This booklet is an attempt to document, in a logical way, a creative, ongoing process in 22 pages. It portrays key stages through documentation while trying to evoke, through the pages to the reader, the same feeling with which this work was carried out.
SEM 2/ 2019-20
VSA 2902
PRESENCE OFAABSENCE CREATIV PAGE COLOUR KEY-S page
page
page
key elements ‘milestone’ ‘final phase’
Pivital moments are represented on ‘colour coded’ pages as indicated in the ‘PAGE KEY’.
WORK BREAKDOWNpage
IMAGE
‘IMAGE TITLE’/ medium used/ location ‘WORK BREAKDOWN’ indicates how each photo is broken down as to better organize & underst& different coinciding moments in time throughout the design process.
INSPIRED BY; John Cage (left), Virgil Abloh (middle) and Olafur Eliasson (right)
E JOURNEY VE
‘MINDMAP’/ a3sketchbook/ p.1
‘THEME’/ a3sketchbook/ p.0
WORKBOOKS When documenting works in the A3 sketchbook, the physical boundaries & limitations of the book & its pages were respected, however through the work this physical aspect was attmepted to be broken down, as to stray away from traditional ways of viewing work togehter with the dynamics of a book. This same effort was carried till the very end of the sclupture process. The cover page is an attempt to capture this effort, & is carried out throughout the entirety of the booklet. ‘PHYSICAL WORKBOOK’/ studyunit requirement/ documentation
SELECTED WORKS ‘LAYERS/ DOCUMENT’/ a3sketchbook/ p.7-8
‘TO LAYER’/ a3sketchbook/ p.7-8
‘PRINTING’/ a3sketchbook/ p.13
‘GRAFFITI’/ a3sketchbook/ p.23
What was key when starting off this journey, was familiarizing myself with as many different mediums as possible, & studying their interaction with each other. From this, the notion of ‘LAYERING’ was derived & maintained throughout the entire process, which will be touched upon in the following pages. Certain ‘contemporary’ materials were preferred over others, & were mixed with other ‘traditional’ ones, such as spray paint & poster paint.
‘MIXED MEDIUMS’/ a3sketchbook/ p.12
‘MIXED MEDIUMS’/ a3sketchbook/ p.10
D
‘THIS BOOK’ DOCUMENTATION ‘PLANNING, BOOKLET PAGE LAYOUT’/ cameraroll/ sketches
‘COMPOSING BOOKLET PAGE’/ indesign/ screenshot
This page documents stages in the long, tedious process in making this booklet. The extensive amount of planning & layout of each page was carefully done, as to try & make each page exciting, as to compliment the work done. The phyiscal booklet itself was attmepted to be broken down, as to best reflect the work & stray away from tradiational ‘book viewing’, similar to that carried out in the A3 Sketchbook. ‘FINAL SCULPTURE PASTE-UP’/ photoshop/ screenshot
3 ELEMENTS 3 ELEMENTS
1. LAYERS
GOAL
2. LIGHT
3. MOVEMENT
1. LAYERS
‘OVERLAY’/ workshop/ cameroll
‘MIXED
MEDIUMS’/
‘LAYERED PAGE’/ a3sketchbook/ p.17-18
‘LITERAL LAYERING’ COMPOSITION/ a3sketchbook/ p.34/ 36/ 37
instagram/
stories
2. LIGHT ‘LIGHT TRACING’/ videography/ photography/ cameroll Experimenting with light was a key element, maintained throughout the entirety of the process. Experimenting with shutter speeds, reflections, 2-way mirrors, cast shadows, physically drawing/ tracing over light was important in attempting to underst& & familiarise oneself with light. Light is a very complex tool, however used well is extremely powerful, hence its almost naturally incorporation into the sculptural process. Despite this, light is often overlooked, as one is not conscious of its daily presence. Hence, touching upon its Presence of Absence.
‘REFLECTIVE EXPERIMEN
‘LIGHT LAYERING’/ photography/ cameraroll
‘REFLECTIONS’/ photography/ cameraroll
‘TONES/ OVERLAYS’/ photography/ cameroll
3. MOVEMENT
NTS’/ photography/ 2waymirror
‘REFLECTIONS’/ photography/ cameroll Experimenting with movement through various aspects such as documenting moving ‘reflections’ & cast shadows. The ‘moving drawing’ below was an experiment as to attempt to paint with solely with movement, & let the force (a small marble ball) draw along its path, while the ‘artist’ takes a backseat.
‘MOVING DRAWING’/ a3sketchbook/ p.42
‘MOVING DRAWING’/ a3sketchbook/ p.44-45
1+2 ‘LIGHT OVERLAYS/ REFLECTIONS’/ photography/ videography/ harddrive
‘PROCESS’/ photography/ cameroll
‘LAYERING/ photography/ cameroll
‘FINAL PIECE’/ photography/ harddrive
‘PANO’/ a3sketchbook/ p.37-38
‘TO LAYER/ photography/ cameroll/ instagram
2+3 ‘CHOREOGRAPHY’/ photography/ harddrive In combining light & movement, a new approach in trying to combine the 2 was taken. In accordance to ‘choreography’- a theme explored in the study unit, I attempted to capture exactly that. Rather than ‘drawing sound’ while listening to music, through the use of a prolonged camera shutter speed, light was drawn through movement, hence enhancing the choreography element. These photos portray the process & end results.
‘ELEVATING CHOREOGRAPHY’/ photography/ harddrive
‘MOTION DRAWINGS/ photography/ harddrive
PRELIMINARY S 1+2+3 ‘RESEARCH’/ pinterest/ screenshot
‘SCULPTURE TESTING’/ a3sketchbook/ p.56
‘INITIAL FORM FINDING’/ prototype physical sculptural model, photography / cameraroll
‘SCULPTURE TESTING/ instagram/ stories
‘MATERIALS’/ whatsapp/ chat
SCULPTURE
‘SCULPTURE INITIAL SKETCHES/ a3sketchbook/ p.45-50
PRELIMINARY S ‘FORM FINDING’ ‘LIGHT EXPERIMENTATION/ videography, photography / cameraroll
‘COLOUR INTERACTION ‘LIGHT CASTING’/ photography/ harddrive
‘LIGHT REFLECTIONS, MASSING, LIGHTING’/ photography/ camerroll
‘SU
The key tera pers key Afte cal bett toge
SCULPTURE
URFACE FINISHES’/ photography/ cameroll
ese images document a light experimentation process, a y phase in the end result for the sculpture. Studying light inaction with various bulbs, through various materials (glass/ spex layers) & assessing the mirror opacity/ reflection was y to getting right, due to its interaction with the end-user. er experimenting with small scale protoypes, the physisclupture was studied further using 3D software, as to ter underst& the dynamics of the 3 elements coming ether.
‘MIRROR STUDY’/ photography/ harddrive
‘LIGHT CASTING’/ photography/ cameroll
‘MASSING’/ sketchup/ beyond sculpture model
FINAL SCULPTU SCULPTURE= RO 1 TRADITIONAL
1 2 3 4
Traditional way of viewing/ experiencing ‘art’.
‘Extruding’ artwork beyond its viewing confinements.
Translating 2D to 3D space.
Artwork takes the shape of its surrounding physical space. Audience become extension of artwork, artwork becomes an experience.
2
URE OOM+ AUDIENCE 3
4
COLOUR+ PROCESS
REFL
‘LIGHT EXPERIMENTATION/ videography, photography / cameraroll
Key stages showing colour overlay/ filter & reflection studies. Stills from the video captured documenting the final ‘assembling process’. To the right are screenshots from said the compiled video that best portray such ‘evoking of space’ & manipulation of said space.
LECTION
INTERACTION
WATCH the corresponding clip oninstagram.com/mircroaming
MIRCO AZZOPARDI