COFA GATEWAY

James - UNSW Art & Design z5059520

[jimmyp1002]

Junkspace

[matthewmillercofa]

CONCEPT ONE: Natural World: (Idea 2/4) NOT FINALISED:

Idea 2: Wind powered, vine cabled, clock. We must be sustainable

[matthewmillercofa]

CONCEPT ONE: Natural World:  (Idea ¼) NOT FINALISED:

Idea 1: The future requires a unique combination between human and nature

[matthewmillercofa]

This weekend my group and I met up and came up with a load of ideas.

This is the structure so far with the assessment:

Cover Page

First Concept: Idea 1 

Idea 2

Idea 3

Idea 4

Split Page between Concepts:

Idea 1

Idea 2

Idea 3

Idea 4

All Ideas Combined

Abstract & Summary

Each Idea will posted Individually

[matthewmillercofa]

Assessment 3: Experimentation: 

Within the first experimentation of assessment 3, we wanted to create a ‘creative’ 12 page publication.

An idea was to create 11 circles that progressively shrink in size, until the end page where all of them are overlaid. 

Each circle has a unique envision of the future through different and possibly absurd representations of what a perfect future consists of. Some ideas include:

Super High Teach Future

Female only Future

Animal only Future

Abstract Future

Minimalistic Future etc.

By overlaying each circle at the end, we create a ‘perfect’ future, where multiple differing perspectives of a Utopia are unified. 

We can add onto this idea through using our own artworks, digital context and others artist works in the circles. We can also include minimalistic text which gives context to each circle. 

[jimmyp1002]

Twelve Sunflowers 2015

Artist Statement A broken pencil goes back to being wood and lead –rather than a tool that inscribes our thoughts on paper Twelve Sunflowers (2015) is an abstract deconstruction of colour, an expression and an equation. Responding to initial work and the experimentation process I developed a body of work that amalgamates three main concepts (or creative references) from the topics we have covered this semester. Time and delay played a crucial part in the experimentation process and formed the basis of the work. Uncreativity in the form of appropriation was also an element. Finally the evolutionary development of this work references the convergent thinking creative process. In Twelve Sunflowers I have asked my audience to make sense of an abstract field, in raw colour and natural form. The work is a collection of time lapse video footage, digital still images and recounted observations. Ice crystals were formed by partially freezing acrylic paint and water, then hand crushing the frozen mass into small spoonfuls. The crystals were then painted onto the paper to mimic a painting by impressionist artist Vincent Van Gogh. Over a period of 2.5 hours the ice began to liquefy as it returned to a room temperature state. The mixture and run off displaced the original painting into an unrecognisable mess of colour and irregular shape. The entire process was captured in a time lapse and I also wrote down my observations. Time lapse photography captures details that would normally be lost in real time. There is beauty to seeing motion at 4x or 5x normal speed. Reviewing the collection of videos made during experimentation, I found the crushed ice had the greatest effect on camera and also generated the most interesting patterns. The increased surface area meant greater coverage of the paper could be made and the ice melted in a more sporadic way. Thus I continued to work with crushed ice in my final iteration, and moved away from the water colours to acrylics which painted better. Progression based practice worked well in forming this art work. My work is an appropriation of Vincent Van Gogh's famous Vase with Twelve Sunflowers 1888. I chose this painting because I wanted an iconic and well known image. The documented life and struggles of the artist also influenced this decision. Interestingly I found the beauty and gentle nature of the sunflowers difficult to fabricate with the coarse, cold and crystallised paint. The way in which the painting became a wet colourful mess makes references to Van Gogh's own life and the deconstructive nature of mental illness, or life glitch, which he suffered. My goals for Assessment Two included furthering my perception on how a glitch can manifest itself within an everyday system. "The true nature of the machine – and the wilderness hidden underneath the orderly surface - suddenly makes itself evident through a glitch." (Grammatikopoulou 2014). Inspired by the time and context topic I investigated the concept of delay. Delay allowed for external influences to modify and distort my work, such as wind blowing trough a window or the rippling of the paper.. Tim Etchells used ice as the main element in his work called Forever (Sequence) 2011. The work is ephemeral and describes an transformation process where the letters lose their meaning as they turn back into water. His work with transition states became a focus in Twelve Sunflowers. As seen in the documented footage, structural ice crystals collapse as surrounding air temperature re-energised frozen particles. Being a natural phenomenon this mechanism required no human intervention. It is also interesting how the force of gravity played a role, mixing and developing a unique mess of colour. In the footage the audience observe how uneven surfaces in the paper and the tilt of the table caused water to spread unevenly and randomly. Interplay between delay and the force of gravity thus revealed this whole different glitch in the artwork - the unpredictable characteristics of both components reveal the productive failure that is Twelve Sunflowers. Christina Grammatikopoulou, "The wilderness in the Machine": Glitch and poetics of error, http://interartive.org/2014/01/glitch-art/#.dpuf

[jimmyp1002]

Twelve Sunflowers 2015

James Prassopoulos

[jimmyp1002]

Twelve Sunflowers 2015

James Prassopoulos

Vase of Twelve Sunflowers 1888

Vincent Van Gogh

[jimmyp1002]

Twelve Sunflowers 2015

James Prassopoulos

- Observation

How the heck am I supposed to paint Van Gogh's sunflowers with chunks of frozen ice?

Already halfway through the painting part and its melting on me, better hurry up!

The black is so over powering, I hope the whole thing doesn’t turn into a inky mess.

Oops, a whole heap just went off the paper and onto the bare tabletop... didn’t think about putting anything down.

Whoa the colours are mixing!  Resembles the surface of gas planets? Jupiter?

Just after I thought of Jupiter a round 'eye' starts developing in the run off paint

There doesn’t seem to be much movement, I set up another camera for close ups.

Getting some pretty incredible movement as the run off puddle reaches the edge of the table.

Now melted paint is dripping everywhere!

After cleaning up I move the camera to another part of the ever increasingly big puddle

The ice is almost all melted, its been 1 hour!

Waiting for the last bit of ice, seems to be taking ages

Finally the ice is melted and I switch the lapse camera off.  Time to clean up!

It took 4 hours to dry!

[jimmyp1002]

Twelve Sunflowers 2015

James Prassopoulos

[jimmyp1002]

A broken pencil goes back to being wood and lead – rather than a tool that inscribes our thoughts on paper

http://interartive.org/2014/01/glitch-art/#sthash.Y2gbtPQH.dpuf

[jimmyp1002]

Experimentation for Assessment 2

Watercolour pigment mixed with water and frozen.  Then exposed to a heat gun, melted and made its way around the paper.

[jimmyp1002]

Experimentation for Assessment 2

[jimmyp1002]

Experimentation for Assessment 2

[irakalan]

FOREVER Artist TIM ETCHELLS The work comprises a sequence of stills showing a set of letters made from ice, arranged on a concrete floor to spell out the phrase ‘Live Forever’.

[jimmyp1002]

Gravity and delay at work here

[jimmyp1002]

[jimmyp1002]

"Glitch can not be avoided or prevented"

The glitch aesthetic is generally the result of a degenerative process of distortion and mutation by either a natural or man made system.  We see glitch everyday from background static on our car radios to cancerous diseases in our bodies.  However glitch can also be a structural element, be used to create and to generate.  In my work I attempted to use the concept of the glitch to create a unique and intrinsic work of art.  

Inspired by artists who's practice incorporates the unpredictable and irregular qualities of chance to develop works that are not only aesthetically pleasing but interesting and enticing in form.  Ellsworth Kelly's work 'Spectrum Colors Arranged by Chance' amalgamates the unpredictable nature of the glitch aesthetic.  The series of eight works build upon each other, as a documentation of the systematic glitch and failure, a product of mathematic dysfunction. 

Likewise I wanted my works to illustrate systematic glitch, specifically the product of glitch in nature.  Gravity is the final frontier for particle science which has always completely astounded me.  Thus I chose to use gravity as the backbone to my creative project.  Following on from some experimentation I had done, I found a textured slope (my driveway) and created a sterile platform in which I could let gravity do its unpredictable work.  After laying out generous amounts of paint I rolled several objects down through the medium and onto my poster paper.  I was unable to control the flow or acceleration of the objects.  Some went off the page due to their odd shape and others simply picked up and spread thick layers of paint.  The different coloured layers of paint produced some pretty interesting and insightful work.  I like to think of my work as a 'How to: Pollock'.  Yet in quite simply it became 'Gravity: An Illustration'. The splattered, almost childlike painting, captures the glitch filled detail of the most important natural system in the universe.