How do you observe deeply?
Walk – draw – sit – film – listen – feel – curl up – eyes wide – dissolve
Until you forget about time
The shifting focus of nature, no focal point only the living expanse. To pick up a pebble and hold the mountain in your hand.
The living mountain – Nan Shepard
The environment we exist in and how we interact with it
Revealing what is underneath the surface to create ripple actions and affects
Focusing on the relationship between science and art. Exploring representation
Cathartic practice, how art can transform
Making the invisible visible. A journey through practice.
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SEMESTER 2 – ANIMAL
Semester 2: 2501
2021 Week 1
Orange: Classes and workshops
EXPERIMENT RESEARCH REFLECT
WINTER SHOW – what went well/didn’t
Use of more texture and space
There was a cohesive theme
By week 3 clarity on how to do summer show MAY 5th. Arts centre is on board!
– How to reach a bigger audience?
Better promotion, people having a clearer idea of what they’re promoting
-How to use online livestream better?
Links to you tube videos to avoid there being lag
With kindness care
Definition: any of a kingdom (Animalia) of living things including many-celled organisms and often many of the single-celled ones (such as protozoans) that typically differ from plants in having cells without cellulose walls, in lacking chlorophyll and the capacity for photosynthesis, in requiring more complex food materials (such as proteins), in being organized to a greater degree of complexity, and in having the capacity for spontaneous movement and rapid motor responses to stimulation
Animal | Definition of Animal by Merriam-Webster (merriam-webster.com)
Etymology: early 14c., “any sentient living creature” (including humans), from Latin animale “living being, being which breathes,” noun use of neuter of animalis (adj.) “animate, living; of the air,” from anima “breath, soul; a current of air” (from PIE root *ane- “to breathe;” compare deer). A rare word in English before c. 1600, and not in KJV (1611). Commonly only of non-human creatures. It drove out the older beast in common usage. Used derisively of brutish humans (in which the “animal,” or non-rational, non-spiritual nature is ascendant) from 1580s.
animal | Origin and meaning of animal by Online Etymology Dictionary (etymonline.com)
Ymchwydd / 220 // Surge / 220
Afon Hafren // Severn// Sabrina
At 220 miles is the longest river in Britain, historically a boundary it passes through Wales and England. Mapped out the Severn using locations of different polluters and corresponded these to different coloured pollutants – industrial waste discharge (yellow), farm runoff (green), raw sewage (brown), heavy metals (orange). In Wales and England 4 out of 5 rivers fail to achieve good ecological status – used this to structure the film, 80% footage coloured with pollutants, 20% natural. Film is intended to loop to be indicative of pollutants remaining in water cycle.
Soundwave of flood from 01/02/2020- 25/03/2020 along Severn using river levels from each day (high and low), measured at Llanidoes . Converted heights to hertz, used only this flood soundwave to create soundtrack where colours correspond to 5 different tracks – fading in and out getting more chaotic and corrupted as they gather pollutants and reach rivers mouth.
Water is life.
Carolee schneeman: meat joy (1964)
UbuWeb Film & Video: Carolee Schneemann “Meat Joy” (1964)
Visceral film that invokes senses of viewer- think on use of materiality in film to connect in body- water/ soil/ fungi/ waste materials (litter?)
Ukele- touch sanitation
Patterns of rivers are fractals!!
Pg. 38, To life! eco art in pursuit of a sustainable planet, Linda Weintraub
This could be an amazing link from micro to macro, showing interconnectedness of patterns within our environments.
Microsoft Word – Watersheds_Rivers.docx (fractalfoundation.org)
resource accessed from fractal foundation showing how you can make your own watershed and be shown the fractal patterns of a river.
Fractal Patterns: Mathematics & Nature Science Activity | Exploratorium Teacher Institute Project
resource showing how to make fractal pattern
Fractals of ripples
Richard Downing- fractal clock
Interconnectedness of nature, river links to habitat, to animal, to plant…
WATER WATER WATER WATER WATER WATER WATER WATER
WATER WATER WATER WATER WATER WATER WATER WATERWATER WATER WATER WATER WATER WATER WATER WATERWATER WATER WATER WATER WATER WATER WATER WATERWATER WATER WATER WATER WATER WATER WATER WATERWATER WATER WATER WATER WATER WATER WATER WATERWATER WATER WATER WATER WATER WATER WATER
Universal language of communication
Word association game
Looking in to associations with animals, what links with them and is important and relevant to my own practice? Thinking on habitats, like water. Do these frame an animal theme enough? Usefulness of games (like word association above) to create a space for play and ideas to be generated without concern.
Were presented with a myriad of different artists in relation to theme animal. Interesting to see how has been interpreted over space and time, artists actually trying to mimic and ‘become’ animals. A lot on shamanism and crossing boundaries of what it means to exist in a whole. Really loved the move away from human centric view of the world, how to continue to break this viewpoint. To subvert the traditional focal points.
What stood out for me:
Watched ‘Becoming animal’, walking on by moose’s around, abound, just stare- glare. Meditation in patience, in moose. ENTANGLED. Feel its bark, feel it touching you back. Allow gaze to follow birds swoops and dives feel in muscle that d
Gush wash splash rush, sound water itself speaks.
Psyche- breath a gust of wind (etymology of belonging)MIND WIND. As though the air itself was aware.
LANGUAGE- letters speak to us like rocks and spiders used to. Human language began to abstract itself from the land (signifiers??)
Calligraphy of rivers
Animal meditation– very calming, imagining being a frozen frog warming up. helped me concentrate massively in next part.
Dawn chorus (2007) extracts– people having dawn chorus erupt from their mouths! Liked the absurdity of it.
Out of sync– finches perching on guitars laid horizontal. Really didn’t like this, felt like he was taking advantage of the birds. Wondered on their conditions and how it could just use them to make his art.
Meditations on the Sacramento river, the delta and bays of San Francisco- Helen and newton Harrison
Animals, soil, minerals, plants, governemnt, corporations, military were all implicated in this project as source of freshwater affects all of them.
Harrisons created 9 hand drawn maps showing the ill conceived plans of irrigation systems, drainage and ill managed farm run off. Creating a unique perspective on watersheds. ‘Mediations’ invited audience to meditate on constructive alternatives- natures reserves, forest, vegetative flood controls to name a few.
The work became a guiding metaphor, a lens through which many existing cultural landscapes in the process of being transformed into industrial landscapes could be dealt with by ourselves as artists, with the idea that new and different possible histories could become available and open for exploration and criticism.’To life! Eco art in pursuit of a sustainable planet, Linda weintraub, pg 79
Allen Kaprow- performing a river
No documentation other than activity booklet. A happening. Gave these instructions to art students who gathered in a dry riverbed:
(dry stream bed)
wetting a stone
carrying it downstream till dry
choosing another stone there
carrying it upstream till dry
Exploring sensations, works simplicity allows mind to wander in to other things- wind, temperature…complex environmental factors that are often ignored as they’re largely unseen.
The Biosphere- William Pettigrew
The Biosphere by William Pettigrew – NFB
Nature reserve network
‘Nature needs to recover – for the
sake of wild plants and animals, and
for everything it brings us: better
health, climate control, flood
employment and more.
To make this happen, we need to
change the way we look after our
land and seas. We need a Nature
Recovery Network to put space for
nature at the heart of our farming
and planning systems; to bring
nature into the places where most
people live their daily lives.
We need new laws, including an
Environment Act passed by the
Westminster government, to ensure
this happens. In it, local Nature
Recovery Maps would be produced
to achieve key Government targets
for increasing the extent and quality
of natural habitats, turning nature’s
recovery from an aspiration to a
A report for the Westminster Government by The Wildlife Trusts
Have any allowances been made for Wales?? Or just England- the report says we need to rewild BRITAIN. Look in to this!!!!!
Seas need networks too. The Wildlife Trusts propose a national Marine Strategy to provide an overarching plan, which is made concrete in Regional Sea Plans (RSPs) and a network of Marine Protected Areas. The Irish Sea, a complex ecosystem with many competing interests, is one such area that would benefit from an RSP.
“Nature is in big trouble but we know how to bring it back. Local action is already making a real difference and now the government needs to play its part. We need a Nature Recovery Network established in law – one that is locally developed and nationally connected – this would help join up our last remaining wild places by creating vital new habitats. It’s time to make nature a normal part of childhood again and restore wildlife so it can recover and thrive across urban jungles and the countryside once more – where it can be part of people’s daily lives.”
Nikki Williams, Director of Campaigns and Policy at The Wildlife Trusts, says:
George Monibiot-Feral book
Back to earth exhibition: Serpentine gallery
A program about change, to incite change. weaving ecology
Back to Earth – Serpentine Galleries
Series of podcasts exploring links between art and science- creating in the anthropocene.
Back to Earth – Serpentine Galleries
What animals are locally here, animals through time in this location?
HABITAT- ISOLATION- NETWORKS- COMMUNICATION
Lesser horseshoe bats |
Wildlife to see in Wales | Flora and fauna | Visit Wales
Wildlife in mid Wales (naturalmidwales.co.uk)
What is crucial for habitat? Look into local fungi too. Local fishes.
A Green Recovery | Wildlife Trusts Wales (wtwales.org)
A brighter future for Welsh rivers | Wildlife Trusts Wales (wtwales.org)
The Prime Minister’s Ten Point Plan also confirms new National Parks and Areas of Outstanding Natural Beauty (AONB) will be created, as well as 10 Landscape Recovery projects. These initiatives take us closer to protecting 30% of UK land by 2030, extending protections by 1.5% in England towards our goal of an additional area of over 400,000ha and restoring the equivalent of over 30,000 football pitches of wildlife rich habitat.
In 2021 government will start the formal process of designation of the new National Parks and AONBs which will involve identifying the best candidates. This will look at how new sites contribute to our wider goals for nature, beauty, heritage and people.
£5.2 billion for flood defences will also help the country adapt to a changing climate, with an increased focus on nature-based solutions highlighted in the recent flood strategy.
£80 million fund for green jobs and new national parks to kick start green recovery – GOV.UK (www.gov.uk)
National library of Wales, map collection
Maps of Wales | The National Library of Wales
Welsh Tithe Maps – Home (library.wales)
Wildlife trust Wales reimagined Wind in the Willows as though it was now- reimagining landscapes is very important in highlighting issues and overcoming them. As part of their wilder futures project.
Just some of the declines we have seen in recent years include:
• 66% decline in the number of barn owls since the 1930s
• 95% decline in the number of basking shark in UK waters since 1950s
• 40% decline in the number of Atlantic salmon since the 1970s
• 90% decline in the number of common frogs since the 1980s
• 70% decline in toads since the 1990’s
• 90% decline in the number of water voles since the 1990s.
Campaign for a #WilderFuture with us | Wildlife Trusts Wales (wtwales.org)
small but deep
The wildlife around the rivers mouth, into the sea. Links to Irish sea recovery network- showing sea as map
Off the top of my head :
Dolphins, salmon, otter, birds (starlings, heron, cormorants, gulls), sea trout
Why does working with regional seas matter? | UNEP – UN Environment Programme
The Ocean Conference | 5-9 June 2017 Our Ocean, Our Future: Call for Action .:. Sustainable Development Knowledge Platform
About | OSPAR Commission
Lost and found.
Have emailed the Wildlife trust about their nature reserve network plan and also about their living sea initiative.
Contacted JNCC the company supplying sea noise pollution data to the government to see if they’d give me any of their raw data.
Considering using 2 land animals, 2 sea animals, 2 sky animals to reimagine how habitat of harbour and its connectedness to Marine protected zones (MZN) and land nature reserves.
Partly inspired by sign these could be:
Should I concentrate on endangered ones?
IUCN Red List of Threatened Species
ROBERT BURNS POEM
Imagination animal….(notes below)
(or dolphin or seal- salmon more connected to river and do a longer journey though)
On sitting, on being in a place without expectation. Actively engage with your senses, to give the stories in your mind time to unwind.
Each presented the animal we’d imagined….
Back to earth- exhibit at the Serpetine gallery
Carolina Caycedo: From River Rights to Just Fair Energy Transition – Serpentine Galleries
Olafur Eliasson, Earth Perspectives – Serpentine Galleries
Recalibrate how people see earth, through mapping!!
Created ddraig coed as my creature, a tree dragon that has a symbiotic relationship between their tree wings and dragon body. Fungi and algae do this to create lichen, something that colonises spaces first and allows other things to grow. Imagined my tree dragon like this- bought together by the changing climate to adapt and help the environment.
Tried out some sculptural pieces using driftwood as a found resource
Have been in contact with the Wildlife trust to get further information on the marine wildlife reserves and potential coordinates for them
Also contacted the JNCC who record the sea noise pollution data for the government. Wanted to see if they had any raw sounds however they responded saying they only collect raw data. She advised me to look on youtube but obviously this would have copyright issue, am really hoping I will be able to borrow Miranda hyrdophone to create the sound of the harbour mouth where the two rivers converge and head to the sea.
The natural resource wales website that i was directed too by the wildlife trust has some amazing maps of special areas of conservation at land and sea. Look through these to find the relevant sections.
The st georges
WEEK 5: 2202
Presented our ideas for a workshop,
Reflections on idea from class,
keep the imaginative fun part of the tree dragon as it is accessible.
Try and present ideas with more succinct information, or make them less complicated
Exploring problems through imaginative solutions.
Ideas for taking Tims project forwards
-research in to found sound and behaviour
– Read the sound manual on UBU showing you how to make your own electric sound boxes
– Have pictures of our creatures as our backgrounds so it really seems like its the creatures communicating
– Potential to have creatures communicate with other animals in the world, see if theres any sounds of endangered creatures could use
– Try and imagine what different calls would be like- common calls in animals would perhaps be for mating, territory, pain, hunger, fear, sleeping….
Animal Sounds – Free Sound Effects | Free Sounds Library
List of animal sounds – Wikipedia
CLASSIFICATION : Kittiwakes
species: Haematopus ostralegus
subspecies: Haematopus ostralegus ostralegus Linnaeus, 1758
Average lifespan: 12 years
Classified in the UK as Red under the Birds of Conservation Concern 4: the Red List for Birds (2015).
Sea loving gull, lives on cliffs and spends winter out on the Atlantic. Eats fish, shrimps and worms and does not scavenge at dumps like other gulls.
Quite a big range of space!
According to NBN there have been 32 recorded sightings of Kittiwakes in Aberystwyth. I am going to experiment with putting the coordinates of where they have been sighted into What3words and see if I can create a poem from there locations. (potentially to use as part of a soundtrack)
Aware engage sensibly
Thickened ratio lavender
Not all of them had exact coordinates unfortunately however they were all around the local area.
Try looking up the coordinates in the sea for the MZA’s! (marine protected zones)
(In doing this I figured how to put in the coordinates of the local animals I’m researching too!!)
Unpleasantness underpinned unapproved
acclaim fenced headboard
Tested quilting informed
poses hometown otters
lizard consumes writhes … this location from what3words actually in Seachelles…Think I will try find some of my own coordinates for them too perhaps)
I will continue putting the coordinates of the Special marine conservation zone in to What3words though as I think a poem to accompany tree dragon exploring these waters and how the 3 creatures lives are affected it would be stronger if its grounded in the actual place.
Can travel 1000km over the sea to reach there home breeding grounds!
Salmon sightings round local area
Record: 623260 | Occurrence record | NBN Atlas
Converted in to what3words locations:
Flagpole talked tripods
Barefoot goad regulator
Clarifies drop improving
Scorching qualifier gazes
Coordinates of marine protected sights in Welsh waters:
Found the memory map of the sea from the Livingseas Wales sight! A collection of peoples stories and memories of the coast!
Marine memories map | Living Seas Wales
Marine protection plan for Wales
WG41157 Marine Protected Area (MPA) Network Management: Action Plan for Wales (gov.wales)
Around Aberystwyth the Dyfi estuary is a special protected zone
West wales marine / Gorllewin Cymru Forol
Special area of conservation
52.9392, -4.5777 – Loudness . bottom . cools
52.9335, -4.5824 – Servants . aquatics . nuzzled
52.9335, -4.5823 – Impact . prowl . ironic
52.9290, -4.5917 – steam . scratches . wiggly
52.9287, -4.5920 – brand . canoe . level
52.8899, -4.6657- opposite . smashes . perch
52.8899, -4.6658 – laying . thrashed . quietest
52.8777, -4.6726 – reclined . handsets . rebounder
52.8777, -4.6728 – doubt . party . vibes
52.8137 ,-4.7510 – steeped . unwraps . breakaway
52.8136, -4.7512 – blush . spellings . loafing
52.8154, -4.5701 – showrooms . lamplight . defensive
52.8152, -4.5692 – resurgent . landlords . blog
52.8114, -4.5607 – teach . buddy . riverside
52.8113, -4.5603 – dabbled . blast . nicely
52.8016, -4.5429 – downsize . funded . return
52.8014, -4.5418 – nation . sparkle . estuaries
52.7776, -4.5309 – empty . ushering . arrival
52.6067, -4.1290 – alternate . sulked . owner
52.6064, -4.1276 – tailors . musically . hidden
52.6060, -4.1273 – signified . standard . musically
52.5380, -4.0754 – shrub . figure . folders
52.5290, -4.0731 – breed . backhand . spends
52.5290, -4.0658 – bookshop . mercy . cassettes
52.5279, -4.0631 – announce . appraised . table
52.4071, -4.0905 – sulk . pursue . hike
52.4069, -4.0920 – stirs . photos . tagging
52.3080, -4.1615 – badminton . reported . nicknames
52.3078, -4.1624 – levels . replayed . birthing
52.2548, -4.2314 – dockers . liquids . corkscrew
52.2547, -4.2315 – laptop . harshest . vaccines
52.2442, -4.2656 – available . hooks . october
52.2439, -4.2660 – worlds . ruler . committee
52.2222, -4.3069 – dubbing . impose . sneezing
52.2222, -4.3070 – adverbs . dares . reference
52.2154, -4.3370 – onwards . dumps . applied
52.2153, -4.3372 – scans . dispenser . typhoon
52.1447, -4.4978 – coasted . accompany . tinkle
52.1446, -4.4980 – adventure . wiped . providing
52.1145, -4.6878 – texts . kindness . scooter
52.1124, -4.6919 – canine . doghouse . gadget
52.0778, -4.7594 – tastier . buddy . offshore
52.0778, -4.7594 – tastier . buddy . offshore
52.0777, -4.7597 – list . unsettled . drip
52.0777, -4.7598 – jump . beast . amplified
52.0232, -4.8502 – middle . though . unloaded
52.0230, -4.8512 – character . finds .stockpile
52.0199, -4.8687 – ironclad . seat . rots
52.0199, -4.8688 – thickens . fury . delivers
52.0196, -4.8785 – guru . smirking . fidget
52.0196, -4.8788 – chuck . rotation . caskets
51.9973, -4.9707 – cornfield . ringside . fillings
51.9973, -4.9709 – spring . defaults . engulfing
51.9970, -4.9714 – jubilant . hastened . rehearsed
51.9969, -4.9717 – tripled . saturate .visions
51.9491, -5.1826 – strapping . nags . called
51.9490, -5.1828 – mimes . rephrase . ripe
51.8679, -5.2810 – cuff . squeaking . sprayer
51.8679, -5.2808 – prices . waistcoat . corkscrew
51.8727, -5.2188 – encloses . caged . engrossed
51.8727, -5.2187 – honestly . turntable . lottery
51.8692, -5.1972 – bits . allowable . scrubbing
51.8694, -5.1968 – crackles . fork . trample
51.7105, -5.1175 – tearfully . throw . modes
51.6921, -5.1142 – giants . finishing . wolves
51.6242, -5.0629 – teachers . eyepieces . boss
51.4847, -5.1266 – vibrato . blooper . stargazes
51.5089, -5.4198 – nonathletic . elders . decently
51.6764, -5.5961 – chastising . volunteer . timeouts
51.8542, -5.6302 – suiting . unalterably . irises
52.2856, -5.2733- flexibly . prepositions . seascape
52.4636, -5.3069 – motioned . surveyed . perforations
52.9536, -4.7295 – lavished . broadly . trumpeted
52.9631, -4.5819 – replicating . truthfully . autoworkers
read and learn about specific zones – 139 protected water areas in Wales. See how they connect and the direct action they’re taking.
SEMESTER 1 – NATURE
Using gathered materials and direct experience of the environment to create through :
Making immersion (sculptures)
Writing – invisible writing, mobius loop
MEMORY MAPS – LOST WORDS – REALISATION
Thinking on memory I made attempts to create maps of places that were no longer able to be accessed, a step away from water in to the mind. I enjoyed exlporing the places again in my head but representing them proved emotionally challeneging. This focus on loss.
I was reading Robert Macfarlanes Landmarks at the time, a book full of glossarys of words that are passing out of time. This localised, specialised language that creates stewardship of a place. He spoke of the Isle of Lewis, how people would create memory maps in their heads of the peat bogs to be able to pass through the expanse. This connection between lost language and place interested me more than my own memory maps of places special to me. I wanted to highlight spaces important to all.
His glossary of lost water words was specifically interesting to me :
Abbain- substantial river, often running to the sea, with numerous tributaries (Gaelic)
Aghlish- Crook or sharp curve of a river (Manx)
Aker – turbulent current (East Anglia)
Bala- outflow of a river from a lake (Welsh)
Beck – Stream (N. England)
I think this shift towards localistation is very important, to deeply observe and then be able to change what you can. Rachel Carsons silent spring really emphasised this as a neccesity to me, how can you know somethings wrong if you don’t know how it is?
An on going and organic process I began thinking what to observe from my time in the sea, initially I began with:
Who I was with
Where I was
What the sea looked like
What it felt like
Information gathering from the sea, this has now progressed to thinking much more deeply. Adjusting and creating paramenters to hold the sea in awareness
How the stones sound
What I felt before and after
Quality of the water (contact science department and see if there potential for testing)
Experimenting with photo sensitive paper in sea
AMY SHARROCK – Muesum of water
Begun in 2013 in London this collection of publicly donated water allows people to be active participants in the museum. Accompanied by stories of where the water is from it allows us to revaluate our connection with water and the impact it has on our lives.
Making seen something many take for granted.
Funded by Artangel and LSHTM the collection can be viewed online as well as touring a variety of different locations including Somerset house ,Europe and Australia.
This work was inspiring as it highlights our relationship with water, allowing us to become curators and purveyors in its importance. Making the invisible visible.
The Collection – Museum of Water by Amy Sharrocks, London UK
Thinking on nature we explored a variety of artists who explore this, we experimented taking notes using an automatic technique. Where we just responded directly to what was going on with a pen and paper- drawing, direct writing.
Interesting to see engagement and vastly different responses
The artists work that most stuck with me and that I would like to further research are:
Ludwig Berger – Melting landscapes (Field Recordings, 2016 – 2018)
Jan Svankmajer – Faust, 1994
Simone Kenyon and Lucy Cash – How the Earth Must See Itself, 2019
Gerhard Richter– Atlas- Lynne ccoke anylysis
Physical collage, diversity of clippings as artwork in itself
The studio of the street- Jeffery Deitch
Basquait emergence, no distinction between art and life environments
Marcus Boon and Gabriel Levine- Introduction/the promise of practice
TO DO– REVOLUTION — OPEN ENDED ACTIONS
A nebula named practice – dematerialization of art object
Praxis in Greek- to Aristotelian philosophy meant an action that is valuable in itself (had an ethical dimension as how to live and political concerned with how people live with others )
Marx invested practice with collective transformative wordly action
Henry LefeBreve- transforming of everyday life
Lydia Clark ‘structuring the self’ Art move in to art therapy
Big rolling waves, cautious. Sun shining hot bands of grey feel little wound up, somewhat sad. Sun sparkles on.
IN>> Grey turquois POWER stones smash waves devour murky churned froth bubbling underskirts collapsing peaks travel backwards through time shoreline divide flickered
Warming feet stumped on stones to the obliterated sun. She shone 2.45pm when i swam
On own, bottom of north
More in depth sea observations from the storm:
(contemplating whether to go in)
It is windswept. The sea looks browny and grey, there are mysterious shadows of seaweed. Unenticing. Little roolly waves. Giant seaweed scum. The wind chides me. Makes me forget the allure of the sea. What tempers. I feel uncertain, the sea looks matt. 6PM. On own. Small starling party. By jetty north beach.
AT LEAST Y NOT >> BIG scary clumps of seaweed, what lurks within?? Jellfishes. My hands are cold. I see you and I don’t.
On deciding not to swim, you have to be sensible with the sea as it powerful far beyond us and indiffernt. To be held.
We had meditated at the start of class and it inspired me to just sit with the sea if I thought it was too much to go in safely and reflect.
Waves as big as horses roaring up sky aghast with clouds rising above horizon giants laying back on sunrays. Peeping island amongst grey gutteral touch the sea iron rain blue above wind wilts and decays under clothes rampage. Scum on sea churned up dirty seafoam beige bethrothal to the white waves seagulls glide skirting the peaks
Common Ground- 1983
Founded by Richard Deakin, Sue Clifford and Angela Price
This organisation is intended to encourage people to engage with they’re local area, to specilise they’re interest. to fall in love so they have a reason to protect. Three of my favourite projects from them are:
Tree trails: A series of maps of diferent trees
Watch for free on BFI player
Ty Unnos- Owen Griffiths
Social practice artist, read interview with him from the centre for artistic activism . Welsh based artist
Amazing collection of different artists projects that help bring about change!!
09102020 Tutorial reflection
PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE
On setting up a practice, art as a reflection of your life – what you’re exploring, questioning, engaged in? How you respond to this in whatever framework you set for yourself. For me this works in relation to the sea, visiting the sea as a practice. A body of water that relays actions and draws parallels and remembering s of deeper forces.
This importance of specilisation, not getting lost in trying to portray something totally- becoming consumed generally. Allowing a deep look in to something (in this point in time a locality for me) to resonate.
Exploring water, time, memory (mapping), lost places, lost words, lost stewardship
Really inspired by Rachel Carsons knowing of a place so well you want to protect it. As for recording, not sure where I’ll go- get lost in process.
Environmental question, am trying to hold lightly and not force. Interested in some film and visual artists and temporary- BILL VIOLA.(Tom Creed also looked at video sculpturally)
Swim diary. Quality of water?? Who ask?
OBSERVE RESPOND REFLECT
Socially distanced project room visit- Flashing cube, fluxus imposition
ETOMOLOGY OF WATER WORDS
Spray : water blown by waves 1620
Billow : To rise or roll in big waves 1590
Undulate : to move in waves 1660s
Fluctuant : moving like a wave
Liminology- Richard Skelton
Arranging over 1000 ‘water words’ from the local dialetic of his area in Cumbria, Skelton creates poems and words that tumble across the page. Flowing like water!
This is really inspiring as it reminds me of the waves I am trying to create in the sea diary. Should try buy this book to see some of the techniques he’s used in creating a watery atmosphere through shape and language. He has also set up his own printing press ‘Corble stone press’ . The book also is accompanied by a music soundtrack that builds and swells in relation to tracking the course of a river from the mountain rill to the sea.
Waterlogged by Richard Deakin > Wild swimming around the UK, looking at space in a differnt way. Allowing people to engage with places through water.
USEFUL WATER RELATED SITES
Elan valley trust
gentle lap small roll dripping orange essence iridescent pools that hover over peaks rippling mountains aglow green grey trilobite sky memories of binoculars pinpoint vision obtuse to the parameters zoom in to all
on own. South beach 6pm
Amazement at sunset, wind feels warm in my nose, daydreamy
cold hands. Muscle man got in after me with just trunks
Crumpled red behind purple amorphous shapes fractured waves shiver asunder blink shift change quarterize the heart and barely bleeding reply in tounges too heavy to hold unspun your passing shallow condenses to rot
Some sallow grace hallowed peaks of haggard joy old spun lace lamenting lost journeys
Amongst boulders, placed sea defenses traveled from unknown to stand protectors behind sunset rust bars chewed in dereliction sober yellow eyes squint flashing sequence stumbling silhouettes twirl against the sky all bleeds grey dirty dusk sea lap jittering juddering TOO DARK MOVE ON scorched orange dragons tail
am glad to be doing some things grounded in materiality, the sea diary- the direct charcoal drawings. The practice of going to the sea, of being. I found this process of setting up a practice incredibly inspiring, looking in to artists who contemplate time, memory and the documentation (mapping) of things lost, to be held.
Keep wanting to work with temporal materials, maybe try make more colours than just the black charcoal. Am enjoying the use of film and photographs as documentation at the moment, perhaps try refine some water soundtrack as well with my sound producer online friend.
IDEAS TO TRY:
– Leaving photos of sea in the sea, see how this degrades them
– Putting photo sensitive paper in the sea, at day and night. See if this leaves any imprints .
Artist Megan Ripenhoff does this!
– Cyantype chemicals
– TEMPORARY TIME
ARTISTS LOOKED AT THIS WEEK:
– Bill Viola
Born in 1951 he is a pioneering artist of our time (especially for video art). His work is charactised by symbolism and questioning universal truths. His close relationship with water especially interested me, his work ‘Reflecting pool’ 1977-79 involves someone diving in to a pool in a forest. Exploring actions that happen below the surface. Water hides, reflects, relays, receives. Made me think more on the symbolic qualities water inherently has.
–Nikki Lindt – soil sounds
‘Beneath the forest floor’
Consisting of sound recordings made underground in the Hubbard experimental forest in 2019. This piece was done in collaboration with scientist Lindsey Rustad who is exploring the possibility that underground sounds can inform us of the health of the forest.
Inspiring as the collaboration with art has inspired a largely unknown line of scientific enquiry.
Beneath the Forest Floor, Nikki Lindt on Vimeo
Workshop 1: 14/10/2020
Moments in time and space. Hunter gatherer. Getting lost> searching>growth and decay.
We went out in search of acorns, rummaging through the forest. Was a long hunt to find them, as we got closer the ground darkened with dried out husks. Trying to spy the green unbroken shells to plant. When you are looking specifically it reframes the space, you notice new things in relation to what you search for.
Ritualistic practice of watering…of care
Lost language of nature, people not being able to recognise. NOT SEEN NOT SPOKEN
Time span- slow and fast, memory within. Small time of planting now, big positive time frame affects. Ripple affects of actions.
For next week:
Come with an idea to plan to create a collaborative project from…
LOST LANGUAGE TIME
Potential spaces _ Creative arts studio, project room and outside
Materials could use: Compost, watering can, spoons, plant pots, gloves
SEA DIARY IN PROGRESS
Decided to make a physical sea diary by binding my own book and hand painting the paper. To touch down in a materiality while so much is online. I was taking notes at the sea and transposing them which was creating mix ups anyway. I wanted to create a beautiful object where even the way the text is structured is reminiscent of the sea. I took inspiration from the original sea posters I made earlier on and created waves of text.
Seaweed dye research
Am also very interested in the potential of natural materials to dye and change the paper. There are so many different colours of seaweed round here I will look up the local varieties and see if any can be used.
Bootlace weed Chorda filum
Red seaweed Furcellaria lumbricalis
Red seaweed Griffithsia flosculosa
(information sourced form Seasearch an underwater volunteer sea survey organisation)
Seaweed research, photograph
MORE CHARCOL PHOTOS
WATERLOG ANIMATION (above)
CHARCOL STOP MOTION IDEAS
– Creating quick animations of washeed away drawings-
– Experiment with different natural pigmenst, see how long they take to disappear
-look in to passing time
– could draw the local area on the stones??
– Wave patterns
– Something we’re losing and finding??
ARTISTS LOOKED AT:
structural look in to filmaking, exploring time within film and space created from slow change. The same image of a wave. A repeation. A questioning on how some images we will gaze at unendingly, a sunset, a fire, the sea. Mesmorizing. Boring.
B. 1910 New york, abstract painter and experimental film maker
DWIGHTIANIA_- filmed in Dwight Ripleys studio (she also filmed in Amdy Warhol, Piet Mondrian and Noguchis studios). This piece uses stop motion to frame the artwork in new ways and engage the viewer differntly with the pieces.
WANDERLUST- REBECCA SOLNIT
Still reading Wanderlust and am inspired by the way she shows how dynamic and layered the history of walking can be. The branches and twists it shows you reveals that even simple acts can have far reaching affects.
From this week I’ve become interested in how water can portray the elements of time and memory.
With the washing charcoal, dissolving photographs and stop motion animation it creates a look in to time within this practice.
The free motion wave based documentation in the sea diary is exciting aswell in relation to a free form free written look in to the sea.
WORKSHOP 2: 19102020
Uncommon ground Land Art in Britain 1966- 1979 education pack from London Southbank centre
Good educational pack, detailing the history of Land Art and the artists featured in this exhibition
Roger Ackling – Born 1947 London
Sun Pyrography, concentrated time. Strong sense of time, in relation to weather conditions and the intensity of the marks!! Focus on the microscopic.
Ian Hamilton Finlay, Born 1925 Bahamas
Became known for poetry carving words in to stones. From 1967 started turning his own garden Stonypath in to a work of art. Adding headstones and carved peices. Alot of focus with the sea, carving inscriptions related to sea.
The Monteviot Proposal 1979
Anthony McCall- Born 1946 Kent
Light and projection, Landscape for fire
Garry Fabian Miller, Born 1947 Bristol
Fine art photographer, Sections of sea: Sea Horizons – focus, exposure, viewpoint and arc all fixed. Timing of shots was random and not recorded. 1974 studied Shetland Islands which has given him a strong sense of place in their work.
Others of interest to look in to , Keith Arnatt, Barry Flanagan, Derek Jarman
‘Most of England has had its shape changed – practically the whole place, because it has
been ploughed over for centuries – rounded off.’
Our impact on the land
Richard Long, speaking at Earth symposium, Cornell University, New York 1969
Using stop motion as a technique for the charcol is not very effective as the tide washes it off too fast to take many photos. For that reason I have ben compiling short films instead.
Would still like to experiment with the effectivenness of different pigments on stones to see if they last longer.
Still want to make some sort of sea based animation, am very inspired by the animated snake from Marie Menkens animated short film ‘Dwightiania’
SEA DIARY –
Potential of sea diary to be in a scroll structure, be more fluid and like the rolling sea?
DARK ROOM –
First attempts to set up our own darkroom at home. Want to do this so am able to fix the sea printed pictures and experiment more with solorizaration cans as a means for collecting time and cyantypes for more defined wave patterns.
This process involved measuring
354ml water (room temp)
5 tsp coffee (must be caffinated)
3 and 1/2 tsp washing soda (we made this by baking baking soda in the oven for 30 minutes)
3/4 tsp Vitimin C powder
Mix well so crystals dissolve. This is the Caffenol alternat8ive developing process that I found out on
However after trying to follow that link again the page seems to be dead. I will hence write about my experience on here.
Add mix to film cannister, agitate constantly for first minute, then three times a minute for 11 minutes.
Wash with running water (as close to room temp as possible)
Pour in fixer 2oz of fixer to 6oz water , agitate 3 minutes
Pour in water with a drop of washing soap, do this 12 times- agitating as go
Although my first experiment of this process yielded totally void film I can still use this to scratch in to or on top of to make an animation – nothings truly wasted. An interesting process to try in the cupboard!!
Listen to shipping forecast everyday!! Record in sea diary, then will know tide times and sea predictions
will keep me safer and have some factual response to the sea
WORKSHOP 3 : 26102020
Charcoal dissolution. The sound on this works much more effectively and gives the film more motion. Need to adjust the levels so is less crackly though.
Darkroom – development and further experimentation:
Emailed the School of Art asking about taking my home darkroom further as it is hard for me to access the art departments darkroom with lockdown restrictions. Accommodatingly they leant me an old disused enlarger! Having access to this means I can actually reverse my negatives, make actual photos and play around with the capacity of using it in flicker films and animations! Learning about the material of making.
Photosensitive paper – continuing to put this material in the sea created some interesting colours. Most of the patterns come from the small rocks scraping i think. It is hard to not let them be pulled out by tide. maybe I should fasten them to string instead. To get the flow of water. These were done in daytime.
Liquid light – potential of this as can be painted on to other objects, could try painting on to stones. Should look how harmful for the environment it is also. (Liquid light is a chemical that turns any surface photosensitive when applied)
Continued resaerching this artist, he is very concerned with locality and stewardship.
Wrote another book called ‘Landings’ which maps an area of the northern moors, looking at its history, the language used to describe it that’s getting lost. A crucial bit of landscape writing it deeply evokes place
Reliquiae – biannual poetry journal
Ecologically aware writing, ethnological to philosophical, landscapes , nature and mythology. Most interested in esoteric , visionary and mythopoeic. Anyone can submit!!
New frontier project
Art atlas collaboration (singing to the sea in response!!)
‘The peregrine lives in a pouring away world of no attachemnt . Finding his way in remembered symmeteries.’ – The peregrine – J.A Baker
Peculiar form of looking high focus- shut out rest. End of tunnel .
Potential good way of showing specilisation – try filming through binoculars, the sea, the water.
Pigment research :
Relics- Richard skelton and autumn richardson
Book documenting all the trees on the Cumbria fells from 12,000 years ago to present. A poem and travel through time and memory. Thought this could be relevant to our class collaboration project and also my own work.
Documenting, remembering, saving.
Also found out about the ‘Ash project’ through researching this book, a cultural response to ash dieback in the kent downs. Collaborating with a variety of differnt artists inclusing Ackroyd they are creating a collective memory to combat ash dieback which will likely destroy 90% of the species.
How to read water- Tristian Gooley (notes)
Interesting look in to the signs and signifiers water has that we are just not aware of. The maps of the sea, that water makes up most of the world and there are ways to read the waves like maps.
Good change of perspective on water and how can approach it.
Visiting the studio:
Important to still make use of the space while reading week is on, very grateful to have access to these areas while lockdown is still in place. Went in to check on the oak forest we have planted, some very budding sprouts shooting. The creative arts compost is placed on a plinth, we all add our food waste in and this in turn nourishes our plants. Feeding in to this observation of the interconnectedness of nature.
Also discovered a sound book
Tidal sound waves –
Have been speaking to a sound producer about the potential of turning the tidal pattern diagram in to a sound wave! Seeing what the tide sounds like, compressing two weeks worth of time in to a 15 bit sound. Am learning about sound design for this, recently installed ableton on my computer so will be using this software.
Hired out a marantz recorder from Creative arts this week also to record some sounds of the sea to potentially be able to modulate with this wave form!
Need to start making some diagrams about comparative frequencies and explore in to the maths of this. Very exciting though!!!
Artist, John Sabraw – Environmental engineer, Guy Riefler
Found the quote below by Goethe on John sabraw website, very inspiring to my own practice in remembering the universal languages of communicating. Trying to explore science and art together.
John sabraw does this with environmental engineer Guy Riefler, collecting toxic sludge run off from rivers they create pigments. Most pigments are iron based anyone so with the contamination in these rivers this can be turned in deep oranges, blacks, reds, rust. They’re hoping to get a big paint company involved so they can continue to clean up rivers on a wider scale.
Made me very inspired to look at the potential of turning heavy metals in to pigments as the local rivers round here have high contents of these as run off from mines.
“SCIENCE AND ART BELONG TO THE WHOLE WORLD, AND THE BARRIERS OF NATIONALITY VANISH BEFORE THEM.”
Further pigment artist research:
Dirty water collective
Found out about a project done by a group of artists in the filipines, using the polluted rivers mud to create watercolour paints. they have then been exhibiting these and selling them to generate money to restore the rivers health.
They decontaminate the soil and mix it with gum arabic!
Could be a good potential for our own collaborative pigments.
Creative coalition 2020
Will be attending this 3 day collaborative festival, due to lockdown circumstances the festival is now free AND online. Some silver linings in the dark. Variety of different artists speaking about circumstances and performing their work.
Artists – Fluxus
International avant garde collecton of artists founded in 1960’s and continuing till present. Derived from Latin word for flowing, it challenged the ideas of what art can be and continues to open up new definitions for it. Using a range of media they expounded a do-it-yourself approached, often including chance in to their work they thrived off collaborations and humour.
Very inspiring as highlighted how practice can be art and that process is as important as result.
UBU WEB –
Amazing internet resource compiling multidisiplinary artists. examples of sounds, interviews, videos and papers written by these creatives. Fluxus soundtrack
Reflections before tutorial :
Am still really excited by practice. Having gone to the sea and recorded this everyday I still have the continual thread of the sea diary and the grounding experience for me. To be with the sea at this time. It has created an event for me that restores and inspires. Rippling off in my mind, the effects of time, memory and place. Using animations, films, sounds that explore a notion of place within nature. Making the invisible visible,
Charcoal/pigment animations/films (potential of group happening in this)
Film as installation and projection (lost languages of the sea reflected on sea)
Tidal sound patterns
Logogriphs and lost language research
Darkroom and degrading photos, solorization- tracking of time
Sea diary, poetry, reflect
Although I have no set idea for my final piece I am grateful that my practice of being with the sea has opened these different avenues to keep investigating in the context of play. I know I would like to use the project room, to create a space. With sounds, videos, projections, activities. The sea, to be.
Reflections after tutorial :
Gather the formats I would like to use, sound, video and projection and start finessing the research. deeper and with more focus on how the piece will work within a 3 hour digital workshop.
I.P.1, 3, 5 Tutorial 2, week 5
What are your reflections on the workshop this week?
What have you been exploring and experimenting with so far?
Lots of rich vibrant experimentation so far with the sea visits, everyday visiting the sea with the intention of writing poetry, making short experimental animated films, developing photos in the sea water etc.
Sally is very engaged with research and it is all moving along very well, she is exited, engaged and motivated.
But we discussed now being a good moment, within the given time line, to stop experimenting and move deeper into an element of the research so far – she suggested her deepest interest at the moment is in the wave form, tide forecast graph.
This is a very strong idea, Sally has the time to develop 1 x 2 week forecast into a audio waveform.
We discussed how she might work with the 3 hour online exhibition platform in an exciting and appropriate way – we discussed doing live performance perhaps on the beach alongside a more professional/packaged/digital presentation – of the waveform?
We discussed this online exhibition would be a good opportunity for Sally to draw the two sides of her together – the professional, organised, sophisticated and the more organic, spontaneous, natural and unpackaged!
We discussed how the duration of the 3 hours could be related to the time in her work?
What seems to be emerging as the strongest aspect of all of your experimentation?
Commitment to the idea, to the sea, to the ‘practice’, to research, to play without a destination
What research have you done so far?
Lots! But I am not sure – who more deeply – it is hard to tell form the notebook?
How are you using the Online notebook? Is it working for you?
It is working very well indeed, it is a brainstorming space for Sally and a depository for her research – she does it with the idea of coming back to it
I think it is time for Sally to go back to it – to tidy it up using a strategy – maybe colour blocks for each aspect e.g research, experimentation, reflection, workshops
Making sure Weeks are marked clearly – large, bold font
Tidying up spelling
Adding more photos of the artists research
Have you any idea yet what you will write your review on?
We didn’t discuss
So overall a stopping, going backwards and then moving forwards more specifically moment for Sally.
Presented our research:
Energy and tree’s – Curleon photos of leaves, Curleon energy. Way of exposing photos so it seems they have energy radiating out of them.
Tree perception – bio energy – Mycrohrizal fungal network
Research does not have to be logical, looking around
Time – Sam taylor Johnson B. 1967 London
Killing time – Tate modern
Rotten fruit still… 2001/02 – Stop motion ‘smells like fruit rotting’, video format effective, still lifes – more to than meets the eye
Trees- Byran Nash Gill
Prints of wood, woodcuts- vimeo
Nils Udo – depth of wooden nests (Land art)
Woods – Shakespear
Oberon King of the forest, lives in woods. Inspiration marriage culture in Britain in 16thc .
William Blake – Midsummer night dream etching
Diversity – Ronaldo Hernadez – Mural political and cultural diversity
Katie Patterson – Significant young artist, Future library, Hollow
(Zella and Moye architects) Made with Bristol uni, funded by situations. a planets worth of trees- years of research . Interactive website . Monument to 10,000 tree’s globally . Intergrate and work well with others
Showed that you can research around
Time to refine ideas!! Condense and coalesce,
Tidal wave (Foley sounds)
Started properly plotting the different high and low points in to a graph to figure out the difference between them so I could make sure the values were really accurate.
We then assigned each tide height a different frequency which were then sampled. Each wave then needs to be zoomed in and spliced together with the consequective wave to create one consistent sound – coming in coming out, going up going down. Is an amazing way to condense time, the most basic form of this 2 week cycle is reduced to a less than 2 second wave.
Similar to music concrete in that it is taking its value from actual real world sources. Now the wave has been formed can experiment with stretching this.
Richard Skelton – Lancashire, musician
Very concerned with locality and stewardship. Deep observation of space.
This project tracks waterway systems in an area and creates a musical score from found sounds tracking the journey of water through this place. The accompanying book creates visual patterns out of word lists, creating rivers through text. Blending poems, myths and lost languages for water. Grounded in place it explores our integral link with water.
28 minute sound piece ebbs and flows and gradually reaches a crescendo, tracking and mimicking the build up of rivers from their source.
Very relevant to my sea diary, to the recording of a space and building up a relationship with it to observe the important rhythms. An accompanying soundtrack based on water patterns was very inspiring to my creation of a tidal soundwave and how I could edit this further to highlight this flow.
With his wife he also set up a print press called Corbel stone press, a way to publish his own art and collaborate with other artists. Anyone can submit work to this biannual poetry publications!
Ideas how to utilise 3 hours:
– Passage of time (in tides)
– Scratch photo and film animation (sea develop) , cycle of creation and destruction
– Rhythm of life, how affect
– Rituals , affected by this , my personal affect…
3 HOUR : Do something by sea, make animation, film sea
Wider picture : Being separated from natural rhythms
Memory – Tate podcast
George the poet- Creative coalition talk
– All existence is contribution
– Time and place have passed physical stage
– Self determination, knowledge is information we use to get higher
– Knowledge – skills – opportunity in DAILY LIVES
– Context of creative content!!!
As well as gathering the leaves of our tree’s for the class we also collected information about them to speak of.
From previous research I looked further in to the Ash project in Kent. Creating a living archive for a dying tree they collaboratively teamed up with scientist and artists to explore this through public monuments, walks through woodlands and public engagement. They have an extensive website which even recommends tips for setting up a collective practice! Asks how we might mark and celebrate ash tree’s before its too late!
Ash dieback – fungal pathogen ‘Hymenoscychphus fraxineus’ , 90%- 98% will die over the next decade. Over 150 million mature tree’s in Britain. One of our most ancient tree’s , appears in pollen records from thousands of years ago and mythology.
I was very inspired by Cydney Adams film ‘Frission‘,
it documents an ash tree and then as time goes on through this stop motion animation film the human interaction with the tree. The photographic stop motion gives it a kind of stuttering, like a final breath.
Reflections : Blurred out, abstract. Sounds like noises in tree, crescendo ambience, observing being. Humans come in, holding.
Reminded me of the Battle of the tree’s poem by Taliesin a Welsh poet from before roman occupation. Born 534AD Powys. His words have survived through word of mouth and then potentially his manuscript the book of Taliesin.
To begin with I tried grounding down a couple of different materials, two different colours of slate (one with an orange coating on outside). three different colours of seaweed and some shells.
The slate was definitely the most effective powder to make as I could get it really fine, the two different colour slates had almost no distinction though.
The seaweeds produced some really fascinating shades of green and brown, however they did take a long time to dry out (had to finish them off in oven) and were significantly bittier than stone.
Shell was incredibly had to ground down fine enough to make pigment, think i put too many shells in at once so might try again with a smaller quantity.
Taking forward from this is that stones are the most achievable pigments to create, will hunt for some river clay also as think this could be very effective. Am still going to try get the iron ore pigments from round the abandoned mines as these could be beautiful and similar to what Sabraw was exploring.
16112020 : WORKSHOP 5
Someone suggested in class the potentional of using leaf chromatography as well as a method of extracting chlorophyll and using this as dye/ pigment if dried out??
Get any green leaf, soak in ethanol, crush up and then sieve out the leaves.
For the most appalling quality of water is its strength. I love its flash and gleam, its music, its pliancy and grace, its slap against my body; but I fear its strength. I fear it as my ancestors must have feared the natural forces that they worshipped. All the mysteries are in its movement.Nan shepard, the living mountain, published 1977, pg 27
This is the first render of the tidal patterns. Nothing has been altered except that its stretched out as otherwise would be less than 2 seconds. Am thinking of different ways of experimenting to get a more distinct sound of the tide coming in and out. Rhythm of this.
Grey green ice deep time rolling foam confined to shoreline 3 people swim no wetsuits. pattern skirted array stretched horizon weeping grey fragment. mostly sky grey gallivant, darkening slate wind caress tideline run renegade.
RHYMTH – natural cycles of life and our cut off from this
TIME – animation
Practice as ritual
Creation and destruction in constant balance,
Photos – getting worn off (thin film of memory ), new images being created
Owen Griffiths –
Based in Wales, social practice artist, mainly focusing on site specific practice and allowing community to be involved in generating piece. Reclaiming and reframing spaces where art can be.
Treherbert skyline –
This project was a collaboration with the community, to reimagine the space. Instigated a ‘Festival of ideas’ that bought together the community where they could share a walk and conversation. Had speaker (Sakina sheik) that explored themes of stewardship, reclamation, resistance and revealing.
Created maps honoring the locality, combining history of Treherbert with local biodiversity in aim to further future collaboration and reassessment of place and our role within. Further workshop were held at the local primary school, creating poems and writing grounded in place.
This valley is our resource
This place, this land, this future
The soil, the rivers, the hills
Imagine all we took was returned
Mining the Imagination not the land
Sustaining community identity
Re-modelling community ownership
Let the work of re-imagining begin!
Changing the space of an area, creating outside workshops, opening different dialogues. Doing a live animation on the beach, creating an alternative participation. What does the sea feel like? To sit with it, to be. Asking people this directly to leave on stones, to wash away.
Although hard to physically incorporate people in this way at the moment I still think this principle of opening up alternative spaces through art can be explored and achieved (online, live streams). This creation of place.
Refined idea for creative online event:
RHYTHM REEL: To feel the sea, tidal pattern video that is synced up to the tidal soundtrack. Using old developed film left in the sea to create a film made of sea marks.
For 15 minute summation of my practice so far I will show a video of the film and photos being created and destroyed by the sea edited so it fits in rhythmically with the sound recording of the condensed tides.
So far I have 2 weeks of tide sounds and its 10 minutes long.
To feel the sea. Live go pro recording , animation of rocks covered in iron ore (make these out of locally sourced iron from polluting mines) , write the words the sea makes people feel on the back. Have sea cover after putting them in different patterns – rhythmic. )Can then animate this after by frame grabbing)
How does the sea make you feel?
Ask different people, want to try show how the sea makes you feel, what its like to be with the sea. To have no focal point.
This plan draws together all the different elements of my practice that I have identified as key to the work
23112020: official proposal of ideas
Reflection : Think my presentation went well, managed to keep to exactly 15 minutes and maintain eye contact, despite the masks.
Role of curator in Winter show :
Initially concentrate on Group 2 then come together with 2 other curators and see how best work comes together.
Members of group 2 in show,
Notes from class:
PRACTICE DOING ANIMATION
Reflection: Will not work if it is wet (rained when initially tried it ) so need to create a backup version just in case!
Experimentation: Do from above!
Get footage using go pro also so can overlay them
sat beneath the sea
amongst tiny shells, if wells
backwards eyes that
gurgle giggle of immortality
the furious sponge
sea anemone that
sharks jagged rocks
postulate cold ankles
somewhere to walk
Need to try ‘live’ animation again as it is very weather dependant.
Want to make video smoother and more like the experience of being in the sea
Will also try projecting on sea for more experimentation, to bring the work back to the sea and in a public space.
had real trouble showing my work through zoom as the sound massively distorted. A classmates comment was that it made her feel like a panic attack. This was not what i was going for so i decided to add some affects to make it feel more like the sea (while retaining the same wave pattern).
lowered some of the volumes too as well as adding extra reverb to the master track to bring it together.
Played with the panning of the track too so it had a wider sound like the sea.
think this has worked really effectively and creates an experience more of floating in the waves which was what i was trying to achieve.
tried projecting on sea as further experimentation, the unedited film was too dark to be seen against the water. the solarised version worked a bit better but I still felt that it lost a lot of its clarity so wasn’t as strong as I’d hoped. the waves were still interesting underneath and it is something I may consider taking further next semester as it brings art into public space.
RHYMTH REEL CLEAR: Revolving
Experimented with tinting the film blue which gave a much stronger association with the sea. I then played the solorized version after as this was still blue and I felt retained this sea memory. Solorization made the footage really look like light reflecting off surface of water.
I decide to not include the photos that had been marked by the sea as I felt for the film to work as a whole it was stronger to just use the 35mm film pulled through an enlarger.
The second version (one below) is significantly stronger than ‘rhythm reel’ as I managed to focus the enlarger much better and run it through smoother.
I would like to put more film in the sea to get different patterns.
Also experiment with speeding up the rate the film moves through the enlarger.
I reversed the circle sections so it would further mimic this pull push of the tide coming in and out.
The tidal soundwaves and imagery syncing up is really strong and adds a good rhythm to the piece. The accompanying representation of the tide through a mimicked soundwave adds a conceptual dynamism to the piece.
Reflection on Revolving: process of stop motion animation with tidal waves soundtrack.
- Good way of showing process using two perspectives of camera
- Animation is too slow and the waves go on for too long at end
- Does give strong sense of being with sea and holding a space there.
- Liked the mix of waves and tidal soundtrack as continued this sense of rhythm from previous video.
Reflection on winter show
- Amazing to come together and see others work.
- Supportive, creative use of space.
- Curating was interesting to conceptualize how a 7 hour show would run, would like to think even further on how things could work dynamically together in future.
- Didn’t realise would be small box in corner when I was presenting, am still happy to have held live space though.
- Use of phone data is consideration for future as creates precarious connection
- Thought 35mm video worked well and created strong feel of the sea, rhythm and no focal point.
- Worried about lag for others viewing but mine might’ve been slower as viewing from beach
- Glad I pre recorded animation. Was bit too long but important to show process and glad I held longer space with sea.
Commingled containers: Echoes from the bay
San Francisco Cinematheque
Amazing free exhibition consisting of two programs of experimental films. Guest curated is fantastic mix of work. Only on till 10th January!!
Commingled Containers: Echoes from the Bay | San Francisco Cinematheque (sfcinematheque.org)
“About.” Owen Griffiths, http://www.aboutreconnection.com/about. Accessed 6 Jan. 2021.
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“Amy Sharrocks | Centre for Contemporary Art & the Natural World.” Centre for Contemporary Art and the Natural World, ccanw.org.uk/project/amy-sharrocks/. Accessed 4 Nov. 2020.
“Arts Foundation | Skelton, Richard.” Arts Foundation, artsfoundation.co.uk/directory/richard-skelton/. Accessed 6 Jan. 2021.
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