Methods, Materials and Process
This post is based upon Section 14 of my Learning Agreement, which is included below for reference.
|Employ appropriate methods, processes and materials to produce experimental and finished work relevant to current practice in your area. |
The methods and process issues are already encompassed within 13 (see above). Materiality within experimental and finished works are best dealt with here. Materiality in this context refers to the surface and liminal qualities of the materials onto which projection takes place. Again, very little research has been undertaken as yet; based on theoretic principle, issues such as indices of reflection, base colour, shape and material composition are likely to be very important. For example, non-reflective grey paint ought (from a theoretical perspective) to perform better than matte white as a ground for projection mapping on regular polygonal surfaces. What ground works best for complex objects like plants or flowers is still quite unexplored. The learning outcome in this case could take the form of a rating scale, based on experimental observation of real projection experiments.
In the circumstances, I have decided that attempting rating scales is simply impracticable; and that the work is necessarily limited to digital rather than physical forms.
I can achieve an equivalent and hopefully satisfactory learning outcome, by entering a critique of other extant projections for consideration. This overlaps to a degree with the outcome in Section 16 Evidence your understanding of contemporary practice and the creative industries relevant to your subject.
(The examples below are all from different works, but each represents the designated stage of the process)
I started out with images which I had hand painted onto film, and digitalised them to JPEG on the Reflecta scanner.
I then processed and rendered the images (using Studio Artist 5).
The video that ensued could then be examined frame by frame on Quicktime, and frames extracted.
I then selected and cropped those images using Retouch, an easy to use editing program, before re-submitting them to Photoshop to edit the vibrance and colour balance. I was also able to touch up areas of blurred or scrappy imagery and refine the tone.
I then rendered the final image as a digital file for production.
This was a laborious sequence of preparation, but preserved the authentic hand of the artist at each stage of the process. I see the use of digital programs as being rather like a stencil, made by the artist to create consistency within a work, and subject to her choice of colour, emphasis and design.
Materiality and process are big topics; huge amounts of debate and commentary are already expended upon substance (or lack of it) in the arts; and the processes by which we create art are equally exhaustively studied.
Like all artists, I have to think long and hard about the relationship between draughting skills, (such as sketching and drawing), conceptual skills and the myriad of making skills, not least painting.
“Or she would look at him with a sullen expression, once again he would see before him a face worthy of figuring in Botticelli’s Life of Moses, he would place her in it, he would give her neck the necessary inclination; and when he had well and truly painted her in distemper, in the fifteenth century, on the wall of the Sistine Chapel, the idea that she had nevertheless remained here, by the piano, in the present moment, ready to be kissed and possessed, the idea of her materiality and her life would intoxicate him with such force that, his eyes distracted, his jaw tensed as though to devour her, he would swoop down upon that Botticelli virgin and begin pinching her cheeks.”
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Récherche de temps perdu Marcel Proust