Archives for posts with tag: Studio4

I have put together a short video documentation of Scales of Intangibility an interactive installation set in a black velvet lined room made during my Studio4 residency at Chisenhale Art Place. Immersive projections of particle trails, filmed from my cloud chamber experiments, make visible the activity of cosmic rays and background radiation that pass through us continuously without our awareness.

1804 documentation scales 4.jpgThrough experiencing this usually unseen activity of particles that shower down on us when cosmic rays strike the edge of the earth’s atmosphere we can begin to think about other possibilities of what might be present in our universe that we are currently unable to interact with such as dark matter.

Excited to hear that in 2019 Science Gallery London will be exploring dark matter with a scientific and philosophical investigation into the fundamental nature of reality, taking  the theory of dark matter as a starting point for conceptual investigations and experimental forms of inquiry.

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Original dark matter detector Boulby Underground Laboratory

The text In the Dark by Alexander B. Fry will be one of the texts discussed during the upcoming Laboratory of Dark Matters event being hosted by Guest Projects as part of their 10 Year Anniversary celebration weekend.

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Short texts which have a relationship to the exploration of dark matter as a scientific or philosophical concept will be presented to stimulate questions and encourage shared knowledge across disciplines and perspectives. These will also include excerpts from Joyful Cruelty: Towards a Philosophy of the Real by Clément Rosset – translated by David F. Bell, 1993 and Edward Irving’s 1905 How To Know The Starry Heavens.

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The New Materialisms Reading Group I attend has been persevering with Donna Haraway’s Staying with the Trouble: Making Kin in the Chthulucene. It has had an influence on the work I am making for the upcoming exhibition at Ugly Duck Lumen: Cosmic PerspectivesThe exhibition aims to inspire a change of thinking through highlighting the precarious nature of life, and the extraordinary set of circumstances that allow us to exist, in an otherwise, possibly, lifeless universe.

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I have been out taking new photographs in local paradise locations to use for submīrārī (earthbound). Printed on organza, the ethereal images will float in water in earthclad bowls, landscapes fluctuating on the cusp of disappearance. Donna Haraway, drawing from Latour, proposes the ‘Earthbound’ as those humans who are ready to rethink and create new narratives with Gaia at the centre, who recognise the entanglement of society and nature and aim to pursue a ‘nonarrogant collaboration with all those in the muddle’. The shift in perspective embraced by the ‘Earthbound’ embodies a grief shared with other species at loss of habitat and disappearing landscapes. It is not a nostalgia for paradise lost but a reappraisal of what paradise could be. The scenes depicted in this work, sourced from prosaic locations named Paradise, aim towards deconstructing a romanticised ideology and bringing us down to earth.

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We must stay with the trouble. It is important to care. ‘We are all responsible to and for shaping conditions for multispecies flourishing…’.

So glad I got to see Marcus Coates exhibition at Workplace Gallery. He shares a similar sensibility to Haraway regarding response-ability and interconnection to other species. He engages in new ways of thinking through humour and pathos. In The Last of Its Kind  a video where he faces the ocean naked, desperately shouting a list of human achievements at an indifferent landscape he brings home the insignificance of the human in the history of Gaia while in Apology to the Great Auk the extinction of this once numerous flightless bird is placed firmly on our collective shoulders.

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Extinct Animals is a collection of Plaster of Paris casts of the artists hands taken whilst performing the extinct animal’s shadow. His work is absurd, painful and joyful.

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Lorna Simpson’s beautiful show Unanswerable at Hauser & Wirth London questions the archive, how we hold onto the past through artefact or memory, ultimately all of this will dissolve away despite out best efforts.1804 Lorna Simpson

Looking through the prism of media presentation of women and the African American experience as portrayed in magazines that reflect a different era.1804 Lorna Simpson 2

There is an appeal in the aesthetic of old magazines, a nostalgia could be evoked. Or it could just be a painful reminder of issues that are still to be fully resolved.

 

1804 1953 Cosmetic RaysThe Tate screening of Jean Painlevé’s documentary films Silver, Photons and Liquid Crystals was a rare chance to see his abstract films made between the early 1930s and the late 1970s on liquid crystals, photons, diatoms and silver nitrate. It was an odd mix of science and psychedelia. Painlevé used the microscope and modern optics to reveal the natural world in intricate detail. I particularly wanted to see the early films of photons and silver nitrate but it was quite hard to decipher and at times the bizarre commentary was distracting. The programme’s finale was rewarding with some stunning footage of liquid crystals.

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Jean Painlevé Phase Transition in Liquid Crystals

Micro to wide angle but with a shared curiosity to re-present the world beyond our natural senses. Andreas Gursky at Hayward. ‘Driven by an interest and insight into ‘the way that the world is constituted’, as well as what he describes as ‘the pure joy of seeing’, Gursky makes photographs that are not just depictions of places or situations, but reflections on the nature of image-making and the limits of human perception. Often taken from a high vantage point, these images make use of a ‘democratic’ perspective that gives equal importance to all elements of his highly detailed scenes.’

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I still have to finish editing the video filmed in the velvet chamber in collaboration with dance artist Paola Napolitano exploring theories from Laban and Plato. The process can be maddening and slow when you are new to the software. I am trying to get to grips with After Effects to clone out some unwanted light reflections but keep finding myself in a black hole and having to start again.

1804 video stillOn the horizon is new work for In Search of Darkness an exhibition curated by Lumen in Grizedale Forest to highlight the importance of preserving dark sky areas and raise awareness of the ecological problems caused by light pollution. My proposal is to create a suspended sculptural print that demonstrates, through the choice of materials, that adding light doesn’t always make things more visible. To relate the loss of knowledge of the night sky through urban light pollution to the unknown mysteries of the universe yet to be revealed.

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Blinded by the light. Great sun spangled woodland scene in an inspiring show from Christiane Baumgartner Liquid Light at Alan Cristea.

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Enjoyed a visit to see Sam Hodge in Surface Tension with Andy D’Cruz and Marcia Teusink at The Stone Space. The works explore the idea of surface tension as a force and a potency between objects and materials.

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Tense with anticipation. Totally enthralling story telling from mythologist Martin Shaw. A woman arises from a mare’s tale plant with red beads falling from her mouth as she speaks, and a king’s son tied to the top of the tallest pine tree, is slowly becoming a crow.

Down below the forest path splits into two. One path is that of the sable. The other path is that of the bear. One is good. One is very bad.

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A second visit to experience the powerful performance of Simon McBurney in The Encounter. Inspired by the book Amazon Beaming by Petru Popescu he tells the extraordinary story of Loren McIntyre, a National Geographic photographer, who in 1969 found himself lost among the people of the remote Javari Valley in Brazil. It was an encounter that took him to the limits of human consciousness and questioned his idea of reality. The evening ended with Marcus de Soutey joining Simon McBurney for an open discussion on what consciousness might be, how it can be experienced collectively, how we determine reality, non-linear time and what happens when we die.

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The dead live on through our memories. Retrieving memories is a dynamic process – every time you recall a memory you have to repeat a pattern of signals – this is how memories change as the pattern changes or becomes incomplete. It’s interesting that there are alternate pathways in the brain to the same or a similar outcome.

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National Geographic reporter Loren McIntyre had his world illuminated to other ways of thinking I wonder if Martin Pomerantz Trailing Cosmic Rays in Canada’s North in 1953 ever had a similar experience, maybe he encountered some women with interests other than cosmetics.

 

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I had a very productive time during my Studio4 residency at Chisenhale Art Place. It was great to have so much space. I got started by putting up the hydroponic tent to run the cloud chamber to get some more film footage.

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I also ran a Cloud Chamber Workshop where lots of particle trails were spotted. The cloud chamber gives us a glimpse into the invisible world of particles produced in the radioactive decay of naturally occurring elements and those generated when cosmic rays strike the top of the Earth’s atmosphere.

My call out through Chisenhale Dance Place for a dance collaborator was successful and I met up with dance artist Paola Napolitano She has brought lots of brilliant ideas to the project with her knowledge of Rudolf Laban’s choreutics theory and her own interpretation of the dodecahedron as a Kinesphere, ascribing sequences of movement to the peripheral lines and planes within the shape. She shared some of Laban’s wonderful drawings with me

and pointed out his quote; ‘Space is a hidden feature of movement and movement is a visible aspect of space’ 

I then began building the velvet chamber.

Next I needed to make the small screens that the audience would use to ‘capture’ the filmed particle trails which would be projected in the chamber lined with thick black velvet.

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This took some working out to fix the joints but in the end a combination of glue, V nails, double sided tape and veneer pins seemed to be strong enough. I used tracing paper, projector screen fabric, white cotton, polyester, organza, styrene, acrylic and wood as different substrates to give different effects and emphasize the porous/solid nature of matter.

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The particle trail footage was edited together and the projections in the chamber tested.

1803 velvet chamber projections 2Some unexpected effects appeared.1803 velvet chamber projections 1

 

I spent quite a while looking at different projector options. When it was time to film Paola I used a pico DLP for darker shots where just her body was visible and a more powerful HD projector for other shots.

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There was a lot of footage to go through and only a week to the opening event. This was my first video work and I was learning Premiere Pro on the hoof.

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Movement choreographed and performed by Paola Napolitano was filmed in the velvet chamber.

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This work builds on recent research that began with wondering what fundamental elements make up the landscapes around us leading to the discovery that less than 5% of the universe is visible.

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Within the unimaginable vastness of the universe we trace our paths continuously permeated at a quantum scale by cosmic rays fired into our world by high energy collisions in space.

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Plato described the dodecahedron as the fifth construction that ‘the god used for embroidering the constellations on the whole heavens’.

There is also a contemporary theory that the universe may be the shape of a dodecahedron, not infinite but with no boundaries this is known as the 3-sphere universe theory. If you left the dodecahedron at one point you would immediately re-enter at another point

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Rudolf Laban was influenced by Plato and the geometries of the platonic solids. His choreutics theories open up new languages to describe interactions between matter and space.

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‘What we cannot perceive with our senses, especially our fundamental sense of touch, remains unreal and its very existence is denied, until intuition or research discovers the unique and universal role of movement as a visible aspect of space’ Laban

 

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Laban Archive – Dodecahedron without six of its pentagonal sides, demonstrating a diagonal orientational axis with a circular void around it representing a circular movement. Model made with metal, painted wood, wool and shoelace.

 

The simple sound edit was a slow transition through the chromatic scale which is a scale with twelve pitches to echo the 12 sided dodecahedron and some added Geiger counter signals converted to an original chromatic scale composition. The video was screened at the open event Scales of Intangibility and it was a relief that Paola was pleased.

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Interesting  interactions happened in the velvet chamber.

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The polyhedral screens worked well to view the projections and ‘capture’ trails, ( a white shirt worked well too ) and I really appreciated all the good feedback from visitors.

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Now the concept has been tested I am keen to take the idea to new places. Hopefully it can be developed into work for my open door residency Beyond at Allenheads Contemporary Arts.

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While at Chisenhale I had the privilege of experiencing Lydia Ouramane’s The You In Us exhibition at Chisenhale Gallery alone on the floor, letting the reverberations from the underfloor transducer speakers course through my body while reading about the extraordinary tale of her grandfather pulling out all his teeth to escape military service and the night her dogs were kidnapped from her roof terrace. The sound piece is called Paradis it is about waiting for something better to come.

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It is a subtle interaction that makes the seemingly empty space personal. My body is here, I can feel the effects and I will leave traces of my visit as I enter and leave pushing against the heavy silver oxidised doors, as with every visitor’s touch, slowly revealing the silver beneath.

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Enjoyed an afternoon screening at LUX with Catalyst Arts presenting Looking Aside. Laura McMorrow’s The Lost Acre had a fragile materiality, creating unstable ground of the sort that might give way and open passages to other realms.

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I knew we were in for a treat as Peter Glasgow was involved in the selection of films to compliment Seamus Harahan’s BL CK B X exhibition: shiny wet stones.

Fred Butler Harmonics in Space was not quite the zen experience I had been expecting. There was certainly a lot of energy going on at the private view.

 

And as Laban states ‘Matter itself is a compound of vibrations’ 

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