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?

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

I was interested to become more performative in my exploration of infinite scroll and screen usage.

Taking a handful of paper clay, I shaped it roughly into something that would fit comfortably in my palm, and then began ‘scrolling’ it with my thumb, as I would a phone screen. The effect of this gesture on the wet clay was like a carving out of a groove that fit my thumb – i could have continued this until the block split into two, but I chose to let it remain a singular object. The grip I maintained while scrolling was also changing the shape of the clay, so that it became a rather strange form.

I decided to repeat this, now using a rectangular form similar to a phone itself. It was interesting here to see the ‘rippling’ at the base of the thumb groove, and the warping effect on the underside of the shape from the grip/scroll exercise.

Top: ‘phone’ scroll gesture artefact, Bottom: scroll gesture artefact

We were introduced to different glazing techniques once our works had been fired to biscuit. I chose not to glaze the first object, feeling that it’s ‘rough’ appearance was in keeping with its abstract form. I was keen to explore a the application and removal of glaze and under glaze to achieve a warped sheen/reflective appearance on the phone artefact though. This has been somewhat successful, and has made the rippling effect of the clay seem almost like bodily mutilation of an organic substance (oozing) rather than a piece of warped machinery.

This repetitive motion carving out a form reminded me of a work I recently saw at the Dora Maurer exhibition at Tate Modern. This involved a girl performing a ‘parade’ with her feet painted red, walking in a circle over paper and scrumpled newspaper. Her repeated walking painted a circle and stamped down the newspaper to a pulp.

I think I like the destructive, irreverent and playful nature of this work. For a child to be performing this repetitive act in a fairly sedate and controlled way is an intriguing contrast to the tone of the work itself. The red paint is now only suggested by the red fabric the photographs are now presented on, the black and white images themselves instead more akin to the newspaper she had walked on. I like the very obvious agency that we see being demonstrated in the work. I am intrigued why the artefact of this performance was not itself seen as an artwork (or if it was, why would it not be preserved?).

Unit 2: Fine Art РD̩rive (pt 3)

On one of my walks, I was interested in drawing, and drawing with, natural forms and materials. This began with an interest in the trace I was leaving through my action of walking, the impact I was leaving – my footprint.

I then proceeded to print my muddy footprint on pieces of paper that I had brought with me, using different types of mud that I found around me (varying in their viscosity). Here I prefer the clearest print – the one from the path itself – and I feel this most clearly represents the impact of my walk. I enjoyed using the surface on which I was walking as a material in itself and transposing this onto another surface. It felt a fitting way of capturing the moment. I chose then to experiment with drawing one of the leaves I had been stepping on in the mud, using the mud itself. I used a dipstick to achieve a linear sketch, and printed the leaf itself. I found it interesting how similar the linear structure of the leaf came out in the print and my sketch.

Top: Dipstick drawing with mud of leaf, Bottom: Mud print of leaf
I repeated this exercise using drawing ink back in the studio
I repeated this once more with the remains of a pine cone that I found at the base of a tree, which had been gnawed and deconstructed by a squirrel. To the left, I experimented using ink wash as well as drawing, and on the right I also used pencil to sketch the pine cone, to gain a more in-depth study of tonality and shade.

This exploration of structural forms in nature, and their linear form, is interesting to me. Most interesting for me in the printing is how it reveals hidden forms that might otherwise be missed by the eye – particularly in the pine cone above. It was also interesting to see the transition of the printed image from when saturated with ink to after several prints – the big contrast and interesting silhouetted shapes created in the saturated images are very abstracted and intriguing I think.