Wednesday, 12 January 2011
Show Me The Monet
The interview seemingly went quite well, but they did not give an indication of whether I will go through to the next stage, so a 1-2 week wait is in store for me. The artist interviewing me was very interested in my project as a whole, which is a positive step, and I am enjoying the process.
Wednesday, 5 January 2011
Cloud photoshoot 2
The first set of cloud images may be usable, but I still feel it necessary to take more, as I remember spending hours gazing at the 'fluffyness' of clouds and dreaming of archangels and cherubs. The sky is an important element of the project, as it always appeared in my thoughts and memories of childhood landscape, due to its infinite properties and awe at what was up there and how did I get to it (my thoughts) communicated with my mother...
Flashbacks
As the project evolves, so my thinking becomes deeper, as I am seemingly drawn to certain objects which remind me of my childhood.
The memory is brief, however, almost in and out in a flash, unlike some previous images which lasted longer, as the emotions I experienced took over temporarily.
The memory is brief, however, almost in and out in a flash, unlike some previous images which lasted longer, as the emotions I experienced took over temporarily.
The first image of the tree drooping forwards reminded me of a film called 'The Dark Crystal' which I watched with my dad and was quite enthralled by, but scared at the same time, as the trees seemed to be alive and try and inhibit the path through the forest.
The second image with the metal fence to the foreground triggered memories of forever having to climb fences or stiles, which seemed endless when I was young, despite their probably only being one or two, but it felt like that was all we had to do!
The last image of the frosted trees reminded me of my favourite novel, 'The lion, The witch, and the wardrobe, as I dreamed of walking into a new scene myself, often testing my wardrobe out! The 'V' formation of the trees stood out for me, as it yields an imposing presence of what lies behind and is not altogether welcoming, requiring trepidation. Yet, the fence to the right, encourages a lead into the trees paradoxically.
Friday, 3 December 2010
Installation Concept
Following discussions with Kartini, Andrew, and Barry, I now feel an installation comprising multiple elements will enhance the project and create that sense of childhood landscape.
The aim of the project now seeks to create a space which the viewer can walk into and perhaps be reminded of his/her own childhood, through the use of projection, photography, collage and flower press art.
I initially thought of projecting the sky up to the ceiling, but am now considering the idea of producing 4 large (A0) panels with photographs of the sky and placing them face downwards on the ceiling. The projection could then consist of a landscape scene serving as a backdrop on one or two walls (?).
I would also like to gather aspects of nature, which accompany the memory and photograph, such as grass, twigs or flowers. These are important elements of the project, as I spent many hours staring at organic objects, mainly through boredom! I may add them to a kind of glass construct, which will have to be bespoke.
I do not wish to include video due to it not fitting in with the installation as a scene which almost would be like walking into a landscape. In order to get round the video aspect, I could shoot a burst of stills, which can then displayed as a set, showing the movement.
I hope that the exhibit will in some way take viewers back to their own childhood.
The aim of the project now seeks to create a space which the viewer can walk into and perhaps be reminded of his/her own childhood, through the use of projection, photography, collage and flower press art.
I initially thought of projecting the sky up to the ceiling, but am now considering the idea of producing 4 large (A0) panels with photographs of the sky and placing them face downwards on the ceiling. The projection could then consist of a landscape scene serving as a backdrop on one or two walls (?).
I would also like to gather aspects of nature, which accompany the memory and photograph, such as grass, twigs or flowers. These are important elements of the project, as I spent many hours staring at organic objects, mainly through boredom! I may add them to a kind of glass construct, which will have to be bespoke.
I do not wish to include video due to it not fitting in with the installation as a scene which almost would be like walking into a landscape. In order to get round the video aspect, I could shoot a burst of stills, which can then displayed as a set, showing the movement.
I hope that the exhibit will in some way take viewers back to their own childhood.
Friday, 19 November 2010
Child Perception of Landscape
To approach this question, I took a series of images which aimed to make me feel 'small' and equally that of the viewer looking at them. Some are better than others I feel at conveying a sense of looking at what appears 'large' again:
The first picture represented how I felt... That the world, be it the ocean or forests seemed endless, vast and at times to infinity, as I couldn't figure out where it ended...
Wednesday, 17 November 2010
Quotations and Thoughts...
We do not remember days; we remember moments.
Pictures and shapes are but secondary objects and please or displease only in the memory. (Sir Francis Bacon)
We both know what memories can bring / They bring diamonds and rust. (Joan Baez)
When you have made a good painting, don't do another like it, but remember the process, what you did, what you were thinking and feeling. (Darby Bannard)
By the time I was sixteen, I'd come to realize that the purpose of my life as an artist was to re-member what I had, by the age of five, dis-membered. And from that point on, never forget. (Che Baraka)
Memory is the greatest of artists, and effaces from your mind what is unnecessary. (Maurice Baring).
There are moments when I can wander through my childhood's landscape, through rooms long ago, remember how they were furnished, where the pictures hung on the walls, the way the light fell. It's like a film - little scraps of a film, which I set running and which I can reconstruct to the last detail - except their smell. (Ingmar Bergman)
My landscapes are non-specific, evoking a mood rather than a particular place, so that viewers are reminded of their own memories, dreams and nostalgia for locations. (Victoria Block).
Perhaps I am doomed to retrace my steps under the illusion that I am exploring, doomed to try and learn what I should simply recognize, learning a mere fraction of what I have forgotten. (Andre Breton).
Some memories are realities, and are better than anything that can ever happen to one again. (Willa Cather).
It is very well to copy what one sees; it's much better to draw what one has retained in one's memory. It is a transformation in which imagination collaborates with memory. (Edgar Degas).
I go to work as others rush to see their mistresses, and when I leave, I take back with me to my solitude, or in the midst of the distractions that I pursue, a charming memory that does not in the least resemble the troubled pleasure of lovers. (Eugene Delacroix).
There's a lot of landscape I never would have described if I hadn't been homesick. The impulse was nostalgia. (Joan Didion).
These quotations have helped to focus on what memory means to us... How do we convey the memory to the viewer, or indeed do we need to, as it is my memory; a memory which I am sharing, is that enough?
Pictures and shapes are but secondary objects and please or displease only in the memory. (Sir Francis Bacon)
We both know what memories can bring / They bring diamonds and rust. (Joan Baez)
When you have made a good painting, don't do another like it, but remember the process, what you did, what you were thinking and feeling. (Darby Bannard)
By the time I was sixteen, I'd come to realize that the purpose of my life as an artist was to re-member what I had, by the age of five, dis-membered. And from that point on, never forget. (Che Baraka)
Memory is the greatest of artists, and effaces from your mind what is unnecessary. (Maurice Baring).
There are moments when I can wander through my childhood's landscape, through rooms long ago, remember how they were furnished, where the pictures hung on the walls, the way the light fell. It's like a film - little scraps of a film, which I set running and which I can reconstruct to the last detail - except their smell. (Ingmar Bergman)
My landscapes are non-specific, evoking a mood rather than a particular place, so that viewers are reminded of their own memories, dreams and nostalgia for locations. (Victoria Block).
Perhaps I am doomed to retrace my steps under the illusion that I am exploring, doomed to try and learn what I should simply recognize, learning a mere fraction of what I have forgotten. (Andre Breton).
Some memories are realities, and are better than anything that can ever happen to one again. (Willa Cather).
It is very well to copy what one sees; it's much better to draw what one has retained in one's memory. It is a transformation in which imagination collaborates with memory. (Edgar Degas).
I go to work as others rush to see their mistresses, and when I leave, I take back with me to my solitude, or in the midst of the distractions that I pursue, a charming memory that does not in the least resemble the troubled pleasure of lovers. (Eugene Delacroix).
There's a lot of landscape I never would have described if I hadn't been homesick. The impulse was nostalgia. (Joan Didion).
These quotations have helped to focus on what memory means to us... How do we convey the memory to the viewer, or indeed do we need to, as it is my memory; a memory which I am sharing, is that enough?
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