The project started with a vague description, allowing for a lot of freedom, hence the sheer mass of research opportunities connecting to the one idea that spawned from looking into “Omnipathy #3” by Joe Sparrow. The first diagram, although a twisted combination of lines and language, helped connect together different ideas and combine areas of information, ideas to make a drawing machine, through making a reaction of sound as movement; through the combination of Edgar Ellen Poe’s “Pit and the Pendulum” and Neil Harrison’s TED talk on synaesthesia.
I tried to find different media to experiment with, after realising I use the same techniques on paper with the same types of pen, before actually starting my project. This time I went straight to using a new material: the non-Newtonian fluid, officially for the use of seeing the music by making the fluid react to the vibrations, although it turns out to be an interesting material to paint with. I did still use the normal materials to make cursory plans of different experiments like the non-Newtonian fluid and the drawing machine, although I did use the materials in way to accent other ideas: testing drawings with colour, and understanding the gradual change from colour to white. However pencil sketches are still used most frequently and are my preferred medium, at least to begin with; if not to finish an image in.
The colour study of changing colour to white, by the gradual decreasing of the yellow and the introduction of more white to acrylic paint, was when I was unsure of what the project was going to mean anymore. It helped to find a niche, to find that colour could be an image on its own. It also spawned research into Kandinsky again: with his study of the three basic shapes and colours; although I had already used some of his theories from the book “Point, line and Plane”, it was more about the conversion of musical scores to appropriate marks, a combination of dots and lines in accordance to the plane in which you place them. Which makes up every written document: as everything is an image, the only difference between language and art is the pre-existing experience of the official language you are presenting.
Kandinsky’s theories led to some experiments into printing processes; lino, etching and mono printing, more so I could try the techniques in ways I hadn’t used, since they present themselves as one linear action and reaction kind of medium. I tried printing with water, by adding the inks in different ways and how I drew an image onto them. This allowed me time to see what colour could be used for what reaction, how you can change one image depending on its colour or shape: meaning that each individual change, however small has an impact on the end result of the image.
I then used this with paper folding, which I looked at as a form of movement and colour: by making a few folds and turning the paper I could change a flat sheet into a 3d object that took up space. Which I decided to change by increasing the scale, and weight of the paper I used to fold the ‘water-bomb’. After a looking at a flat sheet of papers ability to commandeer space, I wanted to create something that could follow the same rules, but would be moveable; hence when I found out the myth of making a thousand cranes to gain a wish, I decided to try. While we can comprehend that a thousand is a large number, you don’t realise how much space a thousand of anything can take up. The colours of the cranes were just to prove they were a detachable whole: in that although they are part of a larger area, they are all individual cranes and can be picked up and moved alone.
The pile of cranes looks disorganised, because it is and unpredictable, after all you take it at face value that the space the cranes hide, is merely also full of cranes, and is satisfying in that it is just a pile of cranes: there is nothing else to it.
Realising that the project had turned to the concentration of space, and what plays in it: I researched some illusions, where they contort your ability to perceive space realistically. I tried using reflective material to contort the ground and the sky, it worked, but involved very little: hence I wanted to try drawing patterns to trick the eye about the level of the ground or fake a space in a wall.
One pattern would involve projecting a camera feed from one side of a wall to project it to the other side: removing the wall from existence. Another relied on separating one drawing on different bits of walls, making the full image would require finding the right spot to stand.
As what seems to happen, I find a method or style I prefer for the project at the end, and eventually run out of time: I believe it is because of my starting method, I spend too much time on the basics, the sketches and doodles that connect to make a minor idea that doesn’t get carried on.
I found this project easier than previous ones, since I had an idea to work with but the freedom to continue it through any research, techniques or media. The title of ‘Interpretation’ was constructive enough to give direction, which lead to the starting theme of sound and image, which continued to the translation of images and then to the specifics of colour, sound and movement. The work turned out more theoretical than I expected, although I am not unhappy with it: as I believe it achieves most of what I wanted as the project changed.