1-1 Tutorial with Jonathan 20/05/19

Tutorials, UNIT 2
  • Presentation of work- which objects and why?
  • – Alejandro- go speak to him
  • Next Wednesday- description on Wiki
  • Whitten timber yard, behind Peckham Library- buy a door blank, white faced or plain and paint it for table, use trestles in studio, project already made river file onto table, then paint river
  • OR use a table top in white from Ikea, £25-£27 depending on size
  • IF I can’t find trestles the right size, Ikea sells table legs for £2.50 each × 4 or thin trestles for £5 each × 2
  • using projector as a guideline to paint river onto table
  • Sound- record sound of walking along the river piped into room, or speakers under the table- quieter, more intimate
  • Need to figure out what audience will sit on- benches or stools?
  • White Ikea stools- £4 each?
  • Instead of putting screens on separate plinths- put one Mac on the table with objects- this COULD encourage audience interaction with the rest of the objects- they will know to sit down and use the Mac because of the mouse attached to it, so this might psychologically encourage them to sit at the table and play with/touch the objects
  • 2 screens- aesthetically pleasing but unnecessary?
  • 1 screen- positioned at the end of the table, facing the back of the room, so that viewers have to come round the table to see what is on the screen, influencing the movement of people
  • Real bones included or not??
  • PROS- the whole idea of perception of the objects and the question of whether people will pick up the real things or the materials they are familiar with?
  • CONS- the bones are very fragile and I an worried they will break
  • Screen capture- the whole show, or just the open night?? When I invigilate? Because the files will be huge, but it can be done on quicktime very easily on the Mac- do I want to code it so that it only activates when someone is using it?
  • Sound- borrow sound recorder from CLS- audio recorder (Zoom or TASCAM) and walk along the Thames where I found the bones- do some tests on my phone?
  • Don’t let the levels get too high on recorder- put headphones in and listen as I record and adjust levels accordingly, get a DEADCAT (fluffy thing for the end of the recorder)
  • Look for audio recording apps for Android?

20190520_11122420190520_111425

The above sketches were made during the tutorial, with the top one being the first sketch/idea and the third being the last and most likely final version.

I can be quite flexible with the space I use in the exhibition, however I would prefer a small space for just my work, so that the sound can be heard and I can specifically observe how the audience reacts to my work.

Tutorial with Jonathan 22/11/18

Tutorials, Weekly Summaries
  • We spoke about how my river project has taken up most of my time, and that I enjoyed having a structure in place from having deadlines for the metal pour, certain days of the foundry being open, and the deadline for the summer show to work towards- I felt much more stable having a rhythm to work like this
  • Enjoying the process of making, as well as the stability provided; learning to use power tools like an angle grinder was particularly empowering!
  • I have definitely developed my skills in sculpting whilst working with the wax, as well as learning how to make hot rubber moulds, how to make plaster moulds for the kiln, how to use various tools as mentioned, how to work with metal (which was entirely new to me) and how to apply a patina to metal. I am a much more confident sculptor as a result
  • Why do I record the processes via photography and video?
    – to aid my memory- as a result of my mental illness my short term memory is very poor, so recording the process is a helpful reminder, and I can always go back and refresh my memory if I need to
    – part of my desire to share the processes with others- I feel that when seeing final pieces of work, such as my sculptures, it can be very difficult to envision all of the work that has gone into each piece- by documenting my process so thoroughly it demystifies the artistic process and makes it more accessible for those who haven’t done anything similar before
  • Discussed that I am a little sad that my video game project has largely been on hold due to the demanding nature of the river project, and the fact that I need other people with certain skills- i.e. an illustrator and someone with experience in games design- to help actually make the game
  • I do feel, however, that my knowledge and understanding of the topic has grown over the past year- the #MeToo movement has provided lots of content online for me to read, watch, and engage with, and there have been a lot of stories in the media that have brought rape culture to the front of social consciousness in the past year, which I have been taking in and adding to my bibliography post over time
  • Do I need to put a structure in place for the video game project? Perhaps I should set aside one day or a few hours a week dedicated to research and working on the dialogue options/characters?
  • Should I set a deadline for myself to find collaborators for this project, in order to get it moving?
  • Holding multiple projects at once- what is this like?
    – I find it useful to have lots on as it helps me to manage my mental illness, although I recognise that on days like today it can be difficult to manage as I can easily burn myself out if I am not careful with balancing everything properly
    – Cross polination- I often find solutions to problems, or new ideas for a project whilst working on something else- it wakes my brain up and refreshes it a bit, which can help stop me stagnating on just one project
  • I prefer to see the artists’ process as opposed to just the final work- I much prefer studio visits over gallery visits as I like to uncover the thoughts, experiments, and failures behind the finished works- how can I incorporate this into my own practice? Perhaps by projecting my process videos in the gallery space alongside the finished work? Or could I find ways to represent the processes- i.e. using my hot rubber moulds to make casts in Jesmonite (a stronger version of plaster) but leaving the casts as they come out of the moulds, instead of removing excess material and working the details back in as I did with the waxes?
  • Emma Gradin- PHD at Chelsea, could talk to her in the new year, discuss my work, ideas, and presentation of the work in the gallery space- she deals with curating exhibitions, particularly without words, and she is interested in the artists studio and processes

1 to 1 Tutorial 16/01/18

Tutorials

River Project:

  • moving away from vacuum forming as I feel I can get better casts in other materials due to the restrictions of vacuum forming, now moving towards metal, resin, plaster and ceramics
  • “The Detectorists” TV show
  • Mudlarking- how it has transitioned from a way for the very lowest of society to scavenge for survival, to a middle class pastime involving expensive permits and equipment
  • “Secret Lives of Colour” by Kassia ST Clair – reserve in library and read it
  • “Re-imagining Scott: Objects and Journeys” by Paul Coldwell – borrow from library and read
  • 3D scanning and printing- could work with some of my found objects
  • “Shop of Possibilities”

Perfect Victim:

  • focus on narrative, use simple, still illustrations and focus on the branches of the story and how player decisions affect the narrative
  • do interviews with woc, trans women, non binary people (who previously identified as femme/women)
  • use interviews as a base to write scenes in the game
  • Put call out for illustrator and games designer when ready