Essay tutorial | Structuring

Relating to the work I am producing at the moment;

1) Layers, trace of film / film as object / tangible quality of analogue over digital

2) Analogue to Digital, etc (The 'Real' / Lossless quality)

3) Evidence of others in the film, original filmmakers?

4) Different technologies used to view films

Interested in the making, the process. The immediate experience created by film. Looking at artists' practice or a particular art piece. Having a dialogue with a theorist.

Baudrillard? - The 'simulcra' and 'hyperreal'??

I would like to introduce the work of Stan Brakhage whose work relates to the surface of the film itself, etc.

Research:

- Powerhub filmmakers (Guy Sherwin, etc)

- Rosalind Krauss 'A voyage on the sea...post-media condition'

- Nicky Hamlyn 'Film Art Phenomena'

- Malcolm Le Grice

'One Take' Project

These stills are from the super 8 projection of the re-filmed segments of 'Miss World' and Ballet dancing.

Miss World Pageant 16th November1967 :- Madeleine Hartog Bell (Peru)

Stills from 'One Take' Project

Manifesto 'How to Recognise when you are turning into Sophie Calle'

Tutorial 25th Nov 2009 notes regarding Project Proposal

Opening up questions, what technically do I want to explore, what thematics?

I usually refer to my work in regards to it being a performance, although not being in the overt sense, rather relating this term in relations to the process in which I work. Using the camera as a tool of documentation and this often being the document of the performance itself.

This opens up a dialogue of what is considered to be performance? What is the 'Role' of the performer?

What processes are gone through in the performance? Does it need an audience to make it a viable piece of work? Can the processes themselves be the work rather then the intentioned outcome?

(e.g Film yourself editing the film)

The filtering out of information and deciding what is seen.

Am I a performer? A question to be asked, more in a sense of opening up a dialogue rather then encouraging this question to be answered and then dismissed. The audience would have to deal with this question.

Process as performance? | Structures?

Whats important?

(e.g The objects might not be there anymore just the script./ series of photographs documenting set up. etc)

Setting up a framework, someone else has contact with.

Wheres the audience? Who is the audience?

When is the word performance used correctly? What distinguishes performance?

Research:

- Actor Network Theory

- 'Out of Actions' Book on Performance Art

- 'Seriality' Mel Bochner (Setting up systems)

- Lars Von Trier (Dogme 95)

There of course would have to be a relevant reason to use super 8 rather then just the appeal of how it looks? I wish to experiment with this medium I would not consider myself to be a filmmaker and to use an old technology is something that appeals to me, I have looked at the work of Stan Brakhage previously.

There is a vibrancy in the colours within these films and the projector itself becomes integral to the work with the noise as light is projected through the frames. I have also written about the still and moving image in relation to Laura Mulveys text 'Death 24x a second'

'One Take' Project 3 (Nicky Hamlyn)

This is a film project, I want to use the film to encapsulate something the photograph may perhaps lose within the decisive moment.

I am intrigued by using film as documentation, exploring my surroundings and looking to the film as a trace of something, an imprint. Can this be the same within the digital medium of film or is there a lossless quality with the use of this technology opposed to analogue and the use of mediums such as 8mm or 16mm?

research

looking at artists;

-Tacita Dean

-Robert Rauschenberg

-Janet Cardiff

Also been investigating journal projects.

can not upload video at the moment...very frustrating

Sound / Video project cont...

The super 8 onto DVD, is something that perhaps needs more time to explore and not that suitable for the short project with the deadline being next, I had originally wanted explore the concept of analogue to digital and vice versa, filming the DVD sequence back onto super 8.

Other projects I had begun to explore is a sound piece based on drawings and sketches, I wanted to create a catalogue of sound based on my drawings, so for example '1 minute drawing', would be a sound piece recording the sound of the pencil on paper for the whole minute, therefore keeping some form of structure to the work.

I shall move forward with this idea I need something to link it though? How can it be presented? Also pro-tools software would most likely need to be used to enhance the pencil noises as at the moment they are quite minimal. What do my drawings need to be off? Images relating to sound? Therefore microphone/stereo/speaker/headphones/walkman, etc. Something that links in with the sound aspect...also I need to think about whether the drawing is something that is going to become part of the final piece, or is this something to be withheld from the viewer and allow the sound to become quite abstract?

Final 3rd Year project '1992' (2009)

Work from 3rd Year Degree Show 'Zone' Old Truman Brewery

This is my work from my degree show the images show the installation of the 'Doreen' series.

4 images 16"x 12" C-type

MA UCA Maidstone

After graduating from UCA, Maidstone with a First Class. BA Hons degree in Photography and Media Arts I wanted to continue my practice in an academic setting therefore I felt the MA course at UCA, Maidstone (MA Artists' Film,Video and Photography) was ideal for me. Focusing on the theory side of my work and allow myself to continue to build a respectable portfolio.

#1 Project :

The brief is very open the idea to link it back with previous discussions within the briefing, use of video and audio or one or the other. Over the Summer I have managed to come across old super 8 films of my family from around the 60's up to late 70's included in this my parents wedding which I had never seen before, although it is a small segment and there is no sound only the eerie soundtrack added by the company that transferred these film reels onto DVD, I have both film and DVD available to use and explore and am interested in what I can achieve within this project.

Most of my work is photographic stills so it would be interesting to explore more of an installation or video/film piece.

UCA, Maidstone Free Range Exhibition

UCA, Maidstone

Free Range Graduate Exhibition:

The Old Truman Brewery (F Block T2)

'Zone'

www.free-range.org

Sophie Calle

'67 Days to Unhappiness' Sophie Calle and her made, unmade bed.

'The Hotel Room'

Although I am interested in Sophie Calle's work and she is something that inspires me I appear to unintentionally assumed her working practice. Not in terms where I am copying her work, more a similar context with my own work.

Michael Craig-Martin

Glass on water positioned on a shelf with the text consisting of an interview explaining/discussing the work. After my inclusion of a glass of water in a few of my photographs prompted this similarity to be suggested, I felt I wanted to look into this work.

Example of the interview, which is the text in the installation:

Q. Do you mean that the glass of water is a symbol of an oak tree?

A. No. It's not a symbol. I've changed the physical substance of the glass of water into that of an oak tree.

Q. It looks like a glass of water.
A. Of course it does. I didn't change its appearance. But it's not a glass of water, it's an oak tree.Text copied from http://acheimeublog.blogspot.com/2008/03/michael-craig-martin-oak-tree-1973.html

Looking to Vermeer's paintings to study the quality of light and the pale,pastel colours and how this relates to my own work.

Vermeer

All work is copyrighted | © 2009

Final Major Project

Work in Progress for final major project. Needs a title to contextualise it.
The work is based around my childhood family holidays, three places in particular,
Seaton, Torquay and Dawlish. I have a poor memory of these places so my intention is
to re-explore these areas in which I have the original photograph with me but never present
in the photograph, keeping the original from the viewer, referring to Roland Barthes and 'The
Winter Garden' image of his mother. These hotel rooms are not the original places I stayed in 1992, but are important as my use of them is more about examining the spaces and the utilitarian nature of the hotel room and how it functions within the holiday. My work usually
focuses on 'self as subject' but I have taken my physical being out of the frame and rather imply
a trace of the self as being evident within these images. The light is an important factor in this work and the decor of the hotel rooms themselves, referring to them as a form of empty shells in which many people have stayed before my entering the space.

Seaton Seafront

Gillian Wearing

Performance/masquerade in the sense that Wearing mimics each member of her family including her younger self and copies the stance/clothes etc of the original photography.

Martin Parr

Martin Parr looks at the banality of everyday life and uses the photograph to document these moments yet making them interesting, taking these moments out of time invites us to explore these moments in more detail then we originally would.

Cindy Sherman

Looking at Cindy Sherman's work as her work revolves around our perceptions of feminity and the Hollywood theories of femninity and how they are portrayed in film.
Sherman's work is very performative with 'self as subject' which is an aspect i use within my own work.