I have been selected for an international film festival which takes place in France, Argentina and Italy later this year!
My film will be shown at La Friche La Belle De Mai in Marseille (10-13 November 2016), and online between 11 November and 4 December on www.visualcontainer.net
The full programme will be available soon at www.instantsvideo.com
The film examines repetitive and ambivalent relationships in matriarchal
cycles of generation. The texts are from A Proper Marriage by Doris Lessing and National Velvet by Enid Bagnold.
I'm into the very last weeks of my MA at Kingston University. My friend and fellow student Louise made a list of all that has gone on throughout this experience. I thought I would make some lists too of what I have done on this journey:
Things I have bought, borrowed or acquired for making art
Things I have taken photos or films of for making art
Some of the people I have listened to in talks
Mark Wallinger / Tracey Emin / Doug Ashford / Gavin Turk / Bracha. L. Ettinger / Faith Wilding / Griselda Pollock / Mary Kelly / John Miller talking about Mike Kelley / Rut Blees Luxemburg / Saskia Sassen / Samuel Bianchini / Chris Ingram & Miroslav Pomichal / Ansel Krut / Sarah Michelson
Some places I have shown the work I have created
Some places I have been
ICA / Hayward Gallery / Zabludowitz Collection / Camden Arts Centre / Tate Modern / Tate Britain / White Cube / Royal Academy / Dusseldorf / Cologne / Wuppertal / Monchengladbach / Krefeld / Leverkusen / Tate Liverpool / Saatchi Gallery / 4COSE / The Serpentine / Tender Books / Claire de Rouen Books / Donlon Books
Some new things I have used or done in the workshops
All in all I have done so much, but it has opened up my eyes and my ideas to so much more. I just hope I can continue where this course leaves off.
Exciting to be the first project through the brand new Risograph press. Some teething troubles but all part of learning more about what Risograph is good at, bad at, and how to work with it.
Interesting to explore the results of the sandblasting stencils. Initially I thought I would have the text 'reversed-out' of the mug. But then tried it the other way round, with the background sandblasted and the lettering left glazed. I think this is better because the background white unifies the mugs, I also like the way in which the original designs can be partially obliterated. The results achieved varied as to the processes used in decorating the mug - whether the design was on top or beneath the glaze, and whether the mug had an overall colour under the glaze.
"When discussing installations and their perception, Ilya Kabakov wrote that the past, present and future should be suggested, but are perceived subjectively by the viewer. The future can be made by presenting familiar things in strange ways. The present is represented by the viewer, 'who is standing in the middle of the installation, in the centre or moving around inside of it'. While all of the objects are everyday and recognisable, it is not just the objects themselves, but the way that they are displayed - their density, juxtaposition, angle and point of view - that provides the narrative. All these the viewer perceives with his or her deep 'internal vision' as he or she contemplates the scene." p134
Art and the Home: Comfort Alienation and the Everyday
Imogen Racz, I B Tauris & Co, London, 2015
The group met last week to plan the publication that will accompany our final show 'The residue of a flare ignited upon a boundary'. Each person had prepared 4 images.
We discussed changing some people's images from black & white to colour or a combination of colours - using the palette of blue, pink, yellow and black. These colours roughly translate into CMYK, but the blue is more of a mid-tone denim blue, while the pink is florescent. Then the group planned the order that the pages would appear in the book. We decided that we would keep each group of 4 images from each artist together so that the changes from one artist to the next would be distinct. To keep things simpler in production each artist's set of 4 images will be printed 4-up on an A2 sheet of paper, to a maximum of a 2-colour separation - but of any combination - e.g. blue & black, pink & yellow, blue & pink etc. I will produce one master document for output to the Risograph press to ensure consistency of page size/positioning etc.
We discovered how lovely the embossing plate is when I photocopied it. We decided to use this as the title page of the book.
For making multiple stencils for sandblasting my mug collection, I collected scrap sticky back plastic from the Digital Media Workshop, and cut it into 25 x 15cm pieces. I'd planned to use the laser cutter to cut out the 'T+S' stencil. However, this was out of action and it was suggested that I could use the Zund machine. This machine is effectively a plotter with a scalpel blade at the end of it.
It took around a minute to produce 1 stencil. However, the way in which the Zund inserts the blade into the surface means that the corners are not so clean-cut as with the laser cutter. I am hoping that this is not evident in the sand-blasting.
I visited the Stanley Picker house a few years ago on a 20th Century Society tour. It has left an impression on me. Particularly the 'fitments'.
The plate was made by acid etching. Different colour cards were tested, with and without embossed texture on the card itself. More definition is achieved in the embossing if the plate is laid down directly on the bed (scrap paper beneath), and this effect was better than if a blanket is beneath the plate.
The card is 350gsm, Colourplan with Gravure embossing. This range was selected by William following his visit to the paper merchants G.F.Smith. Finally the group chose a light grey colour. This will go with the inside paper: 100gsm Heritage White by J.P.Purcell Paper - also selected by William through discussions with Ioannis the Print Manager.
Christopher Alexander (architect & writer)
On reflection, the grass cutting effect was not distinct enough, though you could see it. I think it was just slightly too subtle. I was worried that this would be the case, but my plans had been stymied by 'Britain in Bloom'. The judging of the Britain in Bloom competition was to take place in the following week, so a committee somewhere in the Council ruled that I was not allowed to do anything more 'drastic' to the grass. Despite the fact that had there been any other kind of event on such as outdoor theatre or music that would have created more severe marks in the grass from stages or seating etc - I was not allowed to affect the grass by creating visual art (in an Arts Centre!).
I think the overall result is likely to have been improved if I had been allowed at least two weeks growth instead of only one. More ideal would be if I had been able to make the grass go yellow. I have learned however, more about planning and dealing with the unexpected. Marks from yellowed grass will have to wait for another opportunity.
Conversations ... what if we had 8 days in a week?
The best moments of the weekend included eavesdropping a group of young teenagers who sat at the top of the steps debating the topic very seriously for quite some time, and the man who came back for a second visit to the event who told me he 'had been thinking about the idea for a long while in bed last night'.
Touring the shops for inspiration for publications - with Kate Fahey
The programme brochure has arrived! I put together the design and layout. It feels very fortunate that we have been able to receive Arts Council funding for the project. It has enabled us to put together that something that looks very colourful and fun that I think will make it easier for us to engage the 'passing trade' audience that we will encounter at South Hill Park. More information at www.engagewithart.org.uk
Visual & ideas
Jane is less fluid and more organised at: www.janeglennie.co.uk