The art in a box
aspect of fine art research is still ongoing and I have now managed to make a
couple of reliefs as a test. See below.
These metal reliefs
will be used to make ‘card houses’ or
can be displayed on the floor or on a wall or within the fine art area's 'travelling box’ depending on the
final design and or rules for display that the group devises.
I’m also planning to
get the cards screen printed in colour on an appropriate card, so that full sets of playing
cards can be produced and tarot type games played.
This is a colour
test for one image to be printed in three colours and then guillotined to make 16 cards, there will be four of these printed and the dog biting it's tail used as the image on the reverse of all the cards.
The practical aspects
of the research are however taking much longer than anticipated and I’m not
sure when I will have all these things completed because most of the Blenheim
Walk workshops are being refitted and the Foundation course starts back next
week, which means that the Vernon Street printroom and staff will be snowed
under with inductions soon.
However, I’m
balancing this work with three other projects, one of which is to develop a
more theoretical strand, in which I’m looking at going back into specific aspects
of drawing research (the grammar and syntax of drawing language) and linking
with a member of staff from the Hong Kong Institute who is also interested in
this area. I'll post a complete review on this at some other time as it is complex and detailed, but intimations as to where I'm coming from with this are already recorded in earlier posts, look at the posts tagged drawing.
However I’m also
still learning how to use 123d Catch software and have been exploring the ways
it can be ‘glitched’ by giving it insufficient information to process by taking out of
focus photographs or focusing on unimportant areas and editing out the areas I
don’t want. As I’m also working on the forthcoming exhibition, “There is nothing like a good shave to
make a pig feel like a man again”, which will
open on the 15th of September, it seemed like a good idea to explore
the possibilities of using new technology to go alongside what I’m doing using
traditional hand drawn techniques. The image of pigs has been used as a
metaphoric substitute for people, (long pig etc) by several cultures and our
close relationship with animals and their representation goes back to cave
paintings from 30,000 years ago. This aspect of time is something I’m going to
explore further in the more theoretical research. Hopefully once the college
starts back again and all the workshop areas are in full swing, I will also be
able to get some actual 3D objects made using ‘123d Make’ to control the
output. As you can see from the image below, the paradoxes of inner and outer, object and environment can be played with and reconfigured in potentially very interesting ways.
The
knitting of various strands together and the weaving in and out of practice and
theory also reflects the design of the new pathway structure in fine art and
the introduction of the COP3 module, which is designed to get students to keep being involved with practice while developing theory alongside it. The previous use of dissertations to develop a more theoretical underpinning to practice was felt to often create a schism between practice and theory,
students often neglecting their practical work while they concentrated on
bookish learning. Hopefully I can get enough work done to provide an example of
how the two forms of thinking can be undertaken in such a way that they enhance
each other.
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