Archives for posts with tag: David Blandy

Work in progress experimenting with ideas for some new video pieces that will develop from my collaboration with the high altitude balloon student society at Imperial College London and participation in the Continuum residency at Allenheads Contemporary Arts.

We will be attempting to launch a cloud chamber into space and film the outcome. 1803 filming cloud chamber (1)

 

It will be interesting to see how much cosmic ray activity we can record at high altitude. This is where protons emitted from the sun or distant galaxies crash into the Earth’s atmosphere and break apart.

1901 Cosmic ray decay.jpg

There may be other methods of recording we can try such as stacked layers of very thin plastic sheet which are ionised as the particle passes through and can later be etched to show the resulting track.

On Earth we are also protected from cosmic rays (which are high energy radiation) by the Earth’s magnetic field which is caused by the spinning molten iron core setting up convection currents in a geodynamo process.

1901 gyroscope

I am exploring magnetism and its powers. To be drawn to some powerful source. To fall into a black hole. I am trying ideas of a portal that offers transformation. This is also about returning to Allenheads, being drawn back. A black hole transforms matter, a wormhole deals with exotic matter.

 

Theoretically, to pass through a wormhole you need negative energy.

‘Negative energy is a concept used in physics to explain the nature of certain fields, including the gravitational field and various quantum field effects. In more speculative theories, negative energy is involved in wormholes which may allow for time travel and warp drives for faster-than-light space travel.’

So a portal that transports or transforms you (matter) could channel any ‘negative energy’ present and this could be dissipated by using black tourmaline which is supposed to clear negative energy. This could be the fuel to ignite the process.

I have a obtained a small two way mirror to test for the portal interface so the viewer can witness their own transformation.

1901 two way mirror

This could involve the vital fluids of Animal Magnetism or suggestion therapy of Mesmerism/ Hypnotism.

1901 iron filing tests (3)

 

Magnetoreception is the detection of a magnetic field by an organism. We have a protein (a crytochrome) in the human eye which could serve this function of navigation.

1604 vision

How can we be equipped for physical or subconscious navigation/transformation?

I will be looking at tracking the electromagnetic field, sending messages and reading codes for new work to be made responding to this years incredible communications double anniversary, for Lizard Lighthouse (400 years) and Goonhilly Earth Station (50 years: transmission of the first lunar landings). I am excited to have been offered a place on the Lizard Point Residency run in partnership with Mayes Creative, Lumen London and the National Trust.  We will be visiting wireless and semaphore stations along the Lizard coastal path, considering the Scilly Isles 30 miles out to sea and the important prehistoric menhirs offering ‘beacons’ for travel & procession across the land.

I have a lovely frosted glass Fresnel lens (as used in lighthouses) to experiment with.

1901 fresnel lens

 

With the prospect of using more technology in my work I spent an intense weekend with Aphra Shemza and Jamie Howard at Ugly Duck learning a quick guide to interactive light art. Had a chance to program an Arduino, solder it to a PCB and connect up individually programmable LED’s to respond to sound with variable colour and brightness. Also first time soldering which was very satisfying.

Not sure how I will cope when I start my own project but at least I know what an Arduino looks like now and some of its possibilities. Also it’s good to know Aphra and Jamie do offer support consultation.

I followed this up joining a Flux event hosted by Maria Almena, Oliver Gingrich and Aphra Shemza at The Library where a diverse mix of artists, musicians and various tech geeks from the creative media arts community come together monthly to network and share crits.  Was fun and welcoming.

Out of the Studio..

The Alicja Kwade installation in Space Shifters at Hayward Gallery was clever

and of course I liked Helen Pashgian’s resin spheres

I do like shiny things and reflective surfaces but this show was overload and works became just that – light entertainment.

Pierre Huyghe Uumwelt at The Serpentine Gallery was not so light and felt a bit like being stranded under medication in some apocalyptic lost outpost trying to make sense of incoherent images morphing into something almost but not quite recognisable.

1901 pierre huyghe (2)

The walls were sanded to reveal layers like the dissections of the brain that was scanned to produce the data used to try and build an image from the electrical impulses.

19010 pierre huyghe (3)

The dust filled the air, purposefully bred flies swarmed in vain to escape leaving little corpses on the floor.

1901 pierre huyghe (1)

Francis Upritchard Wetwang Slack at the Barbican Curve. Gorgeous glazes and uncanny mystics.

1901 francis upritchard 3

Left unsure if this was archaeology or evolution.

Attended the talks accompanying In the Dark curated by Genetic Moo, a London Group event at The Cello Factory.

1901 Into The Dark.jpg

Talks by Nick Lambert and Sean Clark from the Computer Arts Society who are celebrating their 50th year anniversary this year, and Jack Addis from the Lumen Prize. Artists discussed their practices and Tim Pickup and Nicola Schauerman from Genetic Moo talked about the challenges of working in the dark when overspill of light from other peoples work reduces the impact of all works.

Tim was wishing for a bulb that emits darkness. I remember Cham telling us about the photomultiplier tubes in the dark matter detector at Boulby Underground Laboratory which he said were in effect reverse lightbulbs, in that they absorb photons rather than emit them.

Made use of a free ticket to London Art Fair, Brockett Gallery had managed to shake of the fair vibe in their installation and I was glad to discover the 1974 film Space Is The Place in the Art Projects Screening Room.

1901 art fair john coney 1974

Presumed lost in space Sun Ra returns to do battle, outwit the white NASA scientists and transport the black race to a new planet in outer space.

Also good to see Thom Bridge’s intriguing self portrait of himself and his twin Theo One Ear Both Eyes which was a requirement of their visa application photograph. Shown so you can’t see both portraits at the same time unlike below. Which is Thom?

Thoughtful and prescient video based work looking at natural selection/personal choice from David Blandy and Larry Achiampong in Genetic Automata at Arts Catalyst. What colour skin would you choose? How far back do we reach for our identity? What can I claim as my own? Net migration google map was fascinating to watch.

Where are those phrenology bumps developing on our contemporary skulls?

1901 larry achiampong and david blandy 3

Falling Stars/Stelle Cadenti exhibition at The Crypt Gallery was a display of work created in response to last years Lumen Atina Residency where the group experiences local astronomical sights and dark skies.

Of Stars & Chasms at ArtHouse1 showing stellar work from Julie F. Hill bringing the astronomical sublime to a bodily encounter.

1901 Julie F Hill (1)

 

 

 

 

 

 

 

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New year fresh start. Laboratory of Dark Matters evaluation reports submitted. Now to build on my research from the last year. Time to put up the dark tent again and get the cloud chamber running to take some more controlled footage for use in an immersive installation. Excited to be experimenting with video projections, lenses and different media to project onto to ‘capture’ the particles.

1712 Lens layer.jpg

Sun Factor jostling for space at a busy Atom Gallery private view of Tomorrow’s World where most visions of the future appear dystopian or apocalyptic.

1712 Atom Gallery PV.jpg

The backstory to this work begins with a holiday to Sardinia and the day trip salesman’s  insistence the island bay he proposes taking us to – it’s paradise, it’s paradise … well how could we refuse. It turned out we were to be cast ashore for hours on a tiny strip of sand with no shade, no escape and a sea swarming with tiny stinging jellyfish. A concrete obelisk stood over the blistering bodies; once ancient sun worshippers built these capped with gold to shine like beacons celebrating the power of Ra the sun god. Modern sun worshippers have their own rituals, laying under a hot ball of gas so massive and so hot it has been active for 4.5 billion years yet it will be another 4.5 billion years before it will expand into a red giant, vaporize the earth and explode.

On a rather grander scale was ( my past RCA tutor) David Blandy’s The End of the World at Seventeen Gallery.

1712 David Blandy 2

Designed for solo viewing, a single seat faces the enormity of space. You become the lonely astronaut gazing down on a faraway world, at once familiar and distant. The voiceover poignantly recounts what is being lost; spanning perspectives, the micro and macrocosm of life, imagined, virtual and real. When the end is in sight senses are heightened.

1712 David Blandy 4

Touched to hear that David thought of me when making the High Definition series splicing microchips, crystals, nebulae and rock formations into stars which appear 3D until you approach more closely and then they flatten. Heptagrams (seven point stars)share Christian and pagan symbolism, they can represent the seven days of creation, the perfection of god and the seven planets which were known to ancient alchemists.

1712 David Blandy 3

The installation HD LIfestyle also plays with the illusion of surface and the material cost of being able to pass through the screen to an ever more real and immersive experience on the other side. The wares are on display. The images sweep us forward. It would be hard to stop.

1712 David Blandy 1

Thomas Ruff at Whitechapel Gallery. He is big on scale, control and appropriation.  I was struck by the regularity and precision of the white dot of light reflection in each of the portrait models eyes.1712 Thomas RuffThe Mars Reconnaissance Orbiter launched 2005 recorded topography, water related minerals and climate using an imaging spectrometer, context camera and mars colour imager transmitted as radio signals to be translated into images.

1712 Thomas Ruff 3D

Thomas Ruff ma.r.s. 

SPACE/London Creative Network Showcase – showing works in progress as part of an ongoing exploration of new technologies employed within art practice.

Catriona Leahy uses laser-cutting technology to etch delicate capillaries onto marble to articulate a sense of fragmentation and the scarring of  manmade intervention in the form of land drainage found in Dutch and Belgian post industrial landscapes.

171124 space LCN Catriona Leahy

Catriona Leahy Percolation Test

Always drawn to the perpendicular – the standing stones. I enjoyed Ben Branagan’s legacy of the built environment captured in totems made from building site aggregates.

1712 space LCN Ben Branagan

Ben Branagan Hardcore Colonnade

Next door was the satisfyingly ritual space of BearMotherhouse a collaboration of Fourthland, an artist collective, with Xenia a group that brings geographically displaced women together with local communities for friendship and integration through creativity. A quote from the accompanying essay by Alberto Duman addressing the cosmological connections and mythologies of the objects that ‘ speak of the degrees of interconnectedness beyond human knowing and the evocation of powerful figures such as the Bear and the Mother that oversee and mesmerise this house’s proceedings

1712 Fouthland with Xenia

Cryptic exhibition at The Crypt Gallery, St Pancras Church examines the relationship between art, science and technology. Lisa Pettibone explores matter and form through the manipulation of one template and the forces applied to alter its appearance.

1712 cryptic lisa pettiborne

Lisa Pettibone Apeiron 01_02_03

Pentagon envy.

1712 Cryptic Bekk Wells

Bekk Wells Elements

Imagining CERN event at CSM presented the results of creative collisions between interdisciplinary art and particle physics.  MA Art and Science students got to visit CERN, collaborate with scientists and make work in response.

1712 CSM imagining CERN exhibition

Gavin Hesketh was here to talk about his work at CERN searching for new particles

1712 Gavin Hesketh

He had brought his cloud chamber along. First time I had seen someone else’s cloud chamber other than online. No dark tent here.

1712 CSM imagining CERN cloud chamber

In particle physics the closer you look the more similar things become,

when you get right down to the elementary particles there is no colour at this scale

 

 

I have had to say goodbye to my studio space and all the other wonderful facilities and people at the RCA.

1507 studio

Lots of ideas were formulated in this little corner and I will miss it very much.

1507 studio2

I spent the last six months pretty much in the screenprinting room

1507 screenprinting

working on the mirror circles for my final show.

1507 circle

There wasn’t much time out but I did try to see some exhibitions that felt were relevant to my own concerns.

I hadn’t come across the work of Michelle Stuart before and I found her exhibition at Parafin Gallery very inspiring.

Michelle Stuart Night Over Alice Springs

Michelle Stuart Night Over Alice Springs

I was drawn to her spiritual aesthetic. The subtle use of colour and juxtaposition of images set within a grid structure bind themes together to create a whole from fragments. I like the way she uses objects, incorporating natural materials and sacred symbolism, referencing alters and rituals.

Michelle Stuart Ring of Fire

Michelle Stuart Ring of Fire

I was excited to see Diana Thater at Hauser and Wirth mostly because of the promise of seven holy ‘kunds’ – or water tanks- and waterfalls that create two tiered pools within her projected installations. I thought this might relate to my own ideas using water in my work giving some insight into water as a sacred medium.

I was disappointed. Due to poor light levels and projected image quality what should have been an immersive experience was frustrated by an awareness of ineffectual technology exacerbated by the front door repeatedly opening and  flooding the space with even more light. There were no ‘kunds’ visible. The gallery assistant thought the pools may be projected onto the floor but with the light levels too high it was not so much that ‘…the pools of water occupy a liminal state between reality and imagination’ but must be totally conjured by the imagination.

Diana Thater Life is a Time-Based Medium

Diana Thater Life is a Time-Based Medium

Online you can find an image more akin to the promises of the press release.

Galtaji Temple near Jaipur

Galtaji Temple near Jaipu

For my second year at the RCA I had David Blandy as my tutor. I think we have quite a few crossover interests in our investigation of contemporary society which manifest themselves in very different ways. He works with video and references music trends and gaming aesthetics and is quite performative. It’s very engaging and has a fine humour.

1507 David Blandy

He screened his video How To Make A Short Video About Extinction for us in the lecture theatre, it was good to see it on a big screen and appreciate the disaster movie genre it plays off though the DIY amateurism invoked does perhaps mean the small screen is its home. Eitherway it’s very funny (while obviously trying to make some serious points too). He put me onto Miranda July, also funny while highlighting some cultural idiosyncrasies , whose book of short stories No-one Deserves To Be Here More Than You I am enjoying at the moment.

I have visited his exhibition showing the video hercules-rough-cut at the Bloomberg Space.

David Blandy

David Blandy

It has huge presence. Ominous and mesmerizing it engulfs you in a kaleidoscopic bombardment of image and dialogue tracing the history of civilisation on its frenzied trajectory to what must be an inevitable implosion. Surrounded by rotating images and screens and immersed in continuous rap-speak that fills your head there is no space to escape.

David Blandy Hercules:Rough Cut

David Blandy Hercules:Rough Cut

It captures the obsessions that are driving our civilisation over the edge into oblivion employing the same seductions that hypnotise us as we are carried along unable to resist.

I have long been a fan of Gordon Cheung’s work so was excited to be able to chat with him about my work when he visited the RCA on what was described as an artists promenade. His interest in relating ancient mythologies to present day financial trading and historical markets such as tulip mania to current boom and bust economics are fascinating subjects.

Gordon Cheung island

Gordon Cheung Island

We also attempted to discuss quantum and particle physics. He had been key in selecting my etching Forest of Eden for the neo:print prize award that I received last year so I was able to go into more detail about what had inspired me to make this work. Originally it was Giambattista Vico’s story of wild men inventing the gods as they cowered in the forest under thunderous skies that led to my research into the myth of the wild man. This myth stretches back to the tale of Gilgamesh’s quest for immortality. In history the wild man’s characteristics reflect topical fears and aspirations, violating the taboos of civilization and symbolizing the repressed desires of society. They oscillate between horror and fantasy.

Susan Eyre Forest of Eden

Susan Eyre Forest of Eden

I wondered who a contemporary wild man might be. Someone on the edges of society, both fascinating and repulsive. I had come across images on the internet of this person who posts photos of himself posing almost naked with guns strapped to his body. He had become an internet meme, shared with equal disgust and fascination. In this etching I placed him back in the ancient forest of all our origins.

The most recent of work I made while at the RCA was Sun Factor. This work allows an alternative access point to my ideas about escape from reality and the search for something outside the ordinary. It explores ancient and modern ideas on sun worship and the rituals that are part of these cultures.

Susan Eyre Sun Factor

Susan Eyre Sun Factor

I used etching for the ancient cliffs and gold pigments on chine colle for the obelisk. The figures are screen printed in high saturation, a reminder of the early days of package holidays and glossy postcards and also of skin damage and loss of connection to the powers of nature. The sun as apocalyptic fireball is a reminder of its true nature which we often forget to acknowledge.

Sun Factor has been selected as a finalist for the HIX award.

I had been experimenting with images printed on translucent fabric submerged in water with a view to using this in my final show.

Susan Eyre submīrārī

Susan Eyre submīrārī

This came from the idea of looking through a surface to consider what is there but unseen by our limited senses   Sometimes the images in the water float and sometimes they sink or fold according to the otherwise unseen movement within the water. The activity in the matter of the universe is going on around us unseen – other intangible things like the aura of place and the dream of paradise cannot be pinned down or explained in terms of materiality.

Susan Eyre submīrārī

Susan Eyre submīrārī

I spent a long time searching for the right bowls for the images floating in water. I had in mind something you might find in the world of Jonathan Strange and Mr Norrell but ended up using the same simple very shiny ones as I had originally found for Café Gallery – Objects Of.

1507 dry clay bowl

I tried giving them a clay outer shell – it didn’t work but the cracked result was inspiring for future work.

I chose to exhibit the water pieces in a cluster for the RCA MA Show rather than each one placed at the base of the individual sculptures as I had previously.

1507 veiwing submirari

submīrārī installation

mīrārī  comes from the latin miror whose etymology is to gaze in wonder.

Now that I had 7 sculptures (one for every day of the week) I felt each work had more weight holding their own space.

Susan Eyre everydaymatters

Susan Eyre everydaymatters

There is a similarity in the way an image is experienced as a surface to look through and be absorbed into connecting the pieces in the installation.

The images in the bowls are more dreamlike, idealised landscapes whereas the images on the mirrors come from the everyday locations that happen to be called paradise.

Susan Eyre everydaymatters (6/7 escapism  - the life)

Susan Eyre everydaymatters (6/7 escapism – the life)

In conjunction with the MA degree show I led the organisation of our event WHAT WAS I THINKING. This was a chance to look back at the thinking behind our degree show and the ways in which decisions get made and also the alarm we sometimes feel at what we have embarked upon.

1507 what-was-i-thinking

We invited David Cross as our guest speaker. David Cross has an international reputation as a lecturer and academic. As an artist, he began collaborating with Matthew Cornford, in the partnership Cornford and Cross, while studying at St Martin’s School of Art in 1987, and graduated from the Royal College of Art in 1991. In addition to producing aesthetic experiences, he maintains that a key function of contemporary art is to test concepts, assumptions and boundaries.

David Cross

David Cross

Looking at global economics and systems of value which govern the art world as well as wider issues of capitalism and our blind commitment to material consumption fuelling economic growth he poses the question  – can we reclaim the vanishing point and reconnect our individual perspective with our collective capacity to envision and plan for a more ecologically stable future?

Early in our first year at RCA we had a seminar with the provocative title Why Print? This caused a lot of argument at the time as we found there were very many opinions on what was and what was not considered print, the value of craft and the place of the multiple or cheap reproduction. As we progressed we learnt to respect each others approaches and realised that the diversity of our group was a strength from which we could all learn.

Rob Miles Cmd shift 3

Rob Miles Cmd shift 3

Rob Miles was our MC for the event and gave an introduction which set out the challenges we faced during our MA and will continue to tackle as artists.  He explained that in such a programme as printmaking there are many processes we could choose from to express our ideas and it was through this exposure and interrogation that we found our own individual affinities from digital media to etching and many combinations in between. New reproduction technologies offer opportunities for exploration,  the old techniques feed into the new, and the new reinvigorates the old. To study Fine Art today is to navigate a plethora of possibilities across an ever widening field of possibilities, often dauntingly so but this also offers us a new representational freedom as artists.

Navigating these new possibilities is something we had discussed in seminars which led us to authors who write about the impact of the web, image saturation/appropriation, and new ways in which we view the world that lead on to questions of reality and representation.

As a point of focus for our event we referred to the politics of the image theories of Hito Steryl in the e-flux journal The Wretched of the Screen.
Her comments on the condition of groundlessness in her essay free fall a thought experiment on vertical perspective seemed particularly relevant.
          ‘Imagine you are falling. But there is no ground.
          Many contemporary philosophers have pointed out that the present moment is distinguished by a prevailing condition of groundlessness.
          We cannot assume any stable ground on which to base metaphysical claims or foundational political myths.
          At best, we are faced with temporary, contingent, and partial attempts at grounding.’
Peter Glasgow spoke about ways that material might be gathered, piled up, held onto and left over to form a body of work.
Peter Glasgow

Peter Glasgow

Using American TV series as his research material he used this analogy to look at work in the degree show as a gathering of material.
Peter Glasgow I'm dead in the water here

Peter Glasgow I’m dead in the water here

 Jilly Roberts narrated The Case Study, a story which explores her ideas of how perspectives can get influenced and altered depending on their content and origin.
Jilly Roberts

Jilly Roberts

Mixing factual accounts with her own experiences out in the field researching architectural landscapes and the invention of the Wardian Case.
Jilly Roberts

Jilly Roberts

 Daniel Clark discussed his research into the cross section between sound and printmaking
Daniel Clark

Daniel Clark

 covering the strange sensations we experience when exposed to very low frequency vibrations  the mysteries of the aquatint box and the sensory drama of the eruption of Krakatoa.
Daniel Clark Volcano

Daniel Clark Volcano

 Amy Gear brought our attention to the link between landscape, language and the shape of words, focusing on the rich history of her native Shetland
Amy Gear

Amy Gear

and how we mimic through language and also through our work.
Amy Gear Stack

Amy Gear Stack

 Meg Ferguson and Maito Jobbe Duval who both work with text and moving image discussed the ideas of French Philosopher Maurice Blanchot to explore their experience of uncertainty in the creative process.
Meg Ferguson

Meg Ferguson

Meg spoke about the ‘leap’ of faith necessary to make work and its value as a catalyst to move forward, letting go of control and falling into the unknown of the unconscious mind.
Maito Jobbe Duval can you see it

Maito Jobbe Duval can you see it

Maito read from Blanchot’s Thomas the Obscure while screening her video work Can You See It encouraging us to think the image of the thought.
Sarah Gillett read a story from her book which accompanied her work in the degree show.
Sarah Gillett

Sarah Gillett

We were transported to a suburban Mum’s night in which was suddenly impacted by the enormity and chaos of the universe both physically as a meteorite hits the conservatory and poetically as we contemplate the points in our lives when new perspectives open up to us.