5 Documentation posts:
5 Contextualisation posts:
The artist which I started with, Sophie Woodrow, has allowed me to fully recognise my love and interest in the sub-conscious mind and the fine-art side of Character art. As she is an artist that worked with clay, I was worried that I wouldn’t be able to work in anything other than the porcelain that she uses, But throughout the year, I have created illustration which come from within my sub-conscious much like she does with clay. my work couldn’t have developed with the inspiration and challenges of both field projects. My work has evolved and become almost an entirely new topic with the sub-conscious and has been a massive influence for my dissertation. Spirits and things that you cannot necessarily see with the human eye is and will be the main focus of my work for the continued years of University and perhaps the practice in which I will stay in for years to come.
The works that I am showing for my final piece is a series of illustrations which are my own interpretations of the spirits. All sub-consciously and spontaneously drawn, They represent the creatures of another realm, such as the mind. The silhouettes allow other to interpret the creatures for themselves. As an artist who is bringing them into our reality, I am not forcing the idea of what the appear as but instead leaving room for peoples own perception and thoughts. To carry on from this, I will be experimenting in more depth with colours. and possibly texture?
The second outcome, I created an animation that represents the ‘thin place’. Although only 1:30 due to the limited time and programme difficulties, I believe it successfully shows the way I peak through to another realm where spirits and creatures of the mind can roam freely. I wanted it to be a lot longer than it was and contain more spirits but it didn’t work out. Despite of this I am excited with the outcome and will continue to develop my animation skills with the inspiration from Lotte Reiniger.
The final outcome was a spontaneous piece which I was unsure about at first but works well with the whole collection of artwork. A wind chime, inspired by my childhood memories of making houses for the fairies and dream catchers to steal away the night terrors. There was something quite nostalgic and beautiful about creating something so handmade and meaningful. A collection of natural objects such as sticks feathers and pinecones from a wooded area in the park in which I can be alone and yet not alone because I have myself and my mind to think and reconcile with on a busy day. Despite the finished piece looking what I thought to be naive and not ‘professional”, I believe it to be a memory and also a direct connection to my sub-conscious and the spirit realm within.
In addition to the animation and series of illustrations, I wanted to create a 3D object that would reflect the spirits sound and perhaps a ‘thin place’ much like the ones such as stone Henge or even a religious site such as churches or Mosques.
This was influenced by the site project which took place in the local park where I live. The idea of the exhibition was to get people to ‘hunt’ for these spirits almost like a easter egg hunt which we did as children. This made me think of when I was a child and how me and my mum would craft fairy houses and sun catchers. Little did I know at the time, that this was a direct path to the unknown and the spirits within ourselves. Therefore, I decided to create a wind chime which would represent the open mind of a child and the connections between our reality and the sub-conscious reality where the spirits dwell.
Each object that was used for this wind chime was collected from the park at which I held the spirit hunt. The reason for this is because during my time at Uni, the walk in the park everyday is a place of pure thinking and freedom. It’s a place where I can connect with nature in such a busy city but also connect with myself and the spirits within. I wanted to keep the DIY look of the finished piece as it reminded me of my inner child and the memories of searching for fairies in our own handmade fairy houses. The sound of distant bells has always made me think of magic, and so I added this to the piece as well. Not only this, but I decided to include some of the spirit silhouettes which I made in response to my ink drawings. I have been debating with myself whether or not to keep them white but I had decided to keep them white for the reason of purity. As the studio will be bright and white, The paper cutouts won’t be fully visible and therefore you would only see them when you either look for them or when you least expect to see them. The idea of this relates well with the way we find spirits in reality.
After hours of work on this animated short film, I have completed the animation. The finished piece has a total of over 500 frames but despite all my efforts and challenges that I faced, I overcame them and I believe to have effectively created a pathway into my spirit realm. I say ‘my’ because I believe that everyone perceives differently, which is the reason as to why I kept these spirit creatures as silhouettes. I wanted to allow people to make up their own minds as to what they appear as.
I decided to keep the story minimum. Although storyboards were made, there was no start middle or end to the film as I wanted it to be a scene with only a few spirits morphing into different creatures. Using a layering technique of moving image and sound, I could achieve a window which acted as the veil between our world and theirs. The sounds are that of a scratching vinyl which I instantly think of as interference. This sound is effectively used to signal how close one is to the ‘thin place’. I also recorded my own voice which was layered upon each voice line. I say things such as ‘’Can you see us’’, ‘’Give us a rose’’ and ‘’How do I make you feel?’’. These voices are supposedly the voices of the spirits and ‘’give us a rose’’ is a direct reference to the Jinn which I researched through my field project. This later became a big influence on my subject work. As for the breathing which was also recorded by myself, I knew I desired this to reflect the person visiting the spirit world. Much like meditation (where you can access your sub-conscious and different realities), you are supposed to concentrate on your breathing. If one was to enter an alternate realm, I imagine that the sound of their own breath would be quite intense.
The outcome of this animation had exceeded my expectations as I have never attempted an animation before. The programmes that I used were unpredictable as they aren’t meant for animation. I would definitely acquire different programmes next time as photoshop caused a lot of problems. I would also make my animation a lot longer and perhaps add more spirits into the frame. Unfortunately photoshop wouldn’t allow me to add much more due to the amount that is already in it, despite it only being 1:30.
Luckily, I can always add more to this because my spirits and creatures in my own mind are forever growing and creating. especially as I am continuing this project into my third year.
‘’Can you see us?’’
My curiosity of spirituality, mythology and the sub-conscious mind has had a massive influence on the way I am working. I have been delving into the understanding of spirits and the way people perceive them. By using the sub-conscious mind, I can create my own perception of what these spirits/creatures would appear to look like. Although this is personal to me, I have illustrated them in a way that only suggests and allowing the viewer to make their own perception of what their spirits would appear as.
The focus of my work all comes down to the sub-conscious mind and making instinctive marks to create a human or animal-like form. I have illustrated a series of ink drawings, all of which differ in appearance but are concealed with only a suggestion as to what the spirits would emerge as. I believe that these creatures appear to us in different forms and are completely individual to one’s sub-conscious mind. Amongst the illustration, I have also created a small animation which suggests the piercing of the veil between our realm and the realm of the spirits. There are but a few ways to enter this ‘thin place’ as suggested by the ancient Celts, but I have created connection between my reality and the reality of my sub-conscious mind and the spirits that dwell there. In the animation, shows a scene of spirits coming and going, morphing into different forms. The sound of vinyl scratching layering over the top of voices was a way to show the line between our world and theirs.
The wind chime is an extension of my works as it reflects my own childhood of creating homemade objects such as fairy houses, sun catchers and wind chimes much like this one. Not only this but I wanted to create another form of ‘thin place’ using a collection of organic materials found in the forest where I feel most connected to the spirits.
My field started with figurative modelling. I was unsure what to expect when I first signed up for this field, but I am extremely happy with the outcome of the whole project as it led to some of the major techniques used in my subject project. Clay is something that I have used before, but nothing to the extend in which I had to use it in this project. I learnt many techniques and different ways of manipulating, constructing and building with a variety of clays. Although, during the couple of months, I realised that me and clay weren’t the best of friends; perhaps I was thinking to much of what it could be rather than what it was? Either way, I created more pieces that I was unhappy with, than I was happy with. This did put a strain on my field project but I was able to overcome this by drawing with charcoal. By using Charcoal and paper, I was able to try new ways of drawing, such as, 20 second drawings, drawing with expression, life drawing and so on. This connected my field and subject and made me take a different and more exciting path for my subject work. In the end of this field, as a group we made a collaborative final piece which went on display in the foyer of the CSAD building. This was something that I had never done before, and working as a team can be a challenge but luckily I was paired up with some amazing people who I can now call friends. Our final outcome was delicate and narrative. We all contributed 1 or 2 pieces of art, whether it was 3D or 2D. The feedback we got from our collaboration went really well and not only this but we were commended for our teamwork.
Preparation for our 8 day trip to Morocco started before Christmas, We were asked to research Marrakech before our arrival at the end of January. The few weeks before the trip, I was extremely nervous and didn’t quite know what to expect, despite conducting research throughout Christmas. the sessions were compact with preparation for this trip, including lectures and workshops. Alas, I felt nothing could prepare me for such an inspirational, once in a life time trip. The week of the trip, and I learnt so much from being in a culturally different environment. The colours, smells and people were so different to our life in the UK and at times it was quite overwhelming. The market places were phenomenal. People everywhere, bartering and cat-calling the people that walk past there stalls. The roads, packed with cars, donkey/horse carts, motorbikes, all pushing past like they were desperate to get somewhere (most of which would have definitely been illegal in our own country).
Whilst I was there I came across the Jinn, which had been mentioned from time to time and could be seen in peoples day to day life. At the Hotel, rose petals were placed on the sinks, fountains and toilet lids to keep the Jinn at bay. The Jinn, I soon learnt, was a mythical creature that was found in the Quran. They are mischievous creatures that cause havoc on the people and can only be kept at bay with an offering of rose petals. I found this extremely interesting and I knew from that moment, that I wanted to continue my field project on this subject. Coming home from this trip, I began researching in to the jinns. The information I found was that they were described as being born from the ashes of fire. This instantly made me want to interpret these creatures for myself. I began testing with materials such as fabric and ink. creating inkblots with the sub-conscious was a key medium in this project and was influenced by my subject and last field project. Further testing with ink and paper, started to influence my subject work as I moved from charcoal to ink.
Both field project had a large impact on my art altogether and I have learnt and experienced so much in the past year. All the techniques have been used their full advantage and I believe they will continue to be useful to my practice.