JOURNAL
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OUR SECOND WEEK OF CLASS HAS BROUGHT WITH IT MANY INTERESTING EXPERIMENTS, FINDINGS AND IDEAS. BEGINNING TO WORK WITH IDEAS DEVELOPED IN WEEK 1’S THURSDAY WORKSHOP, WE BEGAN TO APPLY TO THE BODY, SEEING THINGS FROM A DIFFERENT PERSPECTIVE AS THE TECHNIQUES BECOME SPACIAL. THEN SETTING SAIL ON OUR NEXT BIG EXPERIMENT, ICE WITH A BRAINSTORMING SESSION THAT LET ALL OUR IMAGINATIONS RUN WILD. THE PAST WEEK HAS REALLY ESTABLISHED MY APPRECIATION FOR ICE AND CHANGE AND I COMPLETED ANOTHER STOP MOTION ANIMATION OF A FEW ICE BLOCKS MELTING.
LUCY AND BART
THIS IS ANOTHER LUCY MCRAE PIECE. I WAS UNDER THE IMPRESSION IT WAS MADE OUT OF SEMI BLOWN UP BALLOONS, AND YOU WATCH AS THE BALLOONS DEFLATE. BUT IT’S TITLE ‘DRIPPING COLOUR’ MAKE ME THINK DIFFERENTLY AND HAS IGNITED THE IDEA OF COLOUR IN THE FORM OF INK LEAKAGE ETC COULD BE A VERY INTERESTING THING TO CONSIDER. I LOVE THE THERE IS SOMETHING VERY FANCIFUL ABOUT THE FEEL OF THIS. IT LOOKS LIKE A CHARACTER FROM ‘WHERE THE WILD THINGS ARE’. WHICH IS A VERY BEAUTIFUL STORY. I LIKE THE IDEA OF CONSIDERING AIR SOMETHING TO THINK ABOUT FURTHER AND CONSIDER IN DIFFERENT WAYS.
CHLOROPHYLL SKIN LUCY MCRAE
THIS IS A FILM STILL FROM LUCY MCRAE’S EXPLORITORY FILM ‘CHLOROPHYLL SKIN’. THE FILM OPENS WITH A SHOT OF WHAT SEEMS TO ME AN ENORMOUS AMOUNT OF COTTON BUDS STACKED UP IN A WAY THAT RESEMBLES THE SCALES OF A REPTILE. BEFORE LONG DRIPS OR LIQUID DYE DISPERSE DOWN AND ACCROSS THE BUDS. BLENDING AND MERGING IN THE MOST BEAUTIFULLY POETIC WAY. I FEEL PARTICULARLY INSPIRED BY THIS FILM AND WOULD LOVE TO EXPLORE THIS COLOUR DISPERSION FURTHER.
TIM TAYLOR DOMESTIC EROSION
TIM TAYLOR LOOKS AT CREATING NEGATIVE SPACE WHERE THE HEAT FROM A NUMBER OR DOMESTIC HOUSEHOLD APPLIANCES INFORM THE SHAPE THAT HIS ICE SCULPTURE TAKES. IN THIS TRIPTYCH WORK, HE EXPLORES THE HAIRDRYER, THE IRON AND THE KETTLE AND APPLIES THEM BOTH INDIRECTLY AND DIRECTLY TO LARGE BLOCKS OF ICE. A VIDEO OF THE PROCESSS THAT THE BLOCK WITH THE IRON TAKES CAN BE FOUND ON MY EXPLORITIVE BLOG ‘AN EXPERIMENT IN TRASIENCE’.
STRADDLING THE WORLDS OF FA AROUND THE BODY THAT RE-SHA Lucy creates provocative and oft Trained as a classical ballerina a friends call her a trailblazer. Eit uniquely Lucy McRae. Lucy works as a Director, Art Dir Renck, Bart Hess and Champagn
“...Channeling the animal kingd signaling a new cycle of evolutio
EVAN BLACKWELL
ASHION, TECHNOLOGY AND THE BODY. THIS BODY ARCHITECT INVENTS AND BUILDS STRUCTURES APE THE HUMAN SILHOUETTE. ten grotesquely beautiful imagery that suggests a new breed existing in an alternate world. and architect her work inherently fascinates with the human body. The media call her inventor, ther way, she relies on instinct to evolve an extraordinary visual path that is powerful, primal and
rector and Innovation Consultant. She has worked for Nick Knight, Pompidou, Palais de Tokyo, Johan ne Valentine.
dom, to create a complex display ritual. The human form begins to distend, grow fur, sprout gills, on...�
JEREMY EVERETT
As he travels Jeremy Everett leaves a trail of pictures buried in the ground in his wake. Destined to be unear result is what the artist refers to as “decay drawings.” Whole newspapers and magazines are drowned in che pillowy mass of crystalline forms, and vast sheets of vinyl area rubbed with printers CMYK.
Everett’s recent solo exhibition at the Andrew Edlin Gallery in New York, and the work he showed at Terence combined all of his various processes into what could be called transcendent earth art, in which the sheets ar to earthly matter.
There is something melancholy about both the work itself, and the process by which it is achieved. As if the i achieves a sort of chrysalis-like transcendence. The title of his solo show at the Edlin Gallery, “Buried Sky” is if something has been irrevocably altered, forcing the viewer to attempt to redefine what they already know SEE: http://untheprefix.wordpress.com/2012/02/29/jeremy-everett-and-the-transcendent-earth/
rthed after a period of time, the emical solutions, the result a
Kohs “Asian Song Society,� re transformed through exposure
immersion of the materials s suggestive of such a change, as w.
Architect Tetsuo Kondo has teamed up with German climate engineering firm Transsolar to fill a closed space inside the Corderie with clouds. Clouds, after all, are part of our architecture: they frame outdoor space and filter natural light. Visitors can experience the cloud from below, within, and above as they climb up 4.3 meter high helical ramp erected in the center of the room. The cloud is based on the physical phenomenon of saturated air, condensation droplets floating in the space and condensation seeds. The atmospheres above and below the cloud have different qualities of light, temperature, and humidity, separating the spaces by a filter effect. The cloud can be touched, and it can be felt as different microclimatic conditions coincide. The cloud is created through climate engineering. Three layers of air are pumped into the room: cool dry air at the bottom that keeps the cloud floating, hot humid air in the middle to fashion a dense fog and hot dry air at the top.
CLOUDSCAPES TRANSSOLAR + TETSUO KONDO
ANDY GOLDSWORTHY Andy Goldsworthy is a brilliant British artist who collaborates with nature to make his creations. Besides England and Scotland, his work has been created at the North Pole, in Japan, the Australian Outback, in the U.S. and many others Goldsworthy regards his creations as transient, or ephemeral. He photographs each piece once right after he makes it. His goal is to understand nature by directly participating in nature as intimately as he can. He generally works with whatever comes to hand: twigs, leaves, stones, snow and ice, reeds and thorns. “Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.�
GORDON HALLORAN
“As Canadians, we have a personal and collective experience with ice and cold which is unique: we take pride in the beauty of our landscape and at the same time make peace with its harshness. We stare down into a sheet of frozen ice and see ourselves reflected clearly in a mirror the size of the sky.� THere is magnificence, tragedy and drama in ice, and canadian creative gordon halloran feels so akin to it that he has created his series paintings below zero using it as a medium. gord believes that his heritage gives him a unique insight into and relationship with this extreme natural material. he sees the beauty in it, which tempers its relentless extremes. gordon found his affinity to ice as a child. he would eagerly create hockey rinks in his backyard only to be disappointed when people would begin to skate on them and ruin the glistening smooth surface. years later as an adult, he visualized entire rinks awash with planes color, and a zamboni as an etching tool. that’s when he began creating his abstract public art installations, and a larger sense of purpose for arenas and parks all over canada. Since gord is asked to do installations around the country (and was also invited to represent his country in the 2006 cultural olympiad at turin), he devised a way to use modular aluminum refrigeration plates in assorted combinations to crate, maintain and move the large works, ensuring their integrity. the installations and paintings alike are an enormous, impressive undertaking, and he uses quite a variety of techniques to create them: airbrushing, pebbling, carving, and creating smaller mosaic pieces in freezers that are later added to the final designs.
Olafur Eliasson is not a traditional artist. His best-known works cannot be hung on a wall and do not involve paint or a camera or sculpting materials. Eliasson creates what is known as installation art. This unconventional modern art form can be described as art that viewers must walk through or around to experience. Installation art is usually created for a particular space, whether inside a museum or outside in a field, and for a particular period of time. It cannot be owned by collectors or museums: it exists for a time, and then it is taken down. It cannot be preserved for future generations, except through words and photographs. Read more: Olafur Eliasson Biography - childhood, parents, old, information, born, time, Northern light, Imperfect illusions http://www.notablebiographies.com/news/Ca-Ge/Eliasson-Olafur.html#ixzz1oODP1DdF
OLAFUR ELIASSON
T SHIRT AS MY INITITIAL TSHIRT EXPERIMENT HASN’T REALLY LEFT ANY ‘RESIDUE’ OR ‘TRANSFORMATION’ I’M ABOUT TO EMBARK ON TRANSFORMATION EXPERIMENT TSHIRT #2. TOSSING UP BETWEEN RUSTING AND SOMETHING TO DO WITH COLOUR SEEPAGE I’M REFERRING BACK TO THE (VERY CRUCIAL) LIST OF ‘TRIGGER’ WORDS FROM LAST WEEK. I’M LOOKING AT THE IDEA OF ACID/BLEACH EFFECTS. CONSIDERING HANGING THE TSHIRT ABOVE A TROPH OF BLEACH OR ACID AND WATCHING IT’S AFFECTS AS IT SEEPS UP THE GARMENTS. WILL COMMENCE THIS PROJECT THIS WEEK.
EROSION GROWTH SPACE DISTORTION MELTING TEMPORAL EPHEMERAL BURNING CASTING ENCASING ICE WAX ABRASION FOAM LIGHTS WEATHERING SUN DAMAGE INK (COLOUR) AIR DISSOLVE
THIS EXPERIMENT, UNLIKE THE FIRST ONE, WILL BE PLAYED OUT OVER A LONGER PERIOD OF TIME. SO THESE ARE JUST A FEW SHOTS OF THE WOOLLEN JERSEY TSHIRT SITTING IN A BLEACH BATH AT THE BEGINNING OF THE TRANSFORMATION PROCESS. HOPEFULLY THE EXPERIMENT WILL TAKE AFFECT IN THE NEXT TWO WEEKS OR SO, SO I CAN CONTINUE WITH FURTHER INVESTIGATIONS (BURYING, RUSTING ETC). I WILL BE PHOTOGRAPHING THIS BLEACH EXPERIMENT DAILY.
RASPBERRY ICE CUBES
AFTER BRAINSTORMING FOR THE ICE WORKSHOP AND BEGINNING A FEW EXPERIMENTS, I DECIDED THE MOST SUCCESSFUL WERE ICE FORMS SUSPENDED BY STRINGS. IT ENAMBLES THEIR MELTING PROCESS TO BE OF AN ORGANIC NATURE. I FROZE DIFFERENT FRUITS AND OBJECTS INSIDE STANDARD ICE CUBE TRAYS (THE FOLLOWING DOCUMENTATION INCLUDES THE RASPBERRY CUBES) INCLUDING RASPBERRIES, PASSIONFRUIT, BROCOLLI, FLOWERS, CHALK, JELLY BEANS, STICKS, ROCKS, SAND, WOODCHIPS ETC. I THEN PUT TOGETHER A STOP MOTION TIME LAPSE OF A SET OF THE RASPBERRY STRING SUSPENDED ICE CUBES MELTING. IMAGES FOLLOW. THE FILM CAN BE FOUND ON THE ‘EXPERIMENT IN TRANSIENCE’ BLOG.
WORKSHOP ICE 1
THURSDAYS PREPARATION ICE WORKSHOP WAS REALLY SUCCESSFUL. I CAN’T DESCRIBE HOW CRUCIAL IT WAS THAT WE HAD THE CHANCE TO WORK OUT WHAT DID WORK AND WHAT DIDN’T, LOGISTICALLY, AESTHETICALLY AND IN ALL OTHER RESPECTS. WE ENDED UP DECIDING ON A VERY ORGANIC WORKING PROCESS AND WILL BEGIN MAKING THE DRESS THIS COMING WEEK.
DESIGN “ORGANIC”