Change of video- overlaying videos

Setting up projections

Setting up for degree show

Talks with Natasha

Natasha has her space next to mine and with her piece having sound and mine is more about the visual , we tried out places to put her speakers today in her space to see if helps make the sound quieter in my space without affecting her piece. Even though I have provided ear defenders for the audience when they enter my space to shut out the sound as much as I can I still want it to be as quiet as possible in my space as it is meant to be immersive. After trying a few places out we decided to place them on the wall we share but pointing away from my space so that the sound is directed towards her projection and the audience in her space will hear it clearly without having to make it louder. 

Editing final piece

Drawing space out

Editing video

I have been editing my video pieces to create more of a fluid narrative and conversation between the pieces when they are looped together, even though I want to keep the looping of the pieces at different times so it is constantly changing for the viewer , it is important to make sure that they are coherent and create the experience I am hoping for. I have been using Movie marker a the moment because it is simple to create the effect but I am hoping to start using Premier Adobe to improve the professionalism.  

Daniel Buren

Buren's work is created solely on the architecture and situation settings 'in situ' these works exists only in the place they are created and to reassemble them in a different  place would change the context. They work in response to the structure of the buildings which you can see evident in the stripes and lines present in the panels ,the white mimicking the lighting.  "They are meant for and exist through direct interaction, eliciting the viewer’s sensibility, intelligence, and reflections."

Buren questions the function of the studio with the frames of the artist in the ivory tower locked away in the studio space that no one else should enter ,the myth of the artist and how they work. "The importance of the studio should by now be apparent; it is the first frame, 
the first limit, upon which all subsequent frames/limits will depend. 
What does it look like, physically, architecturally?"  To break out of these frames and limits of working in a confined space changes the context of the work its no longer insular to the influences in the studio but expands pass the walls into the bigger environmental,social and political foreground. You have to take into consideration even more so the context of the space when making site specific work.This type of work influences my practice because I enjoy the expanded material to respond to. I work with the architecture of the buildings the work in produced in like Buren. The work can not be produced in studio first as the compositions  of my interventions relies heavily on the ability to balance and the tension I can produce between the perspex and the walls, drawing attention to the missed parts of bulidings with neon and reflections. 

Space Site Intervention, Situating installation art by Erika Suderburg

"The line between art and life should be kept as fluid as possible,and perhaps indistinct as possible" Allan Kaprow

Confronting the 'innocence' of the site work is then produced and the generalization of a universal viewing subject is an important issues to rise when creating site specific work. The space is not just a physical space , an actual location with an innocence of form but is loaded with environmental context which should be  acknowledged even if artist chooses to disregard this context. The cultural framework defined by the institutions of art enforces a particular way art produced in this places are viewed as well public spaces. "The modern gallery/museum space.... with its stark white walls, artificial lighting
,controlled climate,pristine architectonics..........were deemed to be coded mechanisms that actively disassociate the space of art from the outer world"

Multi-media by Nick Kaye

"I like installations that really involved, that make you part of them,or that even work like a lullaby.When i do projections, I want people to go inside them so that colours, movement,pictures are reflected on their bodies." Pipilotti Rist.

"..the screen had to be treated like a space of a small theater in which the real object was mirrored,expanded,animated,the object being to create a constant dialogue between inside and beyond the screen, between the physical stillness of the object and the mobility of the represented image." Paolo Rosa

How to push my ninja series/interventions?

I am looking at developing my spacial interventions further to get them ready for the degree show. I want to place them around the art school to link in with my installation which will be on the ground floor studios I want place them in the main gallery tuck away in the corners of the building like before. But to do this i really need to understand how they affect the space and the context of putting ready made low art cheap colours in an very institutionalized event celebrating and exposing the work in which we have all been developing over the three years. I am going to look at putting them up in other places, like outside, at Antwerp Mansion, spaces that are used for other purposes than art.

During life drawing

Compositions around the space.