Bye Bye Burmese Monks

I have made some real progress today. I set up a video recording session of the washing of the Three Burmese Monks piece. Everything was arranged in the print room. As the DLSR run out of power, I had to result to using my iPhone XSMax with a tripod.

Following a discussion of details included in my storyboard, Georgie, our technician, agreed to help with the washing performance.

My picture frame was purposely wanky and crocked. I wanted to include a glimpse of a fire extinguisher and PVC pipes in the view. I also thought that bleeding stains on dirty floor make a valuable contribution to the overall impact of captured images, their meaning and the recording.

The raw footage is relatively long and full of accidental disruptions. They will all need to be edited out in order to create a cohesive video piece. The details of my plan will emerge soon, and continue to evolve and grow.

I enclose the final washed up image of the Three Burmese Monks piece and some raw and culminate footage below:

Time-lapse & Hyper-lapse with Colour Grading Workshop.

This has been a very intensive and exciting day. Matt Edwards, who run this workshop is an expert with a fast knowledge in this area. The purpose was to initiate experimentation with filming and editing footage in an intentional and meaningful way. A strong focus on the overall idea is very important in order to develop a holistic and professional piece.

In order to ensure consistency between individual workshops and experimentation, I have decided to create and record a mini pop-up show of my screen prints.

I used a Nikon D90 camera and a tripod. The idea was to capture a broad view of an art studio. All work in progress provides the frame with detail and sets the seen, while contextualising the video. I practiced with recording myself, while continuously displaying prints on a white wall to form a large rectangular composition. Subsequently, the pieces were removed one by one. White wall as a start and the same white wall as the end. This concept has provided my with the boundaries for my action and narrative.

I have experimented with a range of possibilities and considered a number of unassuming angles for shooting. My creative intention was to ‘go’ beyond a simple use of a documentary or media approach. I wanted to create a short art film.

Simultaneously, this provided me with an excellent opportunity to photograph my prints using a digital SLR.

As soon as all images and video footage are processed, I will include them and other visual material in this post.

Premier Pro is an advanced piece of sophisticated video editing software, which allows for a superb level of control, manipulation and intervention.

To aid my memory, I made a number of notes. I hope to use them as guidance in further experimentation. I am excited about taking my current ideas further and this process will begin shortly.

I feel that I have learned a lot about the impact of colour changes on video and the way in which it is perceived and understood by an audience.

Surprisingly, there is a similarity to how this applies to traditionally developed imagery.

I created a number of clips and sequences and experimented with additional effects including the use of alteration layers.

All in all, the day was very successful and demanding. I have benefitted from being challenged, especially in the context of experimentation and risk-taking leading to the development of new ideas and discussions of alternatives.

I am looking forward to the next stage of refinement of the work, which I have started to produce today.

A screen shot of my notes is below:

Raw Footage for Editing during the workshop

Screen-Printing Workshop

To diversify my experiences from last year with mono-printing and etching, I opted for screen-printing.

Following an excellent presentation of technical possibilities, we reviewed an extensive range of examples of prints, covering numerous pieces produced by both, staff and students.

Tony Lee delivered a detailed demonstration of a variety of processes, while discussing alternatives to the time-typical practice. To my surprise, he also gave me all of my prints from last year’s workshop. I was astonished by this amazing surprise! Thank you Tony.

Brian Whitewick introduces us to the technical aspects of coating and developing screens. His knowledge and experience were excellent.

With his help, I was able able to achieve a crisp transfer of my images onto a silk screen.

Initially, I taped a screen and established a form of registration. I used a number of experimental techniques including masking, drizzling and flicking. I dragged the squeegee across and continuously overprinted my under-images with countless layers of harmonious colour transparencies. My creative intention was to achieve a sense of depth of colour and sensitivities of related textures. Subsequently, I used the same images as for the cyanotype workshop and developed both of the on the same screen.

Background colour considerations:

Using the screen, I overprinted the backgrounds using a similar range of techniques and ideas. Here again, my intention was to achieve effects of mysterious ambiguity, which forces viewers to interpret rather than read images. I was particularly intrigued by electric properties of a bright pink ink, when combined with rich and deep blues, and subdued yellows.
My final experimentation and printmaking proposals, which I subsequently developed, are dynamic and full of healthy curiosity of the painterly space. The subject matter is visually suggested and not described. When dry, I will continue to work with these prints to refine them and enhance their colour further through a range of digital processes , possibly extending to stop frame animation.

Cyanotype Workshop – Day 1

This year’s Low Res programme started with a cyanotype workshop run by Matt from the British Library.

Following an introduction to the process and a range of discussions of possibilities, we proceeded with practical experimentation. Most participants collaged photocopies on acetate of sources from the British Library. With Jonathan’s help, I managed to download and print two copies of my paintings.

During the coating stage, my intention was to contradict smoothness and eve was of the chemical film on the surface. I wanted to achieve a more uncertain and unpredictable effect. I used sponge brushes in a spontaneous and dynamic way, trying to create a layered and broken effect.

Unfortunately, the light from the strip lights was powerful enough to begin exposing the paper before it had a chance to dry. I resulted to aiding this process with a hair dryer and protected the pieces from further damage by storing them in a black plastic bag.



The next stage was based on preparation and further enhancement of the acetate photocopies. I used permanent black pens to refine the images and emphasise both the shapes as well as stains and textures. Here again, my intention was to create images with are non visually descriptive. I wanted to achieve effects of ambiguity leading to curiosity and a range of possible interpretations.

Subsequently, after exposing my work in UV light boxes for 15 to 20 minutes, the results have exceeded my expectations. The work is mysterious and has poetic and spiritual resemblances.
I will definitely experiment further with this images to refine them further using a digital process, perhaps even moving image trials and animations.




Beautiful Stranger – Progress.

I am really excited about some recent developments in terms of my painting practice.  I have worked on my recent canvas with a great range of colour layers and washes.  The glazing of the underpainting, which is in turn blasted off with a jet of water, creates a sensation of unusual depth to the work.

i am hoping to achieve a greater complexity of the surface quality. I am also experimenting with a juxtaposition of hyper realistic portrayal and random and accidental marks created by the jet of water. However, this process is more than just a mere accident.  I am also slowly learning how to control the nozzle of the pressure washer in order to achieve an effect, which i particularly desire.

In technical terms, I have also extended on my typical use of brushes and started to include working with sponges and cloth.

The process is documented below:

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