Eleanor. Amelia. Jennifer. Jo.
This unit I am looking at a large project – possibly towards the final piece – 24 Hour Sibelius, where I am working on stretching out in various ways the 7 symphonies of Sibelius so that they last for 24 hours – the idea is to examine sound somewhat as 24 Hour Psycho by Douglas Gordon examines film – isolate and abstract the elements. It will be moving image with sound.
Initially I am working on sound trials, and am planning some drawings and video towards moving image later on. These images are some previous work from a few years ago which I am using as my starting visual material.
More images:
http://eleanormacfarlane.blogspot.co.uk/2013/04/music.html
One minute sample of Sibelius music with images:
http://eleanormacfarlane.blogspot.co.uk/2013/03/24-hour-sibelius-sound.html
Sound trials are not uploaded because they are more about working out as yet rather than listening to.
My three questions are within this cluster of questions:
The question we sometimes ask of other exhibitions is – Why this piece, and why now? And so I wonder about 24 Hour Sibelius – apart from the fact that I am drawn to exploring and making this for reasons due to my entire life and background – ie, it is relevant to me – I wonder about the question of relevance – Why explore sound? How to explain the relevance of music or a symphony? Perhaps these are rhetorical questions, but I am looking at least for ways to consider these types of questions.
...................................................................................................................................................................
Amelia's work.
Colour grids based on journal records/ diary - pantone colour system.
The gentle secret code gives a sophisticated shift in work.
Following internal rules of ordering, allowing jarring.
Deliberately reordering in a more pleasing way loses the truth, looks more obvious.
Interesting Amelia's idea about the natural tendency to order and sequence.
All about the colour relationships.
The blurring video taints the colours and also the expectation of rules and codes -
the exception proves the rule.
Perhaps painting on acetate to make the paintings look like they do in animation?
Colours don't record an emotional state, so not conscious, but perhaps an unconscious method of revealing emotion.
Amelia is the cypher, the black box.
Bridget Riley, but so different.
Evolve even more to become more distinctive.
Bringing in other skills - secret codes on surface, building up the painting.
Words - journaling the relationship with colours and codification.
...................................................................................................................................................................
Eleanor's work.
24 Hour Sibelius.
The photographs, multiplicity like music.
Synethesia.
The form within the images - elements of responsiveness to music.
Collate sound and images.
Silence -Peter Ustinov. the power of silence - also orchestral playing.
Relationships, couples - how happy you feel in the silences.
The balance between sound and image and silence - perhaps strobing effect in music to fill pauses.
Perhaps white noise, sound to cover the projector, or trust the silence.
The conventions of Sibelius - collate.
Find the structure of the piece from the material - follow the logic and coding of the material.
Anecdotal evidence from orchestral musicians.
Reasons why 24 Hour Sibelius.
Art of Noises. Joseph Young.
http://artofnoises.com/
Conducting a private view - recreating neo futurist 1930s work.
The ArtAngel Radio 4 sound commissions:
http://www.bbc.co.uk/blogs/radio4/posts/Open-Air-a-collaboration-with-Artangel
It's helpful to look at what else is happening.
The piece revolving incrementally over 24 hours.
Have a speed run through - theatre productions do this at speed.
Speed up / slow down differently - unnerving.
Marcus Coates - dawn chorus
http://www.picture-this.org.uk/worksprojects/works/by-date/2007/dawn-chorus
People copying bird song
Reminds of Olivier Messiaen:
http://en.wikipedia.org/wiki/Olivier_Messiaen
Classical composer using birdsong.
David Claerbout. The Long Goodbye
http://www.youtube.com/watch?v=SZhIjdHtM9g
duration
(Reminder - to collate lists and links of relevant works and artists, sound and video, for reference).
The interviews - perhaps bring in their voices and thoughts.
questions. questionnaires.
Why. Why now.
Relevant to me. Sound is important. Sound towards images.
Synethesia but with a whole range of senses.
Part of a zeitgeist? No, but then again yes.
It's generational. Influenced by and immersed in the culture.
the experience of seeing moving image more than a digital still or web representation -
more immersive in exhibition.
Looking for the relevance, the purpose, the philosophy to drive and underpin the project.
...................................................................................................................................................................
Jennifer's work.
Also as myself using past images which are still meaningful and whose time has come.
The collision of painting and photography.
The photo essays, story boards - already successful, succinct work ideas.
The sound - charming but bonkers.
Her theme tune, the soundtrack in her head.
Why should a film be linear?
A cluster of sound and image.
Possible parabolic speakers giving isolated sound.
Elliptical narrative or gaming - related to aural tradition.
Narrative cycles, modern and ancient.
Mind behind the placing of images. Order. Haiku.
How do they relate - same criteria. Parallels.
Make film by developing rules and codes.
Code - discipline, maturity.
structure, discipline, codification.
when you have that code you have recognisable work.
Focus - pulling the threads together.
The framework drives the content.
...................................................................................................................................................................
Jo's work.
Late so short.
Paintings.
More limited palette leading to more impactful use of colour.
The gaze is more powerful when the attention is not direct.
Also the relationships between figures, and where they look.
The fighting dogs - Saturday Night Out with the Boys.
Allowing titles - evolving that practice and letting those words match and lead.
Trusting that instinct.
The relationship between the two figures - the same person, but so many aspects and insights.
...................................................................................................................................................................
Reflection
This group crit was constructive and interesting. We seem to be more or less on the same page when it comes to discussing work. As Angela said, it seems to take about two and a half years in the MA to get to this!
There were some parallels between disparate work, partly in using past images and bringing in skills. Not everything is current all the time, and skills or past work finds its time to be relevant or have currency in work. What especially came out was an underpinning of codification which is driving work - uncovering rules and procedures, following them, and allowing them to be a framework for art. The making and being creative part is almost a pleasurable extra.
There is an order to things. It is internal, and we delve in order to find and access the essence of ideas. It is external, and creates a matrix for work, and becomes the work. Crack the code.
The things I am looking for within the 24 hour Sibelius project, and other work is within the logic of the work itself.
26th April 2013
No comments:
Post a Comment