08/02/22
Today in the the seminar we carried out a blind drawing/visual drawing of what he heard and saw/heard on screen. So far in in the degree, this particular exercise has never properly been able to bring out much creativity in me unfortunately, its a real shame but I can’t change it so far.
The setup of the lounge was a great way to be relaxed and talk about anything and everything. It would be great if it was permanent.
We then chose from a bibliography of media that we had a watch in the seminar, one piece of work that we would briefly research and then talk in a group about we had found.
Notes from the seminar (from iPhone):
“The theme that is displayed perfectly within victor flemings masterwork is the feeling of home and the connection that the viewer has between them and Dorothy.
As a child I had watched the film several times and was captivated by the incredible mixture of visuals, phycology and underlying themes that were presented. We as an audience want Dorothy to get home but we also want to experience that journey with her as well – for me it was wanting her to re con-vine with her auntie and family to get on good terms again. After all she had run away from home, a lot of us have probably felt this at least once in our lives. Where we wish to find a new home due to a situation or an argument etc, but what strengthens the comparison between the home we have and the home in our hearts is coming to terms with the latter.
The key to Dorothy’s spiritual journey is that the truth or ‘home’ lies within ourselves and we may go looking for it or expecting it come to us but it lies within and it always has. The struggles that Dorothy faced in her life, just like the ones we face, are a necessary burden before we can home to ourselves before everything and everyone else
We may search for that link between us and home all our lives but it’s always been within yourself, from when you first open your eyes.“
09/02/22
More work on the storyboard today. After recently coming off a ridiculously strong set of antibiotics due to a small incision in my back, its been hard to maintain focus or even stay awake half the time since finishing the dosage.
I am in the course of thinking of whether this will be suitable within the timeframe, at the moment I believe it will be. If not I may pull the plug in the next few weeks and try something else. There are other things in mind if not.
10/02/22
Today has been totally un-productive in terms of progress, the storyboarding is nearly finished though. Waking up with the worst migraine ever doesn’t help things much, as well as writing my first ever screenplay for Making Short Films, which took a a while as its a whole new learning process in itself.
Excuse the crude drawings, the main detail will be in the filming.
11/02/22
Bibliography Homework – 1
‘Below The Salt’, Catherine Bertola
Below the salt is a recent exhibition of works newly made by artist Catherine Bertola, her works are shown as a companion piece to the inventory of Temple House which was newly gathered on the 12th of September 1520.
The main inspiration behind ‘Below the Salt’ is the many different aspects behind the Temple Newsam’s history spanning over five hundred years, decorated by its incredible and extensive art collections. This collection explores the livelihoods, objects and a view on how the people lived over the house’s time period, a real expression of how the hierarchies of the past made use of the materials within the architecture of the building as well the lives of those who worked inside.
The phrase ‘below the salt’ comes from a period where salt was not as much of a common commodity like todays standard of living, it was not as widely sought after by lower status of people’s due to its accessibility. The term ‘below the salt’ comes from this definition of class, where the higher classes had access to this commodity where the lower classes didn’t as much. In the first month of 2020, a 42kg of table salt was erected to recreate a pattern of a woven linen cloth from the table in Temple Newsam’s collection, referencing the original 16th century usage of the great hall as a dining room. (Bertola, 2020)
When seeing these works on film during the workshop and on the video tour, it made me realise something that was key to my childhood; the trips that my parents would take me on during the weekends to place kept alive by The National Trust. These places consisted of Sheffield’s Park in Haywards Heath, Wakehurst Place, West Sussex, and Nyman’s Gardens also located in Haywards Heath. It reminded me of these places due to the absolute fascination I’d have with the style and standards of living in the past. From the narrow corridors, servants’ bedrooms (compared to the family rooms) and to the incredible botanical looking gardens. It took me back to a time where learning history was a new thing during childhood and invoked an immense amount of nostalgia within my being.
It also resonated something that had always interested me a long time ago about the service tunnels beneath this place and many other estates I had mentioned before. It art that Catherine has created here brings to life a style of livelihood that some people might not be fully aware of in this modern age and that’s imperative to our history. The dancers flow in a smooth, calm but tireless grace, this to me resembles to hard working class of the day that would work and transport items and services below in the tunnels.
Catherine Bertola
2020
Catherine Bertola
2020
‘In the house of My Father’, Donald Rodney
Donald Rodney created ‘In the ‘House of My Father’ in years 1996 to 1997, this work featured a major close up of his hand holding a small sculpture of a house. This house was also featured in another one of his work’s, ‘My Mother. My Sister. My Brother’. From the estate of Donald G. Rodney, London. The house sculpture in question is made up of from his own skin, these flakes of his skin were taken during the many operations that Rodney had undergone during his battle with sickle cell anaemia. This disease is hereditary with a high mortality rate in children, with adults it gives a short life expectancy. Rodney’s father was in hospital and died in 1995, during this time, Rodney was also in hospital and was sadly not able to be by his father’s side. The personal anguish that Rodney felt throughout this is mentioned by Rodney. (Barson, 2002)
The immediate response I felt towards this incredible set piece is the feeling of fragility of what home can possess when it comes to our memories, the past or the current home you live within. The way Donald’s hand is curled is the way your hand would curl when you’re holding something that you care for, or in other words a small pet, creature, or insect. (You’re handling in a way where no pain or tight grip would fall upon what is in your hand)
What’s amazing and extremely personal about this piece is that Rodney’s disease is hereditary, passed down from his parents. So, in this house that he holds so dearly in his hands, lays a sculpture of skin that has his father’s DNA as well as his own, not to mention the disease they both had which connects them even further into this piece. The literal building blocks of this sculpture’s architecture is literally his family.
1961-1998
Presented by the Patrons of New Art (Special Purchase Fund) 2001
Bibliography
Barson, T. (2002, February). Donald Rodney, In the House of My Father. Retrieved from Tate: https://www.tate.org.uk/art/artworks/rodney-in-the-house-of-my-father-p78529
Bertola, C. (2020). Below the Salt, An Exhibition by Catherine Bertola. Retrieved from Museums and Galleries, Leeds: https://museumsandgalleries.leeds.gov.uk/virtual-visit/below-the-salt/
12/02/22
Today marks the beginning of the claymation figurines, the heads have just been completed. The process of moulding has been much more easier than anticipated due to making heat with the hands then transferring that heart to the clay. Below are the results. I believe this process will be good in the coming weeks, the next stage will be the bodies and the growing of the trees in real animated time.
When it came to researching and thinking on how to move the legs and the general building of the figurines bodies, I realised upon researching a fair amount of claymation short films that there is a lot of camerawork involved the anti came to not shooting the legs at all. This saves a lot of time on animation based on the framework of the shots in question: Notice from 0:35 seconds in.