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?

Henry Moore Gardens/studios – Research pt 3

Finally, I enjoyed on my visit attending the exhibition of his drawings, to see how these had a changing role in his creative practice through his career, which lasted 7 decades. The exhibition was organised chronologically by decade, starting in the 1920s with his life drawings, and finishing with the works he produced towards the end of his life. It was interesting to note that it was in light of his drawings in the Second World War that his career really took off, despite this not being what he is best known for today. (Pictures below are taken from a book as no photography was allowed in the exhibition)

In the 1930s he began developing his own individual style and used drawing as a tool for developing ideas for his sculptures.

In the 1940s, the war effort meant that he worked almost exclusively in drawings, and was commissioned to document the London Blitz, producing sketches and large drawings of Londoners sheltering in the London underground. I like the use of perspective in the below tunnel, emphasising the sheer volume of people down there (barely perceptible as figures) disappearing into the distance, they seem unending – quite evocative and haunting. This motif was repeated in the portrait beneath.

This was a technique I saw him using in many instances – multiple studies/idea development on one sheet for a sculptural work. I like this idea of trying out lots of things in sequence and having them laid out next to each other like this.
Here we can see how the ideas developed in drawing were translated into sculpture.
Head, 1958

The above work is one of a triptych of Head studies shown in the exhibition from the same period. This was during the phase where he was now using maquettes primarily to develop his sculpture ideas, so drawing was more for creative release. As such his approach was more experimental, and took him into printmaking and tapestry. These Head drawings were done with crayon as a wax resist against watercolour and ink – I find these very effective and am interested to give this a try myself.

I also liked the linear effect in his charcoal pieces here above – the tendril-like branches in silhouette are very effective here. I believe that ‘The Artists Hands’ is one of his more well-known drawing motifs.

Drawing, even for people who cannot draw, even for people not trying to produce a good drawing, it makes you look more intensely. Just looking alone has no grit in it, has no sort of mental struggle or difficulty. That only happens while you are drawing.

Henry Moore, 1978
Here I have experimented with abstract forms using the wax resist of crayons as Moore had done. It was also quite pleasing to experiment multiply on one page in this way. I would like to repeat this exercise when I am needing to generate ideas as well.