Since doing my statement of intent ive done a lot of research to hopefully help broaden my ideas because im scared ill do what i did last year and panic and stick with my original idea of materials and stuff which isnt good...instead of sticking rigidly with my basic idea and materials so that i definitely have an end piece this year im just going to go with the flow and enjoy it!
I still like my original idea of language and how the body performs within it from making the body casts of 2 people as though they were sat having a conversation. It looks like a snapshot of a small moment in time like an impression or reaction of an unseen movement/conversation. Similar to photographs theyre often staged to represent what you want to be seen and remembered but might not what actually happened. It makes me laugh seeing peoples smiles when theyre forcing them for a photo, they look awkward and theyre body looks uncomfortable. From this idea it lead me onto conflicting and contradictory body language where the signals and messages get confused to real emotion and portrayed emotion.
For materials i want to mimic skin and the body but in an abstract form so to exaggerate or dilute the portrayed emotion. I really want to use bold colour in the this project that stands out, because its the body i dont want to stick to neutral skin tones to make it look sexual or serious like Marci Rubins work. Although i like the materials and the tones work well with it, i dont want to repeat whats usually done when showing the body and skin. My first idea is to use tights as it immediately makes you think of skin without even the presence of the body, but its also a feminine material that you dont associate with men. However i think that if the shapes i make are masculine and feminine it will contrast and further confuse the message and language which i want.
Bethany Joy Thompson
Friday, 12 April 2013
Statement of Intent
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SECTION
What is the title of your
Project? What will you work towards producing and what is your proposed end
point? Explain how this relates to your work and ideas from the Pathway Stage
and how it extends your knowledge, understanding and creative ability.
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The theme of my project is
about language and how we interpret a message if its verbally or visually.
For example texting is hard to understand the tone of someone’s voice or how
they are saying something so this can often lead to misunderstandings as we
have taken away important senses that we use to judge a conversation and a
person.
This closely relates to my
research with proxemics as this is about body language and communication,
Jennifer Crupis work with body language and forcing people into certain poses
that display certain emotions or preconceived ideas of what they mean force
the wearer to confront how they use language in non verbal forms. From this I
want to create an end piece that puts the person into a situation covering
facial and verbal forms of language and only leaves body language. However I
want the displayed body language to conflict with the way im trying to
disguise it. When someones face and voice are taken away and the message is
taken out of context leaving the body then does it still give the same
message? How do we interpret or have preconceived ideas that help us
understand language when senses are taken away.
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SECTION TWO – Influences,
Research, Sources and Ideas (guide 150 words)
What are the influences,
starting points and contextual references and why are they relevant to your
ideas? Indicate the subject areas you intend to research and the likely
sources of information including any museums, specific locations,
performances, etc you plan to visit. However you should not make extensive
lists in this section. Instead you should compile an accurate bibliography correctly
acknowledging all references including texts, periodicals, websites and
video/
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My starting point for this
was Jennifer Crupis Guarded Gestures project which then lead me onto
proxemics where we all have our own comfort zones and ways of coping with
unfamiliarity. She references Edward Halls theory of proxemics and personal
space. Jennifers work forces the wearer to confront how they use language and
how they are perceived to the outside world. I found it interesting that
although the body language could be guarded and uncomfortable the persons
face would have a completely different emotion laughing as theyre trying it
or they mirror the emotion as theyre being put into uncomfortable situations
with others watching. I also intend to look further at Charles Rays work as
he works with the body and sculpture. My earlier research into Mari Iwaharas
work looking at skin lead me onto how leaving impressions and marks on the
body can tell a history and language of a previous unseen action. From this I
found Scout Pare Phillips who made a series of photographs showing
impressions and marks of clothing on the skin. For my research I went to The
New Art Exchange as they had a new exhibition on Middle Eastern identity,
although this had nothing to do with my work the photographs were of
different forms and shapes of the body such as people with missing limbs,
body builders and transsexuals. I intend to go to the Surface Gallery in
Nottingham to see Lisa Selbys With or Without exhibition-
‘The awareness of inevitable loss is central to
Lisa Selby’s material and sculptural approach. With and Without seeks
to grasp and eternalize what cannot be held firm: Selby re-articulates items
from the domestic environment, relaying the familiarity and alienation
experienced as one moves physically and psychologically from one home to
another.
Whilst she begins with found objects, her sculptural forms effectively make these anew: imperfect copies are alien from their originals, traces of former existence are erased and their function is redefined. The fragile and impermanent works evoke vulnerable homely spaces: materials are far too delicate or look poised to fall, fragrant domestic liquids evaporate throughout the exhibition, and disappearance, failure and melancholy hang in the air.’ |
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SECTION THREE –
Techniques, Processes and Timescale (guide 150 words)
Refer to any techniques and
processes you intend to use. Describe the range of media and materials
relevant to your project and how you may use them to explore and develop your
ideas. Include aspects of studio practice, workshop procedures or the use of particular
equipment and software etc. Provide an indicative timescale for your project
and indicate the manner in which you intend to divide your time in order to
investigate, develop, produce and evaluate your project appropriately. This
should be a meaningful plan to you and should be personalised to your
project. You may wish to write your plan as a daily or weekly schedule in
which case enter your timescale in the APPENDIX .
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I intend to use sculpture
but im not entirely sure of the materials just yet. I want to take the
language out of context and into a completely new one to hopefully try change
the interpretation. I want to use ways of disguising body parts through
sculpture as everyday objects that the person fits into or I had another idea
from Scout Pare Phillips work called Projections where images were projected
onto the body disguising it until it nearly became lost and a part of the
image. For this I could use a conflicting image on the projection, im
interested in using this as ive always wanted to experiment with it and the
physicality of it rather than a 2D projected image. I may try further work
with casts as it’s a good way of fitting something to the body but I would
like to try alternative materials than plaster as ive already done some work
with it. I might try combing projections and sculpture as a way of distorting
and disturbing the senses.
I plan for the first couple
of weeks that I get back to college I will go straight into experimenting
with maquettes to get a sense of the shape and form of the sculpture I want.
As these 2 weeks of holiday I am starting my research so I can go straight
into working when im back. The 3rd and 4th week I
intend to start working with materials or I may start this earlier with my
maquettes if I find some appropriate materials.
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SECTION FOUR – Method of Evaluation (guide 50 words)
How will you critically review and analyse your work
and determine if it is successful? How will you identify directions for
ongoing development? Do you have a method to record the critical response to
your ideas? How do you propose to assess the success of your Final Major
Project and what will be your methods of evaluation? Unit 9 requires you to
produce a supporting statement at the end of your project. This section can
inform your analysis.
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During the 2weeks that ill
be making maquettes for experiments I will be using people to try them and
recording their reactions and feelings. Not only theres but others that are
watching to see how they feel or what they interpret from it. I plan to take
videos of these to use for further reference or they could somehow be used within
projections. I will be using my notebook to write down my ideas and feelings
from the last session to then plan for the next lesson ahead, what I need to
research or what materials I need. I will assess the success of my FMP once I
have finished my proposed piece hopefully within enough time before the
exhibition to allow me to make changes if I need to, whether people are
interacting with my piece and can see the idea and message I have behind it.
It doesn’t matter to me whether a person doesn’t understand it as in a way
its meant to be confusing the senses and communication.
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APPENDIX
Use this appendix for the
bibliography and timescale for your Final Major Project.
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Sunday, 7 April 2013
Scout Pare Phillips, Impressions & Projections
This relates back to my work using casts, i was going to try taking casts from leaving impressions in my skin using wire as a way of showing the aftermath or history of an action. It also relates to some of the photos i took using wire and also marks left on hands where theyve been wearing a ring.
Her other project was called Projections, i really like the idea of creating another layer like clothing onto the body using projections. The way the projection distorts and moulds around the body looks interesting.
Charles Ray
I found this artist whilst doing some research and thought it was quite similar to my original ideas of covering parts of the body. I like that the sculpture fits to the person like a costume that is static and immovable.
Etienne Gros
Over these holidays ive been trying to sort out where my heads at. Ive been looking at different materials and from the visit to The Nottingham Contemporary with Piero Gilardis work using foam with puppets. I researched other artists using foam as i think it can create a really strange skin texture.
5 Week Rationale
5 Week Rationale
Plan
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Week 1
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The first week I need to try small quick experiments with proxemics and make notes of the evidence I found. From the results I need to evaluate what aspects I find most interesting and that could be used within my work. I need to continually be researching and getting ideas for experiments I can try. From these I want to make quick maquettes that will can keep people at certain distances or participate more than one person to record the reactions and feelings of the people using them. |
Week 2
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From the results of the experiments I want to make larger maquettes and experiment with appropriate materials. I don’t need to focus on a reasoning for the material just one that’s most suitable and wearable so needs to be lightweight and easy to use. Or part of it could be how difficult and awkward it is to use. Record people using/interacting with the sculpture by photos and videos. From this plan a more refined sketch and ideas for final piece. |
Week 3
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Experiment further with materials making different maquettes with different materials and find which works best and fits the purpose of the original idea I have. Plan final piece and final materials that I need to collect in preparation for next week. |
Week 4
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Start making final piece, test throughout with others and ask their opinions and ideas to improve it. Records people’s reactions and evaluate if it’s working the way I want. |
Week 5
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From last evaluations make changes if I need to and decide how I want to display my piece if it needs to be central and intrusive to make people interact or hidden away to make people go look further into it. See whether people treat it as a sculpture or decide to interact with it once it’s been displayed in a exhibition type manner. |
Nottingham Contemporary & New Art Exchange Visit
On my birthday on Thursday i went with Joe to see some galleries in Nottingham seeing as il be studying there soon! I was planning on going to the Surface Gallery as well but we had no money to get the tram so ended up walking everywhere...
Nottingham Contemporary
There was only really one room in the contemporary that i liked and it doesnt much relate to what i do but i thought Bryony might find it interesting so i took some photos. Its all made with foam which is then painted.
Nottingham Contemporary
There was only really one room in the contemporary that i liked and it doesnt much relate to what i do but i thought Bryony might find it interesting so i took some photos. Its all made with foam which is then painted.
Piero Gilardi
Collaborative Effects
John Newling
Ecologies of Value
Im not sure which artist this one was by it might of still been Piero Gilardis work but it was in a seperate room and had a projection onto the wall of the birds view and you had to sit down and move the bird to change its view. I think i might of broken it though because it stopped moving....
The New Art Exchange
Realism in Rawiya
All female collective
This video i took in the gallery room upstairs, im still unsure what it is i think its part of a factory machine.
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