Final Project :333

 

My final project for this class was both chaotic and very rewarding. Time management? Who’s she?, but I was able to figure out the process which I thought was impossible at first.

I had to first take photos of the bed, this took about 2 whole days but then I:

1. Developed negatives

2. Scanned negatives

3. Transferred onto transparent paper

4. Printed using cyanotype chemicals onto separate paper

5. Then finally I trimmed and pasted them into the final booklet

The scanning and formatting/printing the negatives took about a full 12 hours because I had a lot to edit or clean up, and then some testers came out either too dark or too faded for my liking. Overall this process was very fun, and I am looking forward to using it for future projects, but for now I am just happy that my hands aren’t too stained from the cyanotype processing. 

In terms of putting the book together, that was a whole other monster to tackle, but I think my scrapbook type format really fit for what I like to see in artist books, and I did want my book to feel more intimate than sleek and formal, just because I think the space of a bedroom is where most of us live at some point in the day, and unless shown to others, it usually doesn’t have to be or at the very least ‘look’ formal. I will note that some of my friends made their bed for days…..in the waiting for me to take these photos, but I do feel like I got an authentic glance into where my friends live, or even how I live. 

Again, I loved this project, and I am certainly going to move forward with cyanotypes, and maybe even make a more cohesive book or series for the senior exhibition!

Artist Research Project-

 

This artist research was one of the hardest I had to do only because most of her information was accessible, but I could not find decently sized images. I did feel burnout due to the term so I did procrastinate a bit, but once I understood what I myself was saying I was able to take off and really see Bea Nettles as more than the cyanotype artist I thought she was.

Her work in the gravestone poetry series deeply affected me because even if she is using text (given the surnames of gravestones) I think she does what I’ve been trying to do with my beds, which is format her images in such a way that re-frame them conjoined with their original use, to also tell a story differently.

I am still working on my beds booklet series, but her craftsmanship in both artbooks and formatting in general has given me inspiration to find my own way to recontextualize the bed, the way she does her text and image.

Presentation Link: https://docs.google.com/presentation/d/1UXa2Sb1mVBccL1HtHBjYa4t0c5Ow1I4EqxXnkpum17g/edit?usp=sharing

Journaling Project #3

 I did not have the momentum needed to tackle absorbing the Musica Practica, but I did find this quote towards the end: “ It is we who are playing, though still it is true by proxy; but can one imagine the concert - later on ? - as exclusively a workshop, from which nothing spills over - no dream, no imaginary, in short, no 'soul' and where all the musical art is absorbed in a praxis with no remainder” that interested me because it made me think about how in the moment something can be gained, but maybe with something like the passage of time, that experience can dwindle, and arguably become un-important. 

For me this quote describes my process as a photographer because, especially for prep work like developing, I know my process, and I can show it to people to,in some way, WOW them, but when Im just doing the developing I find myself get more in the motions of remembering the steps than I am waiting to see what I get at the end. Now I’m agitated that I have to acknowledge that forgetting either the steps, or what I’ve made, can be recycled into proving that at some point there is no memory, or significance of the object or process to me. However I do want to push back on this, for my own sake, because I feel like there is still some form of me in my work. I thinky only in an environmental or contextual case that I could truly choose to abandon or disown my own work. 

The update for my progress is that I did make a tester for how to both scan my negatives in as well as cyanotype said negatives onto paper. The major issue I ran into was making sure my paper dries properly, and to place my negative on the right side because both of these elements being slightly damp meant I got a weird slimy/wet look to the final print. At the moment I'm doing a bit more paper testing before committing to formatting my finalized pages and scanning in my negatives, but I feel confident, with the sun allowing, that I can finish and bind my booklet in time. 

Journaling Project #2

              へ            ╱|

          ૮  •   •)       ( •   • 7 so....the author dies?

          /   ⁻  ៸          、˜〵

    乀 (ˍ,  ل         じしˍ,)ノ 

          へ    yuh.     ╱|

     ૮  -   ՛ )           ( •   • 7  

        /   ⁻  ៸              、˜〵

 乀 (ˍ,  ل            じしˍ,)ノ

.∧ ,,, ∧              *🫧.•

(  ̳• ｡ • ̳)         .🫧°. 🫧*

/    づ/̵͇̿̿/'̿'̿ ̿ ̿̿ ̿̿ ̿̿ °🫧+.🫧.°

erm anyways...

After another read through of Barthes ‘Death of the Author’ I think a massive quote that stuck out to me was

“..by refusing to assign a “secret”, an ultimate meaning, to the text (and to the world as text), liberates what may be called an anti-theological activity, an activity that is truly revolutionary since to refuse to fix meaning is, in the end, to refuse God and his hypotheses-reason, science, law” (pg. 147)

The reason this quote struck me was because it made me realise that I’ve never truly put my art, or more specifically photography, in the fork of the road that is leaving it up to the audience or purely stating my direct intentions. I feel through the process of photography, especially for my project, I want something, but I think for once I’ll just let the word ‘bed’ speak for itself. For me, the bed isn’t even a major happening, as we’ve seen examples of more extremes, I think for me as I work on ‘bed’ I’m finding so many meaning that rather than try to pin or dissect each one, I’ll just go with the flow and see what works for my mind's eye, that’s not to say I’m being careless with my decisions, but instead I am trying to work towards a final product that has no fixed meaning.

Here is some of my process btw:

I sorted negatives out for printing, and I made a physical show-and-tell piece for class!

I’m trying to be mindful of documenting myself DURING the process rather than just finishing something to prove work was done.

I also wanted to add that despite being a creator myself, and so badly wanting to make sure that I am credited for stuff (while I’m alive that is), I do think that if my art or artist statements (for text) have to be sacrificial to a future work, I don’t think I mind that idea, but also I'm dead so who can really say. I just imagine my sacrifice or death as a forest fire, if I never “die” I’ll crowd what little room is left, but if I “die”, then from there the soil is new and another person or idea can come along to settle roots. I mean, I’ve been inspired, 

Haven’t you?

       

Jiayi artist talk 🖥️🐟

I felt Jiayi’s artist talk really spoke to my documenting-loving soul. As soon as I walked in I had goosebumps at hearing the clicking of the data and I was in awe at the sheer size of all the installations Jiayi had brought in.As she talked about her life I felt it was very interesting that her study of Physics was what orbited her back around to art courses like painting and printmaking which then lead to her career now in installation work. (Also, I didn't know about the warmed up bench…it is now noted!)

Another portion of her work as a whole that I was interested in was how she was making something almost invisible (aka data) into something tangible and that takes up quite a bit of space. I loved the tracking project that utilized drying racks. I didn’t note if that was the ultimate choice for the presentation, but I found it interesting because when I walked in I found myself gravitating towards the project. 

Jiayi’s goal for her works also seemed to revolve around archives for the means of accessibility. I don’t remember which work specifically, but I have noted that at some point she said she wanted one of her works to be accessible in a public library for anyone. This is what brings me to her work with the molds of the Nasa moon fragments: documentation and outwardly valuing the art process.

As I looked up close at the different mold stages and the prototypes laying across the ground or in their cases, I fell in love even further when I realized that the odd security cam looking footage on the far back wall was actually her photo gallery documenting her whole project. I wanted to note here that I did ask about the 3-4 digital photos of what was the ice molded into the rock and it reminded me of the artist who created the ice block structures MADE to melt. I say this because she was just experimenting, whereas the prior artist was creating experience. I’m so interested in how Jiayi was able to both give us as an audience a tangible “end” but continuous image of her work, but she also had the process surrounding her work to document the actual process we were given.

I loved her usage of different materials, and I’m not sure if this is the word to use but I felt the word “multi-media” really gathers everything she was hitting both in the motivation of her work and the message she was putting together. I found her interest in detail super exciting coupled with the fact that for every mold she had, she knew the process to get there, and if she didn’t she found answers to her questions.

Unlike other artist talks where the visiting artist is either crowded around or whisked away after the talk, I actually got to have a conversation with Jiayi about her work, but more specifically about her usage of documentation. I will admit here I was a huge fan, but I did say to her that I loved that her archive work was more a route for accessibility than it was isolated preservation. She shared how the documentation work she did in a way related to that of Marcel Duchamps with his box reproductions and how even years in the future he wanted his works to be understood in a certain way. I loved chatting with her and hope to incorporate her thorough methods of documentation into my work.

I also still hear the faint clicking sometimes.....

Barthes and My Art?

 

I think when attaching Barthes ideas to a project like mine, I feel more lost on what exactly a possible assumed message may be. I’m not sure I can argue that my representation of the bed as an object is a “message without a code” (pg 36), because every bed I’ve encountered says something, whether that is it saying visually that it is unmade, or if the person is a clean freak. In terms of planning for my project, I was thinking of text, but as I drafted ways to write on the cyanotype paper, I found myself leaning towards using a white posca pen, but this then made me think that my audience could see my cyanotype magazine as a blueprint/ or instructional vs. the mock-magazine that it is, due to the ques given with the blue of blueprints and that of cyanotypes. plus the usage of diagram like images. 

Another interesting thought I had was about Barthes secondary idea of a collection and its signifiers. As much as I am focusing on a singular object: aka the bed, the bed itself is more of an idea of where we sleep and rest, rather than what exactly creates the idea of a bed as a structure. 

Ultimately, as I dissect Barthes in relation to my project, I’m finding that my idea to create the anatomy of a bed is more about communicating a relationship between body and object, than it is to advertise the object like the Panzani ad

My update for my project is just earlier in the week I secured my Nikon camera, and this weekend I will be doing my rounds and taking at least 10 pictures of my friends’ beds that way I can start planning out the magazine type format for my magazine.

Int. New Media Project Ideas! ‧⁺✧(˶´u`˵)⁺‧

 Hello Everyone!!! 🫧🐟

⋆Final Installation Blog⋆

 

This experience was like no other!

When this idea was on the chalkboard of my mind, I felt like it would stay put forever just because I was a bit doubtful about its execution..that was until we (the class) blew a great life into my chalk dust.

I remember the morning of this installation. I’m a huge early bird type of person so on this day I got up at 7am, got my supplies ready, and went to have breakfast. This is all context but when really getting into the set up, it was a therapeutic process. I got way too much paper but I loved using my obnoxiously large ruler across our grand table, and taking out my fresh set of pastels. I am also glad I got reminded to document because this image of anticipation makes me feel ready to make art!

In this midst of setting up supplies, I lost sight of setting up any restrictions. All I remember repeating is that the installation was about creating a mirror image to your partner, and to switch around colors when you were done with what you started with. I didn’t give too much direction on the tango of leading the mirroring and I think it had the great effect of people really connecting with their partners.

I think some beautiful outcomes from this happening was the sounds of the pastels going across paper and the silent conversations across the table. The laughter is also something that made me smile and feel like this installation did what I wanted it to. I wanted a connection, no matter how temporary, that helped us (as a class) express ourselves to each other.

This picture is one of my favorites because it truly shows a moment. The class may be off washing their hands at that moment (or what have you), but they created something that spoke for them in their absence. This piece was so huge that I had to stitch it together differently in a janky photoshop, but this work will always stick with me. 

I am glad we all came together this day and created something so beautiful. 

Rebecca Carlton Reflection -

 

I absolutely loved this artist talk. The time for self reflection is so hard to really sit down and have but when we were prompted to talk amongst each other and have a moment of retrospective, it was great. Rebecca talked alot about how these memories beg the question of “What do you want the viewer to see about you?”. She also talked a lot about her exposure to art being a consistent thing. Through this connection she often  later found herself in conflict between her and her environment. 

This is where she talks about Vanish: To become Zero. There were 4 main leaves used which took up a lot of the installation in size. Through this Rebecca then talked about thinking globally when creating art. To go out and look for what is around, and not being said. She also put emphasis that intention is key, and you have to know why you are doing something. 

She continued with how the process is one of the most important pieces to any creation.

5 billion to none: An extinction is an installation that really broke my heart. This piece revolves around passenger pigeons and how they were pushed to extinction. Rebecca talks about creating the 5,000 porcelain eggs (with no molds btw!). She also states here that global imagery is also essential for making an audience recognize that they understand something within the work, even if it is just an egg or a basket. 

There was much more said but ultimately I adored this artist talk because Rebecca Carlton put emphasis on the process and artists self within the evolution to the end product of all this work. I also loved her passion. You could just hear it. Many times she told the audience “Be persistent!” and “Follow through!” with whatever we get into. I appreciated that.

This opportunity was one of the best.

James Turrell

 

This research project was very overwhelming in the beginning. The first ever image I saw of James Turrell was him illuminated by light and I really wanted to know what he was all about. This project had a lot of trial and error for me unfortunately. I went through so many of his grouped works, I looked at his pictorial renditions of the more 3D examples, I just felt overwhelmed by my options. It wasn't until his work “Unseen blue 2002” that I felt any sense of guidance with what I was trying to convey. This work helped me solely because I had more variety with the light depicted which is what I was trying to get at in how viewers are experiencing something different each and every time with his work. He also is described as both a light artist and a musician because of his usage of optical illusions and projections/LEDs that help enhance the space or site specific art he is creating. I fell in love with the differing colors in his work but what stuck out to me the most is his extra attention to how viewers would feel in a space. This ties in to his Quaker faith but that strung in experience of meditation and occupying quiet space with others is what catapulted this discovery!. Despite the difficulty I had with certain aspects, I do feel like this project helped me not only learn, but feel recognized as an audience member. This is a similar feeling I had when we had seen work by Dan Graham describing his audience and how they were seeing him both in body language and eye movement. I appreciate artists who look at art as a relationship between audience and subject rather than a one-sided action of viewing.

James Turrell Presentation

Mock-up and Progress Report✨

 As with all projects, this one has changed in several ways. I decided that instead of a complex dark room, I am going to go with bright and simple. When looking at my rough drafts I realized that I wanted to head in a different direction.

 I found a website that when you dragged a cursor it created different flat kaleidoscope stills, and from there my idea took off. I also found out about the pre-school activity called the “Bilateral mirror”. This is where you and a partner are across the table from each other, and use an assortment of colors or paper to create a similar mirror image of each other. It also doubles as a mindfulness and team building exercise.

I took these two concepts and did a test run or mock-up. The difference I found was that the rainbow pencil (I bought enough for the class) did not show up well on my paper. It was instead my oil pastels that really gave a bright mark. My revision for this instead now is incorporating the cosmic effect I want by using pastels on black paper, and maybe incorporating the rainbow pencil some other way. However, this test run really gave me something to work with and I am excited to see how it translates into my installation. I am also excited to see how people work together when it is different from friend with friend, versus peer with peer. 

Project Proposal 🪼⋆.ೃ࿔*:･

 The theme: Expressing the self temporarily

When looking into what exactly I wanted from my project, I found that I really wanted to work with 3 main elements: Light, Color, and Participation. I gained a lot of inspiration from those nostalgia-esque edits of childhood that are always floating around in ‘2000s kids remember’ type of videos.

The original idea I had came from thinking of a “pocket installation”. My mind instantly went to kaleidoscopes and how although those don't exactly count as an installation (YET), there has to be some light, beads, and the participation of an audience member (or a single hand moving the lens).

With this I was thinking about what exactly it is about Kaleidoscopes that make me want to blow the images up onto a wall and show everyone. I only found an answer when a disk labeled “rainbow peephole” helped push forward my journey into what my installation is about.

However, although the original plan had some footing with this new tool, I still didn’t know what I was doing. I aimlessly took photos of everywhere light was its brightest. I tried to take as many photos in the daytime, but especially at night. When it was night time, and I was on my final walk home from watch, I took a quick photo of the main hall. This is where my purpose revealed itself to me. 

I took this photo and instantly thought "just because the center portion of this image occupies my reality, does it make the surroundings any less real?". I love this picture as it is, but it brought on my recognition of what this was: a fractured subject.

The definition of fractured here is: "split or fragment so as to no longer exist or function". This definition seems more fitting rather than a word like shattered because this photograph still feels like a whole image. The only major difference is what I've captured with my disk is not sustainable without it. I am able to create something new, but have no proof except this photo.

I don’t really have another photograph similar to this, all my other photos are of a singular light source that is open rather than against another subject. These two photos were my favorite of the day because they are polar opposites. One is the sun, the other is man-made. 

Despite the main elements I want incorporated, and the concept surrounding these images, the kaleidoscope keeps calling back to me. In order to make the fractured idea work I would need several of these disks, and a decent sunny day to take out our group to use them, but I want to incorporate the Kaleidoscope because that idea feels much better to execute.

I imagine a dark room, with light very dim and only really strong through the kaleidoscope that is projected onto a wall. From there there are chairs to sit and look at the projected images, however the audience can change the lens position themselves, and keep changing it based on what they feel in the present moment. In how I think of installations, I want participation to be key in how people express and interpret one another. 

I want something that feels awkward at first, that begs the question of who feels what in the present moment, and yet at some point in the process someone would be willing to answer the question, even if briefly.

This idea is still on the chalkboard, but here are some questions I had when I was drafting ideas before writing my proposal. 

Questions:

• Are the photos revealing something, manipulating it, or both?

• Are emotions able to be captured with something as simple as light and beads?

• Should the space be open and light, or concentrated and dark?

20 Scenarios or things arranged

I was super stumped on my 20 scenarios until I started looking around my room. These pictures are out of order, some are arranged through pixels or across many miles, but hopefully they stand well enough as scenarios or situations that can be stepped into.

****Random Disclaimer: I at some point got so tired, let's guess where it started ****

To start off strong I wanted to work with what was around me in my dorm.

‘ Dinner Still-Life’

I often find myself subconsciously balancing all my food items on my furniture. Is it because I am too lazy for dishes? Or creative? Only the crumbs can tell.

‘Crime waits at the top of the steps’

I came across this guy just chilling, He waved, smirked, but wouldn’t answer any questions I had. He also wouldn’t stop playing with the caution tape, but maybe I'm not the authority to tell him to stop. 

‘Pinkalicious’

I love digital collage and have attempted to work with colors and compositions that give way to include the spectator, but in such a way where we are being looked at more than they are.

‘Ascending main street’

This was the closest I could get to the ‘cat stuck in a tree’ in my surroundings. This is on the street sign corner in Warch. The light gave me a bit of an ‘ abduction from aliens” feeling.

‘Is it roasting or warming me up?’

Don’t you want to join him? The only issue is his heat tolerance is much higher than anyone else's. Just don't ask him about it, it’s a sensitive question….or do, but he will just roll on his side and snooze.

‘Left outside’

He honks loud, everyone can hear him.

‘The shelf both forgotten and yearned for’

I settle things onto this shelf, but I hardly ever interact with it. However, if these items, the tiniest or largest, if they ever went missing I would feel lost. I like collecting my little trinkets because they feel like a tangible memory. Proof that I love life, but only an admission to myself. They remind me of how time passes, but I am and have enjoyed something.

‘Driving like they have no fingers’

It is so cold outside as the ice freezes my fingertips into a bright red. Shoutout to the tin toy car.

‘This guy STINKS’

I waited 20 minutes for a sip of water. It was so bad I befriended a stranger to support me in stink eyeing this guy.

‘Pig Island’

He’s not sure how he clip clopped onto this island, but now he screams to a deaf God.

‘An accident on cool guy ave’

He was a skater boy, his ankle said see you later boy.

‘Ice cold coke, and a snapback’

She knows how to have a good time. I could only get this photo if I gave her 50 bucks. Best 50 bucks spent, the only downside was my shoes are eternally iced.

‘Tryna get you lost’

I kept asking her for directions to a local restaurant and all she would point to is Main hall. She knows something.

“Do you mind?’

You walked in on him, and YOU act like he’s the weird one? For shame.

‘WORST blind date ever’

He has this unnatural blue glow to him. The most interesting thing about him was he once rented a room in a cheese wheel. However, being bored with him was the most excruciating hour of my life. Who offers a girl a bottle cap as a leave behind?

“Sunday Night be like’

He’s barely through book 1 and has all these to get through. Can a guy catch a break??????

‘Geralds big day out’

I heard a squeak behind me as I was walking to the library. Low and behold a little seal was saying hello!

“Show tune’

🎶🎶🎶🎶🎶🎶🎶🎶🎶🎶

🎶🎶🎶🎶🎶🎶🎶🎶🎶

🎶🎶🎶🎶🎶🎶🎶🎶

🎶🎶🎶🎶🎶🎶🎶

🎶🎶🎶🎶🎶🎶

🎶🎶🎶🎶🎶

🎶🎶🎶🎶

🎶🎶🎶

🎶🎶

🎶

‘The deconstructed female body’

I made this collage when I really struggled with identifying myself in an empty room. I know myself better now but this piece anchors me to the floor.

“Between dimensions’

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