Wednesday, 28 June 2017
Inspiration: Pipilotti Rist
Highly accomplished technically and employing dazzling colour, Rist's practice fuses sensual images, music and text to create mesmerising installations. She creates a total sensory experience for her audience by showing her works within architectural installations, conceived specifically for particular spaces. At first glance her work looks incredibly ethereal and captivating, the audience encompassed by colourful, psychedelic imagery such as that in her installation Eyeball Massage. The audience's experiences are akin to those of Lewis Carroll's Alice in Wonderland due to the fact that Rist is constantly attentive to scale and of creating situations in which the viewer feels as though they have shrunk or grown. Her filming techniques reinforces a hallucinatory quality: looping and churning with relentless, uncontrollable movement. Large, voile-like panels appear throughout her Eyeball Massage installation, serving as a projection screen or to veil the imagery from the immediate gaze. The result is something very soft on the senses, imagery that envelops the spectator into the displays.
Rist creates films—playful, psychedelic, sensuous, and often provocative—exploring themes and imagery of birth and death; family and love; the body and the natural world. By exploring size and scale, high and low technology, the natural world and the urban environment, Rist invites her audience to question ways of seeing and experiencing art, and to constantly change their perspectives.
Tuesday, 20 June 2017
Configurations
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Card and photo paper cut outs, 35 x 20 cm (individual hanging pieces)
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Monday, 12 June 2017
The Self Is All That Can Be Known To Exist
Inspired, fascinated, and confused by the philosophical notion of solipsism, I wanted to investigate the dissonance of our experience of reality when you come to believe that the self is all you can really be sure of that exists. Starting by creating drawings and collages that separate and isolate people from their surroundings - heads from their bodies, limbs from the figures of commuters on a train - removing them from their original context and replacing them into a space, I developed this project into an installation composed of mostly steel wire embellished with threading wire manipulated into shapes and forms from my initial drawings suggestive of human characteristics. These wire forms, two-dimensional and unassuming were then projected onto the surrounding walls to form shadows that overlapped and created line drawings.
I have never wanted to become an installation artist more than after I encountered Yasuaki Onishi’s work. His constructions are so achingly simple yet absolutely breathtaking and consume and engulf spaces and viewers that enter into his spaces. I am intrigued by his use of light and minimalistic approach to his choice of materials because the source of lighting seems to be quite pivotal in the way his sculptures are perceived and how it affects the space they occupy; the materials he uses very accessible and not unnecessarily combined with or embellished with fancy machinery or other mediums.
The way that he grapples with and explores positive and negative spaces, spaces that do and do not exist until he conjures them and makes them artistically relevant like in “Reverse of Volume” where the plastic sheet suspended from the ceiling is molded to impressions of cardboard boxes that were once beneath it, consequently creating this negative space underneath what could be an impressive mountainous landscape. Or the way in which he conjures up spaces within spaces through shadow casts on walls, allowing the viewer the freedom to roam around and bask in this ethereal and unreal setting, perceiving the ‘space that doesn’t exist’ and experiencing it as they see fit. Visitors walk in and out of his contemplative spaces, observing how the simplest qualities of light, shape and line change. I am absolutely inspired by the simplicity of his aesthetics due to the distinct lack of colour and how his installations such as “Vertical Volume” evoke a sense of peace and calm within the viewer because of the expansive stretch of translucent white material.
Saturday, 10 June 2017
Lolo Portraits
Lolo: Tagalog for grandad. He became the ideal model for portraiture when touring Ilocos Norte in the Philippines last year. Unaware, candid, and almost always sat down at our destinations, I wanted to capture my grandad's peaceful and observant nature as well as record the beautiful settings that we were in.
Friday, 9 June 2017
One Minute Epics: Flow
Submission for the one week set project of 'One Minute Epics' using low quality equipment which in this case is my iPhone where I showcase the aesthetics of flowing water whilst maintaining a narrative, a definitive beginning - middle - end.
Thursday, 8 June 2017
Tangled
Revisiting a project I did during my foundation where the primary source for development was drawings of hair, I chose to tackle it literally rather than figuratively and focused largely on the immediate representations of hair instead of abstracting it. I took up close photographs of different hair textures and during the process wondered about the strangeness of how hair found ON the body is largely seen as beautiful, integral and almost worshipped, whereas isolated and AWAY from the body it is seen as disgusting and repulsive. With this in mind I gathered materials such as rope and netting, materials with textures reminiscent of that of hair and assembled a hanging piece of work with which to project my images of hair on to.
Above are photoshop mock ups of how I imagined, or ideally envisioned how the projection would look like and below is what was actually exhibited. I think the hair textures looks incredible enlarged and projected like that.
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“Tangled”, 2016; fishing net, mesh ribbon,
string, colour image projection; 110 x 140 cm,
Spike Island
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