Where better to project a visual and tangible representation of anxiety and fear than at a sight of which embodies exactly that. The angle of decent helps encompass the spiralling into the depth of no control. I very much wanted to take my work out into the public domain but at the same time wanted it to be discreet and subtle and by projecting in abandoned places like this I think it has been achievable.
This was really just an experiment , playing around with concepts and ideas. I was interested in trying to fabricate what was on the inside (inner -monologue , emotions & spacial memories) into films and then project them onto the exterior of a pre-existing shell like structure (abandoned buildings/ houses ect ).
I liked the idea of concentrating the subject matter (the films) onto certain selected areas of abandoned structures, in this case the area in question was the windows. I think I was attracted to the windows as they reminded me of eyes. “Eyes are the windows to the soul” in this case I suppose this is very true as windows are the only way of seeing what is on the inside from the outside.
This is an image of my film “Confined” being projected onto an abandoned cinema in Stratford. The derelict building use to house “The Relax Cinema”, in 1896 originally before the building was a cinema it was an opera house. However the building has now been been abandoned and has lied derelict for over 20 year. I liked the Location and the fact that it was an abandoned cinema, with it off the main road and tucked away it really just fit the criteria of what I was looking for in a building.
This has been my forth visit to the Turner Prize exhibition in the past two weeks, and yet I still find myself drawn to the same artist. I find my self completely captivated by their work, unable to move throughout the exhibition with the same interests.
The artists whose work I was so enthralled by was James Richards, and his piece being exhibited is entitled “Rosebud”. Admittedly I had never really give much thought to or paid much attention to video/ film art as I had never really been that interested in the concept; but from recently looking in to film in my own practice this has led me too look for and seek out other artists of influence and inspiration. James Richards is defiantly that artist, everything about his discourse; the way in which he creates narratives and the way in which he uses a mixture of dissimilar footage to layer upon divergent sound pieces; all of which work together in a perplexing way.
“Richards generates meaning through abundance, by way of allusion, ellipsis and unity of tone, the lack of legibility counterbalanced by a strong” – The White Review
I really liked in the interview above that James refers to his film pieces as abstract sculptures or paintings; much like a sculpture is built James builds upon and sculpts narratives form thoughts and fabricates these into tangible existing acts/ scenes.
“Richards weaves together his emotive films from a diverse range of found and original footage to explore the pleasure of the act of looking” – Tate
I thought this quote was quite important to mention “the pleasure of the act of looking” this defiantly came across to me when looking at Richards work at time particularly with the scenes of the camera shots submerged under the water then surfacing; the whole motion of the rise and fall and of the distortion were very fascinating and trance like. yet there were scenes where the censored pages of the adult art books appearer where your almost disturbed and repulsed, but there’s something interesting and alluring about the stills where you do not want to look yet you find yourself looking anyway. It is really rather interesting to see the relationship between both kinds of material, although worlds apart that are tangible connections of theme in the sense of both look at the refraction and distortion of an image or seen, weather that be through the water with the constant submersion and immersion of the camera from the water or from the scratched out areas of the censored adult books both of which translate the same theme of refraction and distortion of an image.
On reflection of my countless visits to this years Turner Prize exhibition, I will defiantly be taking away with me some new ways of which to thinking about and approaching film/ video.
This is one of my recent films entitled “Your father wont be at all happy”. It is to be part of a a bigger piece, an installation of a collection/ archive of my films. They are all based on my inner monologue and are all filmed through the face of this clock.
A clock to me is a domesticated object, we look at it many times a day, and yet never give it much thought. This I am sure is how every one feels at some point or another, that their seen by others but never given much acknowledgement, so for that reason the clock plays a significant roll.
Firstly the clocks internal parts were removed and the hand detached from the face of the clock revealing these three holes. I thin fixed my camera (video) inside ensuring that the lens was facing out of one of the three hole.
I then mealy left the clock lying about to see what it would captured, the results were quite interesting especially when it captured unsuspecting passers by, however the videos where I am in them such as the video below of me was more of a performance as I knew the camera was their.
In my recent work I am currently looking in to film and video footage, and wanted to try and build up a body of Video artists as research and reference. I was particularly interested in looking at artists who worked with creating narratives.
Cinema 16 – British short films was ideal for this, with artists such as Brian Percival, Lynne Ramsay and Jim Gillespie along with many more, all of which for me embodied that sense of narrative.
I very much fell for the styling’s of Brian Percival’s short film: “About a Girl”, everything from the way in which it was shot, to the early faded quality of the film and to the way the story was narrated and told through the eyes of an adolescent.
Another film that much like Percival’s “About a Girl” narrates a situation in great artistic fashion yet in a completely auxiliary way, Simon Ellis’s short film: “Telling Lie’s” was told in an unexpected form and ingenious way, with both sound meeting animated captions, he invites the viewers to conclude and deduce the truth behind the sound tracks lies.
(to be continued)
“It all started many years ago, with a pocket-sized black object, the product of a great tradition. The Moleskine notebook is, in fact, the heir and successor to the legendary notebook used by artists and thinkers over the past two centuries: among them Vincent van Gogh, Pablo Picasso, Ernest Hemingway, and Bruce Chatwin. A simple black rectangle with rounded corners, an elastic page-holder, and an internal expandable pocket: a nameless object with a spare perfection all its own, produced for over a century by a small French bookbinder that supplied the stationery shops of Paris, where the artistic and literary avant-gardes of the world browsed and bought them. A trusted and handy travel companion, the notebook held invaluable sketches, notes, stories, and ideas that would one day become famous paintings or the pages of beloved books” – Moleskine No matter where I am or where I am going, I always with out fail have my pocket-sized black object on my person. I treat it as my confidant, my journal, my initials means of documenting; it is in turn the fundamental bases in which my work stems from and becomes such.