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?

Survival Kit – Summer project – my work

Survival kit for mental health – 7 objects for 7 strategies

Manifesto for Mental Health

In this hectic, nonsensical reality, sometimes surviving just means preserving your sanity.

A toolkit is needed for the modern human to maintain their mental health and navigate their daily lives.

This kit helps you to gain spiritual and physical sustenance, as well as clarity of vision, through the 7 objects it contains. They provide multivarious defences against an omnipresent threat – a tool for each day of the week to keep it at bay.

Spiritual: connect and reflect, ensuring you are grounded:

  • Connection to inner focus (Vortex)
  • Connection to the natural world (Nest)
  • Connection to technological advances and algorithmic personalisation (Spotify code)

Physical: the necessities that sustain basic human existence

  • Nourishing, tradition and connection to roots (Oats and Seeds)
  • Sensual, personal touch and pleasure (Spoon)

Clarity of vision – as mental health problems can often cloud and distort our view

  • Ability to see alternative perspectives (Mirror & Mirror writing)
  • Ability to see direction and purpose (Compass)

Personal Cartography: My Map

My map – Sophie Green – using watercolour, inks, pen – 09/2019

My map tells the story of my future upon embarking on the Foundation Art & Design course, having diverted from my corporate career. Creativity, self-confidence and discovery will all lead me to a new direction. Along the way I will need guidance & support, learning, reflection and a balanced outlook to help me avoid the hazards of self-doubt, over-thinking and indecision. Here I have incorporated the conventions of mapped allegory with a naive illustration style as seen in children’s fiction.

On reflection, I think it may have been good to incorporate some way of showing where I am on this journey now, as a reflection of the viewpoint from which this was created. There is a sense of there being less charm and life to it than the 100 acre wood, which could be improved by including wildlife/characters, or small asides/commentary and more shrubbery. I’m not sure this conveys as much humour as I might have liked either. The overall image is very flat, perhaps slightly more than intended. Perhaps instead this is not helped by a very flat horizon/endpoint?

That said, I am pleased with the materials I chose, and the perspectives of the buildings I depicted as I think they are recognisable likenesses.