titsay
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ellievsbear
Sade Olutola
wallacepolsom
Sweet Seals For You, Always
RMH
Alisa U Zemlji Chuda
Misplaced Lens Cap
sheepfilms
dirt enthusiast
trying on a metaphor
tannertan36
Show & Tell
Andulka
he wasn't even looking at me and he found me
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Product Placement
almost home
NASA
seen from France
seen from Türkiye
seen from China
seen from Jordan
seen from Türkiye
seen from South Korea
seen from United States
seen from Malaysia
seen from United States
seen from Malaysia
seen from Malaysia
seen from United States
seen from Greece
seen from Georgia
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@creatingcharlottepj
Over the moon with my final studio project, so thankful for everyone involved, couldn’t of done it without you 🌷🌾🍃 With graduation just around the corner, look out for new things coming soon 🌱 (at AUT - Auckland University of Technology) https://www.instagram.com/p/BqJ_M9NgTJ6/?utm_source=ig_tumblr_share&igshid=c3y8ej4bkc3s
Final Studio project all finished! #StudioVI #ctec709 (at Colab) https://www.instagram.com/p/BpjG8aSA518/?utm_source=ig_tumblr_share&igshid=1s4sc4qtnas5w
Getting there! #StudioVI (at Colab) https://www.instagram.com/p/BpbR_SjAGSv/?utm_source=ig_tumblr_share&igshid=nwehcvicwsrm
It stands! Next step is attaching the fabric #StudioVI (at AUT - Auckland University of Technology) https://www.instagram.com/p/BpbR4OVgxfC/?utm_source=ig_tumblr_share&igshid=4f4j5nsyre05
It stands!! Super happy to have the frame complete, next step is to attach the fabric to the frame #StudioVI (at AUT - Auckland University of Technology) https://www.instagram.com/p/BpbRp80A6X6/?utm_source=ig_tumblr_share&igshid=ancylrppakt
For the overhanging frame to stand it needed some extended support #StudioVI (at AUT - Auckland University of Technology) https://www.instagram.com/p/BpbRWRlgB5e/?utm_source=ig_tumblr_share&igshid=2j99zma3ljjj
Concrete all set, time to stream out the wax! #StudioIV (at AUT - Auckland University of Technology) https://www.instagram.com/p/BpbRAFjgzLM/?utm_source=ig_tumblr_share&igshid=n85my3xia2i3
Concrete bases cast, had to remove the wax frame placeholders from the clay and then stick them to the bottom (to be top) of the container with plastercine, 24 hours to set, hopefully the wax sets straight
Tahaki Flags
Our final proposal before instillation lead to the elimination of all extra unnecessary elements. The angle created by the flags aims to direct towards the mount.
Active Reflection
Having since implemented these ideas and realised the installation much more has been discovered about the instillation, what it mean in relation to the land, and how we could grow on these learnings. After being installed on the Takahai Reserve we observed the symbolic dominance that ‘flags’ bring, regardless of colours, materials and symbols, there will always be a somewhat negative association with flags and the land they occupy. Interested in explore more of the effect and influence our flags may have we took one to the summit of the Mount and again observed it’s behaviour. Much windier than the reserve the flag was truly alive and from behind sat perfectly between two of Auckland monumental land marks, the Sky Tower, and Rangitoto. With the white side of the flag against the city and the red reflecting Rangitoto’s side there was a clear relationship between the two brought to the forefront of the view through the lens of the flag.
Cement bases to be cast Tuesday
Tahaki Reserve
The installation explores the relationship between people and land.
The weak signal chosen here was the space of maungawhau summit and the Tahaki reserve at the foot of the dormant volcano. The work draws the audience in through the nuances and forces present in these natural spaces. Bringing into question the agency over the work and its position as a medium for the artists and the natural space. The installation could fall under the umbrella of "independent public art” through its absence of formality, however, the subject under question here is not the content of the work but rather how it is affected over time by the mechanisms of a dynamic environment. The relationship between the audience and the work is interdependent of the adaptive system they are inherently part of. One could assume that neither of the parties involved have a direct impact on the work, however, this line of thought is challenged by a retrospective approach to the work in preceding times and in a future timeline where both parties; the land and the audience are ultimately conducting the work to behave in this present manner.
19.10.18
This morning I was able to secure a chair to use at showcase. Charles and Ray Eames have been extremely influential in their design approach for me so it felt fitting for their work to be featured in my deliverable.
Little bit of a set back with making the frame wider than what the knitting machine is capable of, something like this was bound to happen. Never the less this afternoon I was able to resize by grinding joins apart, cutting out the excess and then re weld and tidying up with some more grinding to completely finish the frames.
Next thing to do will be casting the concrete for their bases, starting this process on Tuesday (Labour day Monday) will unfortunately push back the project time line, taking into account the concretes 24 hour curing time.
Tahaki Reserve Installation
Tahaki Reserve Proposal
Completed Tahaki Reserve Installation, two flags placed in separation to channel the weak signal of the land 🏳️🚩@alonso.elec #SpaceImageandSound #ctec700 (at Tahaki Reserve) https://www.instagram.com/p/BpElSatA1ng/?utm_source=ig_tumblr_share&igshid=naachvry9nd7
A painting sent through a shredder at the moment of its auction sale has been officially confirmed as a work by street artist Banksy in its
Flags development
Heading into last week Alonso and I began to discuss the final elements of what was to be installed at Tahaki. Bring it down to its simplest elements to purely demonstrate the weak signal and avoid destruction to the land and treat it with respect became a talking point.
Brought to light through Bansky’s latest stunt, where a video was posted to his Instagram of his work shredding after being auctioned off alongside the caption ‘The urge to destroy is also a creative urge’ by Picasso, we began to question the possibly natural creator urge to destroy, where the line merged between enhancing and destroying and taking a step back to evaluate changes.
Does addressing the weak signal alter the stronger signals in this space?