Tag: Critical Analysis

evidence of deeper understanding of own and others’ work

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Blasting of Paintings 3

I have become very intrigued by the process of overprinting a painterly background.  Screen printing technique allows me to manipulate the matrix in order to control both the creation of a new composition and the meaning achieved.  This is done through repetition and the choice of colours in relation to the background as well as the other prints in the existing superimposure.

This effect if subsequently manipulated further through water jet washing and blasting of the wet overprints.  This process gives me much less control.  It is quite violent and spontaneous. The ink splashes all over the spray booth.  Additionally, a range of further effects are achieved through dripping of water and the position of the actual painting during the drying stage.

My creative intention is to continue with this process until I reach the anticipated level of complexity and interaction between individual layers.

As stated in my project proposal, my aim is to discuss the dynamics of a period of 60 seconds of waiting for something to change and happen.  Perhaps, I will try to repeat this process 60 times. The supposedly pointless process of over printing and blasting away with a water jet.  I feel like I am making progress in terms of establishing a framework for the creative process and also with my methodology.

Sixty interventions and “changes” to the image, which are erased as if nothing has ever happened. The memory of the surface implies something different.  Sensitivity of marks and subtlety of this process is something I would like to explore further.

 

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Why Are You Coming Back So Soon…

I have just submitted the following video for a pop up exhibition.

This experimental video is of a series of recently created paintings. The inspiration comes from my experiences in Haiti. I gathered a wide range of primary sources and photographs evidencing my observations and responses to them. The essence of this work is to contradict the rhythm of the painterly process and disturb it with emotional drama inflicted by a long string of messages begging for help and financial assistance. The background narrative – a sexy female voice of a Haitian woman – totally contradicts the drama of the entire situation. She appears to be oblivious to poverty and human struggling. She makes references to her country and the pride of private people. Her vagueness is overwhelming.  The juxtapositioning of the image, the colour of WhatsApp messages and the commentary evokes a totally unreal opposition and clash. It simply etches the intrinsic drama, which is related to the experience of being there and seeing ‘things’.  This is so strange and surreal.

Subsequently, I have booked another trip to go back there at Christmas to revisit the places and refresh my contacts again.

Courful visuals, painterly landscapes, intriguing female voice contrasted with the seriousness of dramatic messages asking for help. I will continue to reflect on this video composition throughout both, the festive season and the forthcoming trip. I am so full of anxiety and fear.

I have also started to feel the impact of ‘reisefieber’ on my well being and my performance at work.

What does the future hold?

Nothing is certain and no one knows.

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Waiting For Something To Happen.

I have made further progress with proposals for the last two seconds: 7 & 8.

While layering image transfers and varnishing surfaces in-between with watered down PVA glue, I have developed the idea of continuously applying 60 layers of related imagery onto the surface while thoroughly documenting each stage.  Some intervals are going to be, perhaps, developed further through the use of video and blending.

I have also recently received a bizarre and laconic sound message. The idea is to use this recording as audio track to support those experimentations.

Photographing the work below was not easy.  I had to experiment with several lighting techniques, while documenting the work in progress in the photographic studio.

There are some contact sheets below, which visualise the entire process.

60 seconds equals 60 layers – only 1 minute of waiting. Waiting is used as a metaphor here. The person who is waiting and trapped in the sphere of dreams and hopes is very predictable and safe. Action and response are much more dangerous. They both require bravery and facing failure and disappointment. They require ideas and energy.

Waiting is the new state of being. Waiting for something to happen and change life for better. Waiting, which is passive and effortless, withdrawn; dreaming about change.

On the other hand, waiting can be associated with emotional destress and boredom. This, in turn, can lead to a life of  crime and deviation. When one waits for too long, greed becomes the only option and the ultimate desire.

7&8 27&8 1

7&8.jpg

 

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Seconds 7 & 8.

I have tried to document the process of developing a set of recent painting ideas for seconds 7 and 8.  I have experimented with layering and using a large number of glazes, robbings and image transfers.  The main focus is on the revealing and distracting the surface in order to achieve an incredible depth to the hue of colours, which sound with harmonious melody.  I will continue to update this post as new developments take place in terms of making progress with the act of painting and discussing my concepts further, using video manipulations and editing.

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Comparision of Abundant Spaces

When reviewing my research journey, I have noticed that the view from my lounge window has an astonishing resemblance to a slum outside Port-au-Prince.

It was raining quite badly and the entire valley was covered with a thick layer of condensation and trapped moisture in the air.

The image of Torquay is dark, gloomy, wet and almost monochromatic.

The photograph of Port-au-Prince is highlighted by the hot sun, which emphasises the colours of the environment.

Both were shot roughly at the same time of the day.

I find it very surprising that despite both destinations being densely populated, there is no sign of humans.

EllacombeslumPortauprinceslum

 

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Critical Analysis

I have designed the following Critical Analysis grid in order to place my investigation firmly in the broader contexts of the potential and turbulence in the 21st century.

0001

Context:

I am questioning uncertainties of tomorrow in the context of our anxieties brought about by transience, mortality and the arrow of time.  Nothing stays the same. Everything changes inside and outside.  This is such a difficult concept to embrace and accept; agree with how our life is designed to be ephemeral and ever evolving; limited by the boundaries of birth and death.

I am linking my thought processes to the broader implications of cultural, religious, social, psychological, emotional and economical contexts.

 

Language:

My work seems to be a critique of the obvious and mandane; within our reach and predictable.  I am questioning my responses to extreme levels of poverty to trigger other thoughts, going far beyond survival.  I am trying to assess my ability to adapt to the unpredictable and unknowable “tomorrow”.  The project, at the moment, is open-ended and contradictory; negotiating possibilities between “I am certain” and “I am uncertain”.

Visualisation:

I am currently producing a number of painterly compositions, which are superimposed with photographs and mixed media manipulations.  This is supported by some video pieces, which extend my thought processes while questioning the idea of time and possessions.

Creative Intentions:

My objective is to question myself and my responses to having witnessed extreme poverty and life survival.  I would also like to create a new understanding of “self” and my vulnerability.  My intention is to continue to produce work, which is ambiguous and reflects my fragility with respect to the arrow of time.

 

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You Can Never Be Sure of Everything!

Making Certainty Uncertain and Unpredictability Definitive

 

“Uncertainty about what?

While the Heisenberg Uncertainty Principle (HUP) does not mean “there are some things you can never be sure of”, it does imply “you can never be sure of everything.” How can this be? If you can never be sure of everything, doesn’t that mean there are some things you can never be sure of? Surprisingly, no.” 

(Wiseman, 2012)

Fundamental certainties of the past have become the greatest uncertainties of the future. The most significant uncertainties of the past have evolved to become almost certain today and definitive tomorrow.

In reflection to my experiences in Haiti, I am experimenting with removing my certainties from the certainly uncertain world there!  Through these image manipulations, I am questioning what is uncertain?  Can the removal of certainty create anxiety of unpredictability?

My certainties are their uncertainties!  I am certain of having a meal and they are never sure of what will happen; what to expect – moment after moment, day after day, year after year.

The world of certainties is totally denied to some unfortunate people, both physically, emotionally and in the sphere of dreams, aspirations and ambitions.  Their focus of poverty is completely different, placed on survival rather than luxuries and unnecessary commodities.  This is in contrast to the superficial and trivial obsessions of the “Western World”!

I am watching their uncertain world through the “removed” certainty on my afternoon beer.

incertain beer

I am staring with uncertainty at the certainty of my luxury meal.  The table is set up and ready, but the food has been removed.  What is on my plate, in the bowl?  How am I going to satisfy my hunger for security and thirst for predictability?

uncertain meal2
uncertain holiday

Everett argues that we live in a Universe of multiple space-times and each spacetime is governed by Lorenz contraction of time (Barrett, 2011). Therefore time is perhaps the key factor, which forms our perception of certainty and uncertainty.  Both feelings belong to parallel yet distinctly different worlds: prosperity and poverty; the arrogance of confidence and hesitant insecurity.

Heisenberg implies that uncertainty is often a result of a measurement (Wiseman, 2012). The act of measuring an object’s position changes its speed or vice versa. Perhaps the real origin is much deeper.  The uncertainty principle exists, because everything in the Universe behaves as a particle and a wave at the same time.  In quantum mechanics, the exact position and speed of an object have no meaning.

To explore this idea further and visualise this concept, I need to experiment with images by manipulating them into “behaving” simultaneously like a particle and a wave.  Particles exist in a single place at any instance in time and waves are disturbances spread out in space.