Degree Show Analysis

After 2 weeks of building, decorating , cleaning and creating the work the show build is finally over. After a few hiccups regarding the space I was given and several moves around at last minute I am quite satisfied with the final outcome. The first move was one out of necessity as I started with a very small wall but wanted to create a more immersive experience that would be able to surround you and direct you into the video documentation playing on a screen. The second (slight) move that was made one the day before the deadline was that to double my space. This was very much a exciting and encouraging move as I wouldn’t be sharing the space and I was able to create much more work on the walls and and fully make the space my own meaning I was able to reach my goal of a fully immersive sized show.

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Here you can see a couple of the coloured bits used to show the work of collaboration with other people that I scalped out of vinyl compared to the sources material I used from my pervious performances.

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Looking back if I had know about the size changes I would have laid out the work diffrently and started much earlier as I was only able to do small bits of the coulour on the walls due to late notice and a time consuming making process. Also I think that knowing I would be having a very large space the show I would have set up a section in the centre where people could sit and relax together, talk, listen to the music or just look at the work from the centre of the space.

 

 

 

 

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Intimate Collaborative Performances/ Drawing

Looking into collaborative work and allowing the audience to become participants and artists I decided to start inviting people to work with me within my sketchbook. I  consider my sketch book and working within it a private and intimate thing so allowing someone to work inside it with me was the beginning of a conversation I had with the participant that lead to us making even just the smallest improvement in our relationship. (whether that be closer friends or acquaintances). We both started with the same simple instructions that I have been following for all of my work this year that consists of drawing to what we here.

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Using different colours to distinguish between the two different artists within the on piece of work allowing you to be able to see how me and the other participant worked together within the small space. I am defiantly interested in carrying on this collaborative drawing and am interested in taking this a step further into a larger scale consisting of drawing at a live performance. This will allow not only the connections between the band members but the audience themselves and the audience and the band.

Degree Show Proposal

The work for my final degree show will consist of an installation of many 20m scrolls of paper displaying abstract sound waves/scrapes. This is to be accompanied with the music tracts that have been created from these playing though hidden speakers in opposite corners of the space. This space will need to be self-contained as the work is made to be fully immersive and representative of isolation. The use of dark space, seating and spotlights is to heighten the sense of separation from other people and allow a more sensory experience.

There will also be a live performance form one of the scrolls that will be performed and recorded on the opening night of the show. This is consisting of many instruments and volunteers.

Equipment/ Materials

  • Sound and video recording equipment for the live performance for assessment and degree show opening
  • Bulldog clips and nails for hanging scrolls on walls all around the space
  • Speakers (self supplied) cd player
  • Spotlights
  • Soft floor seating

Space

  • One large multi use space/ one space and alternative performance space (for a small orchestra) with audience area
  • Enclosed box within studio, dark with work across walls lit and space in the centre for floor seating (Dark space in studio or one created in centre of studio?)– to mirror feelings of isolation, immersive into the sound pieces but also able to see the visual marks on scrolls
  • 20m ish combined wall length (Length of largest work)
  • Open space or large enough enclosed space to allow live performance on opening night and assessment

Selling cd’s – So possible table and money box

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Scrolls

From my interest in the visual sound of isolation I created sound waves from the sound recordings I made while hiding in various areas around the studio. To further this and along with my reasurch into visual sound and fluxus music scores I have created my own hand drawn sound waves/ music scores. The length of each role of paper is 20 meters and the duration of the drawing corresponds with the length of the original recording. (Each meter of a scroll is a set number of minutes per scroll). Acting as a machine I am creating something likened to a lie detector machine but placing my own perceptions of the sounds into the visual field. And therefore each particular shape had its own corrisponding sound.
The fluxus and graphic music scores where all made to be performed from and with this in mind I am planning on giving the scrolls to different musictions and asking them to interpret the different shapes and lines how ever they imagin they would sound.

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The reason for not creating the music/ sound tracks myself is that I have heard the original tracks and know what each shape on the scrolls corresponds to. Therefore I will I will have previous knowledge and a skewed perception to what the marks on the scrolls sounds like.

 

Graphic / Fluxus Music Scores

All notated music is graphic in the sense that there are signs to tell you what to do and when to do it. But the idea of graphic music scores not only give you all the imformation you need to play the correct notes, timing etc they allow music scores to become more like maps of a sound world, charts for sonic navigatio. That work visually as art without any need for musical interpretation. They allow for different and more diverse ways of being interpreted and performed.

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The use of text within some of the scores links well with my original sketches which I also wrote down what was being said around me linking in my ideas that any sound can be represented in some way and often visual ways.

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Fluxus was about capturing the moment in a more visual way therefore capturing the music more visually and creativly.

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Award winning, avant-garde textiles label BeatWoven uses its skilfully coded audio technology as an instrument to translate and reveal the geometric patterns created by the beats and sounds in music. These pieces of textiles are direct translations of the sound into image like my use of the soft where to create sound waves and sonic frequencies. They lack the personnel interpretation witch is what I am interested in most (because it is all about personal reactions to stimulus) but is still about to convey the feel of the original music, wether that be classical to dance music, which is what I want to be able to do but with the sense of alienation and isolation thought all of my work.

Creating visual sound allows multiple sensory experiences of the work and this can then create a more dynamic and immersive experience of the work.

Laura Lima – Man=flesh/Woman=flesh

This collection of her work is not nessaseraly based on the ideas of isolation and loneliness but the majority of the pieces and performance involve an isolated figure sometimes almost trapped in a space.

The isolated (some times naked) figure neither interacts with the surrounding or the viewer they become more of a physical object rather then a being with emotions and the capacity to feel isolated and abandoned.

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In Homem=carne/mulher=carne – Pelos + Rede (Man=Flesh/Woman=Flesh) a man and woman lie reclined and nude in a large hammock. With their relationship defined only by physical proximity, the work delves into questions of human relations but remains ambiguous.

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For example with 14 Rooms at the Fondation Beyeler in 2014, Lima fabricated a series of rooms that required the audience to kneel down and see different individuals who were wedged in a space where the ceiling and floor were just far enough to contain them. So they are contained and isolated from the general public.