play around with the filters. It was quite interesting to see the different effects and how it would change the mood of the work. I found it quite frustrating because I would edit a video and begin to play around with the filtering and lighting however, I decided the film itself wasn’t right and so I had to re-film the work a few times. Although plans have changed and I have had to travelled home to continue my studies, I am fortunate enough to have a large space to work in and the correct lighting and fairly good quality equipment to use. I mostly intrigued by the black and white filters because it gave a very neutral tone to the work. It took any attention away from the background or the colour and focused entirely on the hand and its movements. There were a few different black and white filters so I tried them all out to see which one I liked the most. The ‘Silent Era’ filter [figure 1] was most interesting because it gave a vignette effect away the outside of the video and also a vintage recording filter across the screen. By this, I mean the work looked older than it was, relating this back to Bill Morrison’s Decasia as well. I also tried the ‘Noir’ filter [figure 2] which gave a very simple black and white filter to the work. I liked this filter but, I felt it didn’t really bring anything to the film so I don’t like I will continue with this filter.
Yvonne Rainer is a contemporary artist who predominantly specialises in dancing and choreographing. The artist along with others broke away from the contemporary dance to create this art. The piece is question is Rainer’s Hand Movie, 1996, which is a 8 minute film in Black and white of a single hand performing movements. These movement create a dance sequence where the hand is introducing itself, performing small moments and creating a sort of dance with the fingers. The black and white effect on the video makes the whole film neutral in colour and so keeps all of the focus on the movements of the hand. Making the film monochrome is a very artistic because it creates tone and contrast making it seem ‘dreamlike’ and imaginative. The deliberate black and white of the film takes away any realistic emotion the audience may associate with it. I feel this aids the playful creativity of the piece.
Even with just a single part of the body, the hand is able to express ones emotions through its ability to put pressure on itself and with gesture. Negative emotions will be expressed through strain and discomfort whereas, positivity would be a soft more open gesture. This film was portray a soft more playful emotion through the movements of the hand I find this piece inspiring because it has given me ideas of ways, other than drawing, in which I could explore the hand. Film is a contemporary way for me to work and creates another way to show my thinking. The film would show actual movement and change in emotions and gestures whereas, through drawing, the movements are static.
The large scale drawings on the ripped paper will look better unframed because the framing will limit each piece. The sides if the frames will contain the work but I feel it will be too enclosed and ‘finished’ for my work. The torn paper creates an unfinished feeling but also reflects the emotions in the image itself and so by framing the work will diminish this. However, the problem with not framing the paper raises questions of how to exhibit the pieces. I don’t want to have large screws or forms of hanging showing because I feel it could disrupt the work. I have decided to hang it on white walls because I want the back drop to be neutral. The background does not have anything to do with the art and so white is a strong neutral shade to go with. The richness of the charcoal will also contrast with the white background and so the art will stand dominant on the wall.
The Cardiff National Museum held a photography exhibition which I visited in January to explore ways curators and artists exhibit work. Although photographs are very different to the way I work, it still helped to see how different types of art can be exhibited. The two separate rooms in the exhibition curated the work in different ways. In one exhibition the work was contained in small fitted frames which were screwed to the wall using small screws fixed behind each piece. The fixings were small and discrete and so they didn’t take any attention away from the art itself. However, in the other exhibition to photographs were unframed and pinned to the wall using circular flat screws. The unframed effect gave the work a more unfinished look and made the work look more to resemble propaganda and posters. The whole exhibition was unframed which worked however, I believe photographs should be framed or at least fixed to the wall in a neater, more organised manner. It was interesting to the different ways artists decided to display their photographs in their work depending on the concept. I feel with a more contemporary concept the work is displayed better unframed because it is not as though the work is vintage and necessarily needs to be preserved. By this, I need older more vintage photographs look better framed because it suits their time more. It was interesting to see the different ways the artists had curated their exhibition and wanted the audience to perceive their art.
Alison Lambert draws on paper and does not frame her work. It is unclear how exactly she exhibits her work but, there are no visible pins or screws so I think she has managed to find a way to secure the work from behind. I am inspired by this method because it means there is no attention taken away from the drawing its self. The almost ‘self hanging’ idea creates a sense that the work is simply there and is a presence in the exhibition. The lack of visible fixings gives the impression that the work can be easily moved and exhibited in a range of places.
When I have been creating my own work on torn paper I have found a way to hide the wall fixings by placing more paper on top of them. I feel the wall bindings could take away any focus from the work and also eliminates any need for the work to be framed in order to hang it from the wall. When I was looking into ways I could display my work, I did not exclude ideas such as hanging from the ceiling or simply fitting the paper to the wall using pins. The issues which I encounter when looking at this ideas included: I did not want to fix the art completely to the wall; rather I have to gently resting against it the wall. Hanging the work from the ceiling could have been either against the wall so the work is only resting across it or hanging in the middle of the space. By hanging the work, problems such as the paper ripping could arise and ultimately ruin the piece. Hanging the work in the middle of the space would be interesting because the audience would be able to walk around the art and it could be seen as a journey, depending of the pieces I decide to use in my exhibition. I have decided this way of hanging would not suit the concept within my art. In conclusion, this discussion has allowed me to think through the different methods of curating the work and with that, I have decided to fix the work to the wall with invisible fixings which are covered by more paper around the edges.
Alison Lambert, Portrait
Visiting a range of different exhibitions and shows to explore a wide range of ways to exhibit work has created a thought process for me and the way I want to present my work because the way it is curated affects mood and the sense of the work.
As my charcoal drawings are on torn paper which is part of the piece, framing the art would take away this part. Deciding how to exhibit them was quite difficult because I needed to find a way which would display the art without framing them.
Researching this, some artists on chatrooms have decided that fixing and framing your work is the best way to present it in a formal way. But, a charcoal artist, Emily Rae suggests on this site that it the work does not suit the framing method, hanging the work from a beam on a large mat board would suffice. This way I would be able to shape the board to fit the torn paper and not show around the edges. If I was to use this method, I would hang the work on a white wall so the board would be touches the wall but not fixed to it. Many exhibitions have included hanging art as a way to not damage and puncher the artwork itself. Hanging the art also gives it a presence in the room as it floats against the wall.