MAGNIFY is to amplify, intensify, heighten, enlarge, enhance, broaden, boost, widen, blow up...and in this context we mainly focused upon PERSPECTIVE/ SCALE and TEXTURE.
All the artists mentioned above focus their work on challenging perspectives and recreating scales; either by placing life size models in miniature environments or placing miniature models in life size environments. They create narrative landscapes using multiple layers and different perspectives.
Paulo Ventura is famous for creating miniature model sets, using both miniature and life size people for scale. He focuses on establishing an atmosphere and/or narrative. His sets have a very cinematic feel.
We began this project with textural studies. We chose a 2" x 2" area of texture to sketch, and then further magnified into 1"x1". We also did blind studies of texture based on touch.
TEXTURE & FORM
Henrique Oliviera; Plywood Tumour
Spiral Staircase Study:
This week our project was based on understanding and creating an atmosphere through space. We tried to understand how different spaces might ignite different emotions, and how this can be a crucial tool in creating a an effective performance. We also focused on how we can construct and deconstruct a space.
We began the project with a spatial study. In pairs or groups we were given a descriptive word, my group was given "MANIC", and we were asked to find a space which had this atmosphere and make several quick sketches. We focussed on establishing atmosphere and composition. And what space could be more MANIC than Kings Cross Station - hundreds of commuters rushing to and fro, each person on an individual mission.
Richard Long: The Berlin Circle
Numen Collaboration: String Vienna
Numen Collaboration: Tube Innsbruck
I found that Richard Long and Do Ho Soh had certain similarities, both seemed to focus on creating a memory of a space. They both created atmospheres which conveyed the essence of what they once were. The materials they used and environment it was placed in had a certain lightness which helped to create a sense of mobility or lack there of and the nature of time. Both artists also played with life scales, Do Ho Soh recreated her home to its exact measurements.
I was also very intrigued by the Numen Collaborations, I found them be great interactive installations and the fact that their spaces were inhabitable created very interesting atmospheres. They created spaces which evolved into abstract landscapes, for instance STRING VIENNA played with perception; you were able to play in geometric cube and the superficial white space allowed you to defy the laws of scale and perspective. TUBE INNSBRUCK created a tube made of safety net and elastics, "pulsating" and "convulsing" participators out as they went through the installation. TAPE HASSELT also created a magical reality using and warping tape, where onlookers could experience being within an abstract cocoon or web, thee transculent nature of the tape also added to this effect.
Making the life size model got a little complicated, as we were imagining a very large open space, we couldn't understand how to scale it down. After discussing with Gary, we decided to create an alternate model, which would still convey the atmosphere, using the studio tables and chairs and instead of walking we crawled. This scale gave the installation another perspective which was interesting to see, the cramped size and lowered height managed to make the atmosphere even more manic. Restricted by size we could only allow one person at a time to enter the MANIC TUNNEL, we tied string around their waist and then they could create a their own personal map around the legs of the table. As each person went through, more and more string would be added, finally creating a maze. It was actually a lot of fun, and everybody enjoyed going through our tunnel of chaos. To help create a pumped up atmosphere we added music, we played soundtracks such as Crazy Frog by Axel. F and the Mission Impossible theme.
This project is based on designing/ constructing a costume for a performance that would aid or restrict movement of the body. Thus, we began with researching two main criteria:
1.) Understanding the moving body
2.) Understanding different costume techniques & CONSTRUCTION
We looked into studies by Rudolph Laban explaining the three basic planes of movement;
In order to understand this better we were asked to move around the studio for 3 minutes in each plane, hence trying to break down, understand and dissect the different ways our body can move.
An underline basis to this project was also to understand and reveal something about your self; to think about individuality and what makes us different from the next person, to think about what part of ourselves we like to show and what we like to hide as well.
I decided to reveal a little something about my cultural heritage from India. Since this project was also focused on movement I wanted to use the Natraja statue as inspiration.
the dancing form of Lord Shiva is called Natraj/ Natraja. "Natraj" means 'King of Dancers'; 'Nata' = Dance and "Raja" = King in Sanskrit. This seemed highly appropriate since we were discovery movement of the body. This dance is called 'Anandatandava,' which means the Dance of Bliss, his rhythmic movements within the elliptical frame represent the cosmic cycle of creation and destruction/ birth and death. Ananda Coomaraswamy a Ceylonese Tamil philosopher said that the Dance of Shiva represented his five activities; 'Shrishti' (creation, evolution); 'Sthiti' (preservation, support); 'Samhara' (destruction, evolution); 'Tirobhava' (illusion); and 'Anugraha' (release, emancipation, grace).
# ANIMAL CHARECTERISTICS
# ANIMAL BEHAVIOUR AND MOVEMENT
# RHINO HORN
# HORSE EYELASHES
# LIZARD CLAWS/ SCALES
# ZEBRA PATTERNS
My initial reaction to Ming's brief was to play with various animal characteristics and textures to create my own mutant costume. I was driven towards African tribal costumes, but after discussing our progress with Kate, she advised me to stay clear of tribal influences as that can eaily become very vague and very confused. After some probing questions into Ming's motivations, I realised a common link - all the animal characteristics mentioned are evolved protective defences. I decided to expand on this theme and research other animal predatory defences.
It's A Shady Business
For this project we were put into groups and asked to create a shadow performance based upon a mini soundtrack.
Hans Peter Feldman
I love the layering of shadows that Hans Peter Feldman has achieved in his installations, of how different materials react differently with light and can create various effects. I also really like his use of banal everyday objects and transforming them into beautifully composed visuals with the help of light.
PRACTIONER: NAOMI FILMER
Naomi Filmer is a contemporary jewellery designer, who focusses on 'experimental' jewellery, she "challenges the boundaries of what defines jewellery". She believes that jewellery in fashion is the "ultimate definition" of the inspiration. She explores the relationship between the anatomy and the object; both the presence and absence of space. She is driven by the "sensuality of objects, anatomy and emotions" to endeavours to create jewellery that is "an extension of our identity; an expression - a definition."
Naomi tests the limits of materials, their physical relationship to the body and the sensation it can create. She has experimented with various materials such as chocolate, glass, metals, rubber, synthetics and moving images.
"Anatomy-focused, sensual, fluid, intimate, clean"
Five words that Naomi claims describe her work during an interview with Donatella Zappieri in 2013.
Naomi studied 3D design at undergraduate level and then continued to complete an MA in Goldsmithing, Silversmithing, Metalwork and Jewellery at the Royal Collage of Art in London in 1993. She established a reputation for her catwalk collaborations with designs such as Hussein Chalayan, Shelley Fox, Anne Valerie Hash & Alexander McQueen.
is a series of four sculptures that explore the relationship between a volume of space and the body. The oval shape created describes the "space through which a person passes, and the space that passes through a person, as they breathe in and breathe out". Each piece is moulded over the shape the mouth, chin and neck . This emulates Naomi's recurrent theme of creating positive and negative space.
1. Provide someone with emotional, social, or other defences.
This is the definition found in the Oxford dictionary, armour thus became our chosen form of protection.
Armour has been a crucial part of our history since man has attempted to create new forms of destruction as a form of defense or to conquer his neighbours. The Egyptians, Babylonians and Hittites all had well developed armies and used armour made of scale and textile construction - padded, or plates stitched onto cloth and wore helmets, as early as 2000 BC. However, it was only until the Greek Civilisation that technology was advanced enough to create large pieces of metal to protect and fit the body. By 1500 BC (the last few centuries of The Bronze Age) the Mycenaeans in the Mediterranean began creating armour with heavy cylinders of bronze, yet the metal breastplate or "cuirass" proved to be both "unusual and unwieldy".
During the "heroic era" of 800 BC the "free-for-all" style of combat of the Spartans brought about the creation of the large round Argive Shield. This covered its user from to chin to knee as well as provided protection for the exposed left side of the man. The heavy bronze "cuirass" was now effectively useless, and replaced by a defence of folded linen. This armoured infantry were known as the "hoplites".
Rubber has many wonderful qualities and characteristics, it is soft, pliable, flexible and playful. Rubber has an uncanny ability to mimic other forms, to transform and deform itself into various shapes, size and textures. It is the "master of form" if you will. The tactile nature of rubber "appeals to us on a human emotional level", this creates a very sensual experience with rubber.
Rubber has been introduced into our every day lives, phones cases, bottles, clothing, stationery, kitchenware, the list is endless.
Rubber in Fashion
Julia Fullerton Batten:
Gregory Euclide create's 3D painting of landscapes, using a variety of mixed media.
David Dimichele fills miniature box sets with ordinary objects and textures, such as salt or ice. Amplifying our focus upon these textures and making them seem larger than life when placed in miniature models.
Ext. 21 by Lizzie Oxby
Ext. 21 by Lizzie Oxby is a short film using a mix of animation, stop-motion, digital effects and live action performance. I love the atmosphere that she has created in the film, and the use of textures and layering.
TEXTURE & SPACE
Peephole into a construction sit at Kings Cross
Lemony Snicket's A Series of Unfortunate Events (2004)
^ I love the use of the magnifying glass in "Lemony Snicket's Series of Unfortunate Events", I also love the colour grade. It helps set a a sorrow and forlorn atmosphere.
< Henrique Oliviera's Plywood tumour has a lovely organic sensibility to it. I also think his monochrome colour palette lends itself here - it seems so natural, but unnatural at the same time.
< I did a spiral staircase study, trying to understand and attempt to create a form board model of it. It's a lot harder than it looks, but so completely satisfying when accomplished!
Kings Cross Station
Soundtrack; MineCraft Timelapse - Huge Train Station.
Based on our spatial study we each came up with a few design concepts for a space, we then discussed our inspirations and ideas with other students in the same group and collaborated to form a single IDEA. We had all gone to Kings cross station together so we had similar inspirations - we were focused on rush hour mania - navigation - creating individual pathways. Together we elaborated and then were asked to create a life size model in the studio. Our idea was to have an interactive installation, a space similar to an urban forest filled with abstract trees, and each person/participant/performer was attached to a string and could map a pathway around the room - almost as if leaving a memory or trace of his path. The more people who create their paths, the more complicated it becomes, similar to an obstacle race. Ideally there would be limited time as well, which would help create a rushed atmosphere, this could be aided with pumped up music. This could be very interesting as a performance if choreographed well - perhaps a musical or dance.
We also researched various artists in relevance to this, I focused on work done by Richard Long, Do Ho Soh and the Numen Collaboration.
Do Ho Soh:
Do Ho Soh:
Do Ho Soh:
Numen Collaboration: Tape Hasselt
Numen Collaboration: Tape Hasselt
After we made the first model, our next task was to deconstruct and then reconstruct them into a contrasting atmosphere. So MANIC became CALM, SANE, BALANCED. We could only use the materials we had already used for our model.
Cornelia Parker, Cold Dark Matter; An Exploded View
Cornelia Parker is a great reference for RECONSTRUCTION. Her installation Cold Dark Matter; An Exploded View is literally a blown up garden shed that she used, reconstructed, recomposed and suspended to form an abstract art piece.
Ai Wei Wei:
Ai Wei Wei:
Ai Wei Wei has also worked on similar projects, reusing ordinary objects, reconstructing and recomposing them to form beautiful works of art.
Vassily Kandinsky & Charlotte Rudolph.
We not only looked into understanding movement but also being able to line draw various movements as well. We examined Kandinsky's line drawings of dancer Charlotte Rudolph, his simple linear drawings may only be a few marks on paper, but are very powerful images nonetheless. His use of thin and thicker lines also helps to portray weight or lightness of the body.
We were put into pairs and asked to sketch our partners while the moved in each of Laban's planes of movement, while we did this we were also asked to keep three things in mind:
SPACE = DIRECT / INDIRECT
WEIGHT = STRONG / LIGHT
TIME = SUDDEN / SUSTAIN
This helped to understand and breakdown the movement and hence made it easier to translate onto paper.
UNDERSTANDING COSTUME CONSTRUCTION:
We began to look at how costume can effect the body; it can be a form of addition or extension, it can be restricting or contorting, it can alter the shape or movement of the body, and most importantly we looked at how costume can effect a performance.
The history and significance/ symbolism of Natraj seems a little intense, so I decided to try and simplify it for my project, focussing on the movement, extra limbs and elliptical representation of the universe - this would also act as a prop and would be interesting to experiment with for restricting movements.
However, we were asked to exchange ideas and briefs with our partners, so Ming further developed my natraj costume, while i expanded on her inspiration of animal behaviours and characteristics.
DEFENSE MECHANISM: PUFFER FISH
DEFENSE MECHANISM: FRILLED DRAGON LIZARD
Further Idea Development
Pibolus Dance Theatre 'Shadowland'
Shadow Light Productions: Intro to Shadow Theatre
I found this clip on youtube to be very helpful. They recorded the history and introduction into Shadow Theatre as well as showed behind the scenes clips, which showed how they achieved various effects with the use of puppets, cutouts, filters, live performers and costumes.
6th Annual Belle Époque Party Shadow Theatre—The Legend of Urashima Taro
The Legend of Urashima Taro is adapted from MYTHOLOGICAL JAPAN: The Symbolisms of Mythology in Relation to Japanese Art (1902). The entire performance is made with 2D puppets and cutouts, which I think create very effective and clean visual imagery. I really enjoyed the choreography of the storytelling as well. I liked the fact that they incorporated the hands controlling the puppets/props into the performance.
Our experimentation of creating different silhouettes and effects. We used clear plastic trash bags over the performers.
SUPER BODIESis the third Triennial for Contemporary Art, Fashion and Design, Hasselt. The evident theme being the 'human body'.
Naomi created glass bubbles that rest upon abstract and isolated parts of the human anatomy. Fleshy hues help to represent skin tones. She investigates the metaphysical way the body can mould and shape our emotions and our experiences.
SHOULDER BALL LENSE (2007) exhibited at "Out of the Ordinary, The Spectacular Craft" at the V&A Museum in London.
Naomi created an installation of 10 parts of the human anatomy that represented jewels. Each body part is placed into a glass sphere, which acts as a lens, this in turn dramatically makes us focus on the beauty of our own bodies.
The history of armour goes far beyond an archive of mechanical and technical advancements. Fine armour would distinguish a man's place in society. Silversmith's and metalworkers would strive to create the most fashionable, pleasing and impressive pieces if armour.
Armour has been through major changes over the centuries as technology develops and the art of warfare evolves. Modern warfare has established a very different requirement for defence armour. They have introduced lightweight materials; chain mail and metal body armour has been replaced by bullet resistant vests made of Kevlar or Dyneema fibers.
The shield has also evolved during the centuries, it has been made from wood, animal hide, wicker, bronze and iron. 21st century shields are lightweight protection devices made from transparent, high-impact polycarbonate. The transparency allows the user to see incoming objects.
"Only when you can be simply pliable and soft can you be extremely hard and strong"
Rubber in Other Forms
"Who can examine, and reflect upon this property of gum-elastic, without adoring the wisdom of the creator"