From recording and exploring my studio space, I have been playing with the information found above the white wall.
Exploring how the white wall becomes this frame for everyone to work on, sets limits and parameters. I've been gathering the textures and playing with the layering of information and geometric forms, as the space above is full of interconnecting materials.
Colour - A lot go people questioned my use of newsprint and mount board, but it was because of the colour, I didn't want bright white. Another factor I want to play with is the ageing of newsprint, it yellowing in the sun, similar to my lumen print idea.
Using the textures of the interior as a base, I gathered these repetitive textures of the wall surface, metal radiators, studio bifold door and the metal cable trays. The information above the head is criss crossing all over the place, like a highway of information. I turned the textures into 4 A3 shaped images which I could then manipulate into any shape form, from responding to the shapes and forms in the ceiling.
I based my simple geometric forms on this image I took of the ceiling in uni. This helped me play with the idea of layering and gave me my simple shapes to play with, from these shapes I was able to come up with many new forms and compositions.
I experiment with screen printing as I like to play with layering and compositions. With this technique I don't use it for it traditional form of being able to keep producing the same image, I like to create a new image each time, capturing intersecting moment of forms.
Varying compositions.
Capturing moments in time - The pull of the squeegee a moment in time
Starting to think about the link between print and moments in time and light. With my lumen prints, when capturing the sun light, acts like a print and there for captures a moment in time.
When the light is on the wall- acts like a temporal print - in a way it is leaving a mark on the surface- ageing the paper and the paint.
Quick Responses
I was asked to create my work in another area, I found this idea a challenge as I had to come up with a layout which highlighted the conditions of my space for the work to make sense.
With out duplicating my area, I was thinking about the conditions of my studio space and looked at the studio walls- The walls act as a frame or a boundary in which we as all students create work with in the wall space and don't think beyond. This has been background thought in my work, thinking about looking at the mundane and highlighting it.
I wanted to create a line of the wall edge, giving me a reference to the studio, so I decided to gather the shape of light above the wall which sits on the brick wall. I decided to quickly outline the shape and fill it with clay to pick up the texture of the brick wall and create a structure (plaster) to sit on the display space. This shape would then act as a measuring guide - wall hight and give a reference to the sunlight for my other pieces to work on the wall. Unfortunately the clay was too sticky and from trying to peel it off the wall the shape became out of shape and I couldn't use it.
Light Shard
Clay Filled the shape
Peeling the clay away
Left a marbling affect on the brick surface
The imprint left from the clay
Putting the pieces back together
The Imprint
Thinking about the talk from Connor Kelly with the artist walking around the room playing the violin - thinking about space- even though can't see it, it is there, creating a space with the sound. In the video, he also has all his other works playing in the background, I quite like leaving my research there to be seen and it will fit into the line work on my boards.
The Hallway
As there wasn't any natural light, I decided to play with the artificial light in the hall space instead. I set up my paper structure to gather shadows, I recorded the shadows and wanted to turn these into physical structures.
With this I wanted to test out a theory of mine; seeing if i could just apply plaster to the wall to fit the shapes. With limited time, I used any materials i could do to create a frame work for the plaster. I managed to create 2 structures but with the others I applied plaster with my hands and left some bare. This whole piece was about play and seeing what could be created with the materials I had to play.
Colour - the plaster turned out surprisingly pink and this worked well with my lumen prints. I also fitted one of my cutout images to fit into the paper structure as it was the same colour as the blue tack.
A student commented saying how a lot of my work is place dependent, which I would agree and I like having this freedom to exploring a space and seeing what could be added or removed in that space to highlight the mundane. For this instance is playing with the lighting in the hall space, when I showed my work to tutor Mike Marshal, he said he hadn't noticed how the lights int the hall create these 'spotlights' on the walls.
Shadows from my paper structure
marked out shadows
Playing with plaster
All the different processes of marking the shadows
Embossing
Playing with the idea of layers and space and using the light - embossing incorporates all these.
I created an image from my research of the room:
shadows
textures
abstract - play with boarders
Then played with embossing materials into the paper. Just responding to what was there in the print room I used the cut strips of card board. With these i played with various compositions but one did resemble the light shard.
The angled light the hits my wall really helped highlight the the folds from the paper as it engulfs the board. Really looks sculptural.
The wall - being its own embossing plate - added layers over the years of usage
Wanting to play with laser cut, i wanted to create a template for embossing. I created a pattern using textures and shapes influenced by the studio.
Again the idea would be to fit this embossing into my outlines of where the light hits, creating a wall paper, and the pattern would come to life when the light hits it.
