Choosing this subject I think I had very different expectations. It was really different having the subject in redfern, it made it fell like we were there purely for creating something cool rather than trying to hand in whatever we needed to pass or achieve higher. I was really keen to learn some hand on film techniques, how to use and a camera and different styles of film. These things were not later or in front of us. Instead we were encouraged to think differently, explore bizarre ideas and to have an appreciation for creativity. All the mundane things or skills i listed before we learnt along nicely the process of filmin and presenting our own ideas, these things really do need to be learnt in process rather than taught I a classroom. I think this task was a big learning experience. Our group set out with a few very different ideas, having no idea it would lead us to create two very different films. As a whole, we all really started this task not knowing what we would create or how we would do it. We then found an idea quite early which was both good and bad. Our question “what does it feel like to suspend in space” really lead our practice. We could explore this idea to its fullest potential and really consider every aspect of the things involved. I think we did this pretty well. Being realistic I knew around the 10th week that the documentary style film we were going with could have had more content and installations in different areas but we had been focusing on the class activities and had other work loads that we knew we were settling with this one location. After over coming a few sound quality issues and finding some better quality instruments to record our sound we were all pretty content with our outcome. Feedback from our teachers was mixed. We all knew that if we had heaps of time and could film little installations all over Sydney, montage it together with a really good quality sound that it would be a really brilliant film, we had was really the beginning research and experiments in our documentary. We decided to do some really small scale installations around a few areas integrating a crate with string attached and layering these images over each other, montaged together with a rhythmic beat behind it. Our group worked so well together. We all had different skills and ideas that we could contribute and everybody picked up the slack where needed. I think our ideas explored quite well, as I said above we were quick to jump on one of our initial ideas but to our advantage we were able to really delve deep into this. On the down side we could have missed other ideas which also could have worked. I do think this idea was really unique and it resonated with us towards the end. We were excited to do more Installations and quite proud of our work. I personally was actually still impressed that we were able to suspend the first string over the goods line walkway. I think that the quality of our final presentation was less than our documentary style film simply because of the fact that it was produced in less time. However they are both extremely different styles of film so I think that our final montage presentation works better with less time than say the documentary where we had to record and overlay sound etc. Again I’m just really impressed how well our group worked together and that we were able to produce two very different style films in the time given.
-streamers covering walkways
-demolish something into dust
-take apart something you’ve never seen inside of
-inside is unknown
Chiharu Shiota is a Japanese artist who works out of Berlin creating large scale installations. Her works use threads to create a webbing like feature, connecting the space, the performer and the audience (Shiota, 2016). She plays with creating a presence where there was previously an absence. I have explored the idea of the void and unfilled spaces throughout some of my blog posts and I think it would be very interesting to see what happens when we fill a space close to us. As mentioned in one of my previous posts, it is almost human nature to personify the “unknown” or fill it in to make sense of it. This idea of connecting is explored often by artists such as Shiota. Either for artistic or entertainment purposes we see this filling in a space happening. On the other hand objects (often buildings) are connected for functional purposes. To ease traffic, communication and make the most of space above the ground. I am very intrigued to see if and how we could explore this idea further.
Seven Dresses, Chiharu Shiota, 2016, Dap-distributed Art
Stacey Williams, projection, 2012, via behance, <https://www.behance.net/gallery/5100273/Projection-Project>
La Jetee (1962) is a film which focuses on the idea of time travel and the paradoxes of human memory. A montage of haunting black and white images with a somewhat monotonous yet impactful narration gives off a moody and hollow feel in the 29 minute film. The still images and disjointed, shooting from one idea to the next, person to person panning the conversation the voice is narrating. The images move to the rhythm and beat of the narration similar to a heart beat and you almost find your own heart growing faster and assimilating to the beat in the film. Sitting on the edge of my chair wondering who is the narrator, how does he know this man? A story which highlights unpredictability in memory and how by looking back you can almost become trapped (Marker, C 2017). I thoroughly enjoy La Jetee. The narration following the images at a fast pace was quite mysterious which was intriguing. It really made you think about the idea of being trapped in your own memory, often caught daydreaming I almost jump out of it wondering how long I was absent and what I missed.
Our group montage followed the story written in the in class exercise. A disjointed story of a person who was torn in their actions. I think the group was going for a simplistic approach achieved by using a similar background and illustrating the concepts that were in the story. Overall I think we did a good job however we might have been a little too obvious in our portrayal. Maybe mimicking that torn feeling by having a really fast paced cycle of images at random and a more darker, moodier feel would have portrayed this better. After watching some of the other groups I realised that the narrative is just as important as the sound and image. If you have a great storyline but don’t represent it well it is worthless. Next time we could focus on how non relating objects can still portray our chosen storyline. I think this makes watching the film easier as people can relate on a more personal level making it more interesting and captivating.
Marker, C. 20 March 2017, <http://www.markertext.com/la_jetee.htm>.
Humans have attempted to personify the idea of nothingness to try and understand this vast concept. In creation this idea of a void, not valid or legally binding, completely empty, containing nothing or an unfilled space. I have looked towards art and the artists process, along with the importance of void’s in architecture to try and investigate an interpretation of a lacuna.
Yves Klein’s ‘Leap Into The Void’ 1960 is an expression of freedom created through a highly contrived process (metmuseum.org, 2017). Much like a void where something attracts its opposite. This ability people have in the 21st century to gather and consume as much materiality as possible often attracted feelings of a completely empty life void of any real feeling.
(Yves Klein. 1960, ‘Leap into the Void’)
Another artist I found quite relevant to this idea of a void is Gordon Matta-Clark who not only creates an artwork (photographs of his age scale architectural installations) but how his processes and the feeling of the final work is so important to the outcome of his photographs. The various cut outs and punctures through buildings let them take on a whole new feel. Exposed were the inner workings, often hidden and rejected as being important. By looking through the cut away sections you looked at each level or section “through the fragments of a normal apartment space (James Attlee, 2007)” and the shape or lens of the cut would create a whole new way to see the buildings. Often a void can open our eyes to the space around, something that would usually be concealed and or hidden. Is this idea of nothingness vital to how we appreciate our world around us?
(Gordon Matta-Clark, ‘Window Blowout’ 1976)
A void, or absent space allows things to happen. Contemplating a void as a medium rather than this idea of nothingness allows a whole range of possibilities that start to take place. The use of a void in architecture, often for utility or functional proposes allows a space to be opened up adding natural light or to serve as a structual addition to a building. All of the empty spaces living under us serve a purpose. Tunnels which connect to create a labyrinth of storm water drains for our city or on a bigger scale the underground networks in major cities which allow travel and communication networks to form.
(Image by myself, 2017, shot on iPhone S)
James Attlee, ‘Towards Anarchitecture: Gordon Matta-Clark and Le Corbusier’, Tate Papers, no.7, Spring 2007, http://www.tate.org.uk/research/publications/tate-papers/07/towards-anarchitecture-gordon-matta-clark-and-le-corbusier, accessed 26 March 2017.
Yves Klein. 1960, ‘Leap into the Void’, <http://www.metmuseum.org/toah/works-of-art/1992.5112/>.
Gordon Matta-Clark, ‘Window Blowout’ 1976, Photograph mounted on board 406 x 559 mm, Estate of Gordon Matta-Clark, GMCT3025 © ARS, NY and DACS, London, 2007
metmuseum.org, 2017, ‘Timeline of Art Histroy’ <http://www.metmuseum.org/toah/works-of-art/1992.5112/>.