Reflective thinking and Judgement:

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.

ardunio workshop

Screen Shot 2015-02-19 at 11.49.17We had an ardunio workshop to try out the technology: it was recommended to me to make the drawing machine I had in ind – one that moved according to sound. The workshop was useful and certainly got us started on using it; although the coding and the building of the circuit was simple enough when explained over threes – and only to make one led light blink at differing invertals of time.

I’ve been trying to find out how to make one into the specifics I have in mind; I don’t know anything about coding or indeed technology apart from what I learnt in the workshop, hence google is a close friend in these times.

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artist research:

During a tutorial several artists came up with their ideas revolving around image and sound; the main one was the pen point percussion by Norman Mclaren, an artist that experimented with drawing points on a reel and having them translated to sound before he added illustrations to another reel and mix them. The patterns are simple; its like finding that one point where two language cross-over which in turn allows you to understand the both languages in their entirety.

Tacita Dean, had a exhibition called “color sessions” which was a study into the thought process and color.

“I was thinking about the movement and order of thought, of color and light, the angel in the Fra Angelico Annunciation in San Marco, drapery, the way that curtains conceal and reveal. My work is spatial but always related to painting. The Colour Sessions can be read as monochrome paintings, but they are fragile monochromes – paintings that are falling off the wall. I recently discovered that the sheen of the fabric is the result of weaving threads of two colours together in a very tight weave – it makes it difficult to locate the surface or pin down the color. So even the ‘monochrome’ is actually two colors. The beads bring another spatiality into play, moving farther off the wall, into the space of the gallery.”

ab_cipherofl_8158(1)There was also Liam Gillick who produces abstarct work; the most relevant the 1987-199 projects of colored pillars. Although I prefer Angela bulloch’s works of a similar nature, with their strange organisation of math and aesthetics.

My favoruite is Martin Creed, its more his exploration of what colour, and form can do than any particular style or theory.

work illustration

work illustration


SAM_2635I had a bit of a mess around with lino prints; since we SAM_2638have the colors available; I tried a few normal prints, the embossing I originally planned didn’t work since I removed too much from the lino. I decided to mess with the colors adding ttwo then three together to see the results. It begins to get a strange glow or blur effect; printing a painted image like this would be interesting or maybe layering a sequence- a background/foreground SAM_2636combination in different colors.

I also tried just printing ink without having a cut pattern- the best I found came from dabbing splotches of color to a plain black background, although my favorite came from painting ink on a piece of perspex then pouring a little water across it and then printing. The paper did take longer to dry but the marble pattern was reminiscent of marble printing with oil and water.


Adobe after effects:

audio spectrumI started messing with how technology can be used for this conversion of color, sound and movement, hence I ended up starting to learn how to use after effects, one of the first things I learnt to make was the audio spectrum effect. Which is the reaction of ‘dots’ on screen to music. I then tried with backgrounds,  i then tested out different effects added to the audio spectrum itself. I tried with polar co-ordinates to create a circle out of the audio spectrum line of ‘dots’, I then used around 7 glow effects to create a suitable blur; this took a long time to render.

audio spectrum polar co ordinatesI also tried with making the ‘dots’ bigger and keeping them few, and pixellating them by adding a blind effect to create ‘separations’ in between the two ‘pixels’. The audio spectrum also had the color hue changing, and the height rising according to sound and an echo effect to create  a ‘ghost’ of the color when it moved, I liked the end result but the experiment became more about learning how to work after effects, not how to use it for the project; although the possibility is there, I might find something when learning to use the program to make into a piece.

The only problem with using after effects at all was the sound; I have no way of audio spectrum mosaiccreating my own sound to use, so I ended up using songs from albums and playlists I have for personal use.Then were chosen by how they moved the audio spectrum best, not on relation of material.

audio spectrum mosaic effect height

kaleidocycle drafts

SAM_2610SAM_2611SAM_2612I thought about the direction the project was taking; more co-dependent of sound and representing the possibilities and how strange it is at all, than the color/movement/sound that I had set out with, and i wanted to return to that. So I looked up some origami; for the movement area to explore; which led to kaleidoscycles. Little pieces of folding paper that SAM_2624spin forever if you twist them inside or outside, always remaining the same shape. I tried in plain, then color and with a few patterns to see what would happen. I’m not sure how far i can take them.

I also tried some ‘normal’ origami; the movement of folding a flat sheet into a self standing structure was appealing and is still something curious in nature. I tried a few forms; a sweet plate,SAM_2634 a box and 9 moving squares. The box was the one i obsessed with, it was the same simple idea of taking a sheet and folding it into a 3d fixture; although this had the appeal of hiding something; that space you knew was inside was invisible, anything could be there. It becomes something like a Schrodinger cat theory; presenting a simple outline; although with a more complicated past than any sheet of paper has, whilst keeping its mysterious air with its hidden space.

I then blew them both up. It wasn’t my best idea but it made two curious items- one that falls apart constantly and the other with a large rip; but it was an exploration into that hidden space that you couldn’t see but presumed existed and since you couldn’t see it, you didn’t wonder.