Genevieve Phillips, studio class

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Watch the documentation video @: [1]

CLAIRE8.jpg
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SCALE.jpg
BOTH(QUILT).jpg
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BOTH.jpg
CLAIRE2.jpg
CLAIRE1.jpg
I brought my friend in to show the size of the piece.
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Testing the lights.
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Setting up the lighting grid.
Setting up room 406 for the installation.
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Stencil choices.
Wooden Planks
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Failed "L"
This is the first pattern I chose for the font. I switched it to the new pattern.
Materials.
Starting to decide on colour.
Colour & Shapes.
Brianstormin'.

Process:

At first I wanted to create a wall hanging with fabric that would resemble a quilt. My main goal was to learn how to master the art of installation by using video format (stop motion) and large sized fabric installation. I wanted to experiment with font or typography and textiles.

I didn't find much research that was helpful in influencing my process. As far as I could see there isn't a large amount of history of art in the development in juxtaposing raw pieces with media fabrication.

I began by choosing my size and my fabric. I went to Dressew and chose the fabrics that I liked. I used a mixture of leather, cotton, and polyester.

For weeks I only focused on choosing the pattern, style, and stencil shape. I decided on using triangles as my stencil shape. It took my quite a while to get the hang of a good method for cutting the triangles but once I found the proper materials it went pretty smoothly.

After I had the majority of triangles cut I went on to deciding what size of wall hanging I wanted to do. I chose 5.5 meters X 2.5 meters because I wanted a large piece.

At this point I went on to making the stop motion piece. I experimented with making a short stop motion in my room [2] and then booked the stop motion studio and green screened the final piece. [3]

I then went on to choosing the word I wanted to illustrate and decided to switch from making a wall hanging to creating just the letters after finding wooden panels that I prefered. I experimented with a couple of different font styles and ended up with my final piece. I switched from my initial choice after deciding I wanted to create more of a pattern in the triangles.

In deciding how to hang my piece, I chose 10 wooden planks that would mount onto the wall while supporting my letter. I chose this method because the thin wire, and planks weren't invasive to the piece and stood as a support while complementing the wooden structures instead of distracting.

I will definitely continue to work with this format and begin to dig into constructing deeper concepts within juxtaposing the chosen words with the style, size, shape and positioning of the letters. I enjoyed working with new formats and have definitely learning a lot from the new processes i've used. I want to take the stop motion further by illustration many different words in many different sizes and editing the final video in different ways. I have little skills in doing stop motion but I think I am patient enough to create something successful.



First Ideas: Basic Ideas: I have decided I would like to experiment with fabric as a medium. I have always admired the use of fabric within others art practice, but have yet to create anything with fabric in my own. I have an idea for a mosaic wall quilt type blanket thing that I am going to sew together in a flap-like assembly. I also want to record my process piece by piece and make a stop motion video. My only problem is how to keep the video seamless without moving the fabric because I don't want to sew it on the wall.



Experiment.

1. What's your individual perspective on experimentation? (eg. working against being deliberate? working toward spontaneity/improvisation or working outside or your area of expertise/ comfort?) ... -Knowing the outcome of anything before it's created is boring and could be considered redundant in some cases. ((I'm experimenting with the settings on wiki right now.. woo!)) My knowledge of experimenting doesn't go very far and I consider myself an expert experimenter.. During this class I am going to try to break out of my regular, predictable projections from inspiration and focus on ideas that only float by in my usual brainstormin'. I will work to be more spontaneous and let the material and research take me in new directions. This will include working in unfamiliar and strange mediums I would normally overlook. The outcome will not necessarily be 100% different than any other art work previously created, but a different venue to explore for myself. This is what I consider to be experimentation.


2. Experimental practice (is this term an oxymoron?)
 -Experimental practice is not an oxymoron. It is necessary to experiment with the unfamiliar to attain new perspectives on works that may seem obvious. To give them new depth.

3. What is the significance of experimental work at this particular point in time (considering our global general social/ political/ environmental milieu: social interactions, art practices, art business, politics, social movements, social networking etc.) -Experimental art is at the core of the art world. If the art world was a human, experimental art would be the brain. . . It is the innovative thinkers that birth the previously uncreated creative installations and art works that begin to form the contemporary art world.


4. When experimental process(es) become canons:
a. using UBU.com as a resource, research and identify an experimental work that interests you (tell us why). Include a link to this work in your paragraph.
b. using UBU.com, find one example of an experimental artwork (can be sound, film, performance, sculpture, or any other medium/media) that was so influential that it is now part of a canon/tradition/technique.

a) Paul Demarinis - Forest Booties (1980) [4]Paul Demarinis is an American electronic music composer, sound, performance, and computer-based artist. I enjoy 'Forest Booties' because his pleasant melody is accompanied by a unique nature sound that can not be replicated. Forest Booties reminds me of Hugh Le Caines, Dripsody (1955) [5] and its experimental bases. Dripsody wasa created by recording single droplets of water and manually editing them together. The amount of time that would have gone into editing the recordings.. in the 50's (for Le Caines).. and tuning the bottles for the right amounts of water (for Demarinis) is insane.


b) Stan Brakhage -Mothlight (1963) [6] Brakhages Mothlight started a tradition of single frame films. By cutting , pasting, editing and manipulating each frame on a roll of exposed film he led artists to discover new ways of manipulating their films. E.g., Jennifer Reeves -The Girl's Nervy ( 1995) [7]


Jason DeCaires Taylor [8] A sculptor, set designer, graffiti artist and photographer with a passion for scuba diving. His interest in combining art and environment work to portray a positive and sustainable human relationship with nature, while demonstrating new venues for showing art. The impact of his art would be worthless without the relationship between his art and the gallery he chose to display it within. Throughout experimentation he found a unique way to spread a message while receiving ideal outcomes from the coral that took to his sculptures. (Comment Da Eun Jeong) A beautiful sound piece. Did Taylor composed this music piece as well?