Unit 2: 3D – Data Visualisation (pt 4)

I was interested in exploring the reflective qualities of metal sheeting as analogous to that of screens, in visualising my screentime data. I was shown offcuts of aluminium sheets that I could use to experiment with. Following the performative clay work I had done, I was eager to incorporate this again, and decided that manually hammering it over an anvil would be a satisfying process to try out. In this way I could again demonstrate the human-screen interaction and also something of the strong impact this has on our lives (for better or ill). This turned out to be really fun!!

I hit it 39 times, to reflect the number of hours of screentime over the 7 day period. The marks of the hammer I used here reminded me of those I had created in my previous exercise using pastels. I like how the surface of the sheet has also distorted somewhat from the force of the blows, warping it and the way the light reflects off it.

I wanted to experiment with a round headed hammer, to see if I could produce marks that were similar to a thumbprint, so repeated this. The effect reminds me of bullet holes/impacts in shooting targets, and gives an added sense of violence.

I chose to then fold the sheet twice, to give an approximate size and shape to a phone, and repeated this exercise.

I like the way that the concave shape (a byproduct of my process) draws the eye, as though a captivating screen itself. I used two hammer types here to produce a variety of marks and depths. I was interested in exploring the folds as marks in themselves, and of pure distortion of the screen, so focused on this only for my next sheet. Placing the sheet so that it overlapped the edge of the anvil, I brought the hammer down at an angle to bend it over the edge. I repeated this action in somewhat random orientations, to produce an irregular form. Much like the hitting, I did not want to create an ordered effect, but instead imply the violence/impact to our humanity of such interaction with technology (messy and unstructured), as well as the distorted view it offers us.

I repeated this with a larger sheet, so that I could produce finer distortions. The result resembled crumpled paper and I enjoyed that this suggested the sheet was more malleable than it was in reality, and that there had been a more manual process at play.

I enjoy the way the light reflects on these, producing dark and light regions and suggestion of texture (dappling, rippling, scrunching). The effect alters as you changed your position as an observer, which was also interesting, and if close up you do get a fragmented, blurred reflection. This reminded me of some interactive reflective works I have seen recently.

Below, a Yayoi Kusama work that I had interacted with at Tate Liverpool, whose appearance altered according to the external circumstances it was placed in, and the position adopted by the observer.

The Passing Winter, Yayoi Kusama 2005 – close-up photograph peering into one of the holes opening onto the mirrored interior (with reflective exterior)

And here, an installation from Tate Modern (in an exhibition focusing on participatory art ‘Performer and participant’). The use of the blue tape is intended to integrate the mirrors with the space in which they situate, erasing the difference between real and reflected space – so that our experience is not only of the work itself but the entire environment.

Edward Krasinski (first installed in this way in 2001)

These other works have not distorted the reflective surfaces themselves, but used the quantity and distribution of them in space to add variation, and the colour/light of other parts of the environment to add further depth. Both also use suspension of these to disrupt our expectations. I would like to think further about how my own distortion works might employ these techniques too for added impact. E.g. perhaps by projecting a digital screen interface demo onto them, suspended in a dark box?

Play – Exquisite Corpse: Critique/my work

In this workshop, we collaborated as a group in generating lots of images and drawings of objects that could signify body parts – these were all photocopied and scaled in various ways to give us uniformly black and white copies. We were then tasked to create a series of characters with these body parts in collage.

There were some forms I was immediately drawn to, and for the middle figure, the two objects that form it seemed to come together perfectly in the first instant. This is the only character for whom I did not go through an iterative process. I especially like how off balance but simultaneously complete it strikes you.

For the left hand figure here, I was keen to make use of this folk icon sculpture, particularly due to the interesting form and large scale. I wanted to play with this sense of solidity with a small or off-balance leg so experimented with a few options.

Meanwhile on my second sheet, I liked this other lamp shape for other legs, and also the teapot, but didn’t feel they quite worked together in an interesting way. The middle figure I felt had a bit too much going on, though I was interested in incorporating the eyes somehow – I liked them being detached here from the body itself.

I enjoyed this exercise especially. I think my most successful figures used shapes and forms that I had not myself selected from the material, and I found this allowed me some ‘distance’ to objectively select what I found to be most interested and explore different combinations more easily. The forms I had found (the crab, the lampshades) perhaps did not do as successfully because I had a bias to ensuring they were used and so perhaps working them in where they might not have been entirely best suited? I do like all my figures but I think some (the teapot, the wheel) are more complete than others.