As a continuation of the previous series ‘Fantasy places’ this work looks further into the process of memory and how we recall information. I think much of what we remember is conditioned by our surroundings. In this work titled ‘Beans and banana’ we see two fruits on a gradient burnt sienna canvas. The use of edible symbols give a memory that involves more senses, taste, smell. allowing greater possibility of association to the object. All of us have an association with these fruits, some I am sure more than others. The image of the ‘Beans and banana’ is the same, that is, the perspective does not change in the rendered image. they are ideals, repeated. The size is the only variable.
The process is important to its concept. Firstly the beans are painted. The canvas is then turned over and the banana is then cut into the image. two cuts are made so the material can be transferred around the canvas. Nothing is added or taken away to the original canvas. The cuts break up the beans, the work becomes abstracted as objects collide to form now associations and images which are formed as a result of the cuts. For me this is a visualisation of a thought process. When we look at an object we often out mind categorises image unconsciously. It is only when we look at the detail is when we start to process objects. For example I don’t have any specific memory of eating a banana. but I know I have eaton one. I can recall a memory I will construct one from a collection of experiences which are subjected to each location and other associative places. The work aims to show this process of reconfiguring memory. The cuts of the banana distorts our perception of the painted bean by allowing greater associations through the abstracted subject matter. It enables an allegory to the process of reflection and detail.
Finally the paint of the green bean (or Cherry in the painting below) is of a Thermochromic pigment. (paint that changes colour to its environment) This flux of the images colour enables greater associations as to the imagery as well as placing the work in a perpetual warping and adapting similar to the minds ever adjusting state of present.
A lot of the images we see are places we will never go to. These images are appropriated by each culture, unwillingly it becomes the the cultural perception of a place. It can grow to an extent that our unconscious perception of a place can supersede any rational thought process about it. This can be demonstrated in highly photoshopped images of beaches in travel agent windows. beaches of indeterminate location but carry an association of relaxation. Here lies the interest. These white sandy beaches are visual triggers for our mind. Take ‘Figi’ for example with it’s white beaches and coconuts is associated with holiday destination. However rarely do we see any images of the place but the ideal of what it in bodies. This is manly manufactured through heavily stylised images with the aid of computer programs such as photoshop for a commercial endeavour. The reality of a Fijians existence is not of interest but a conformation of the digital reality that has been projected by the travlng culture on the other.
In these paintings I take fantasy images of places created for escape, holiday ideal’s and heaven. Images used are not ‘real’ that is to say they are ambiguous and of no location (No cultural markers on). I paint the landscape as if I was painting a computer screen however I use proportions one would expect in a 3D digital environment. This manifest itself in pixilated content in the foreground and high resolution in the back ground as well as increasing the intensity of the colour so it chars with the association of these non ‘real’ places. I want to give the trigger of a place but to firmly place it in a fantasy computer augmented reality.
These are recordings of ambient light. I was contemplating memory and what is the essence of a place. What makes a place unique? Culture is dictated by the topography and subjected to by the weather. I thought that light and its effects on a place has the greatest impact on the way people live there lives. I had already made recordings of ambient light in significane locations in the hope that if the place had been visited there might be some neurological recalling of a place once visited. Looking forward. I wanted to see if you took live accurate light readings and relayed it to other parts of the world how would it manifest itself in new places. There would be a sensory link to a place, void of human filters and associated images to a place. All that would be seen is the day to day lives of peoples in different areas of the world.
The works are a combination of different places around the world and at home. The blue orb was for a light festival in Groningen. The festival was at night as such I thought it would be good to take a line is taken through the centre of the earth (from Groningen) it will hit a small archipelago called the Chatham islands. being at the city’s opposite it was 12 hours in-front of Gronigen . As a result when the sun went down here the light recorder would begin recording the sun rise there. It created a link between the two places and a way of experiencing what other people are experiencing weather wise. Other work plays on a still of a location recording and other time based relays from England, New Zealand and the Netherlands.
Here are three Screen-printed colour fields of, Cyan, Magenta and Yellow. They have been framed and mounted in glass. With in the glass, a hole has been cut exposing the print to the elements. The glass has anti Ultra violet protection so as a result will reduce the effects Ultra Violet degradation on the print. Over time the exposed areas of the print will be come lighter as the Ultra violet light that is ever present, deteriorating the print. This process will depend on the position it is hung and the location in the world. In a lighter environment For example the lightening effect on the print will be quicker. As such it will be a record of time spent in that location. when the frame is moved so shall the glass be switched between the frames. Exposing a new element of the print to light. And revealing the light halo created. In this way the work becomes a product of its environment a way of recording time, and its locality. The print will depart from its uniformity and show each area differently as the lights effect shall be different on each print.
This was an experiment to make white light with three primary colours. I wanted to see how bright the light would be and how it would manifest itself in the smoke. I used projectore’s and a smoke machine for the light to be reflected off. Tho this is not a finalised project I liked the idea and it has relevance in the context of my development.
The light behind the canvas is an accurate recording of light with a spectrometer. in-front of the work is a an abstract painting painted this year. The work aims to link memory and fact together showing the juxtaposition of the two states and how it can highlight alternative to ‘real’.
What makes a place unique? For me, it is the light that confers a sense of uniqueness. It dictates the cuisine, sleeping habits, the vegetation and the temperament of a people’s culture. In Southern Portugal I have seen the most orange of sunsets. In India, the light at dusk appears pink and one can gaze at the sun through the fog and the mist. Given this unique specificity, I believe that using light is the best way to capture a place. My concept is to relay the light from a remote area, and connect places through light, showing people (for example) the experience of the midday sun in the Chihuahuan desert or the rising of the moon in Brazil. Ultimately, via this process, viewers can feel associated with an alternative place, and by extension, build an understanding of there differences and similarities.
In the works above they are light still of two locations in the UK. I have not been aboard with the equipment yet. Cambridge on 10.11.2015 at 5.10am Looking East and west. and the Vanilla sky comprises of two recordings in July around 9pm.
Telex is a village set 3 miles north of Lac Leman. My residency is hosted by Nina and David and there three children. Nina an artist herself opens her studio up for other artists to work/live in for the month of November.
On the residency I gave my self a brief to expand and experiment with the light project. The aim is to continue using accurate light readings but over lay it with canvas and play form and colour to achieve a more metaphysical approach trusting senses over conditioned stereotypes of images.
I have now been here for a number of weeks and I am really enjoying the solitude and head space this place offers. It is a chance to reduce your calendar and be productive. Unsurprisingly things can get cluttered when you live in a large cosmopolitan city. It is a relief to remember boredom with out anxiety and what it is like to be slower and more focused. I have had a strange time to date I have had commitments that have taken me away most weekends. So I have had my weekend 'Fix' which have been great fun. tho the need for destruction and exceptance I feel in a Larger city is a product of a city. Something I was not used to before I moved into one. It has been nice to let it go and remember why I did art as a kid as it was the only thing that satisfies. The feeling of building seeing a project through making mistakes being humble and learning from them. Embracing failure and continuing disregarding the doubt but trusting in the objective is reassuring. It has been so productive to realise projects and experiment.
My final examination project at Camberwell college of art was two installations. Both works comprised of smoke machines (smoke) around the building of Camberwell Collage of art. I used the effect to evoke a change in the visual layout of an area. The first work was based in an Emergency exit running from the basement up to the ground floor at the back of the College building. Viewers would leave the emergency exit and have the door closed behind them. Dry ice (smoke) was funneled down the channel towards the participants (please see photo … in Portfolio) smoke would advance to the viewers and engulf them, a white out of light. As the smoke disperses they begin to see them self’s back in to that context revealing the space anew. The second work was at the front of Camberwell College Main building two large wells reside between the entrance. These were filled with low level smoke. Giving an elusion of undefined depth to the base of the wells. Periodically the wind would catch the smoke and push it up as if the building was on fire.
The works questions our position on what is dangerous/exciting. It’s provocative, creating a moment of significance.