Hirshhorn, ‘About Doug Aitken: SONG 1′, Hirshhorn Museum and Sculpture Garden [website], 2018, <https://hirshhorn.si.edu/exhibitions/doug-aitken-song-1/>, accessed 25 October 2018.
Basinski, W., ‘About William Basinski’, 2062 The Work of William Basinski [website], 2018, <http://www.mmlxii.com/about/>, accessed 19 October 2018.
Keehan, R., ‘Ross Manning’, Museum of Contemporary Art Australia [website], 2018, <https://www.mca.com.au/artists-works/artists/ross-manning/>, accessed 19 October 2018.
Sol, M., ‘Hypnagogia: The Trippy Mental State That is the Key to Deep Self-Discovery’, Lonerwolf [website], 2018, <https://lonerwolf.com/hypnagogia/>, accessed 25 October 2018.
Group Members: @cartersutherland, @dionadad, @joshuaalipio & @senseintelligence
During our first brainstorming session, one of the first artists we looked was Doug Aitken, who influenced our idea to use video and projection as a tool to explore the themes of Affect and Static, Noise, Interference, Glitch. Doug Aitken is an American artist and filmmaker known for his innovative fine art installations that explores the themes of time, space and memory. He integrates both urban and natural landscapes in his large scale moving works, intended to elicit responses that are unexpected and profound from the viewer. One of the works we looked at was SONG 1 (2012), which was a large scale video projection installation that wrapped the entire outside of a circular building, thus creating a seamless 360 panoramic video. This work was “a reflection of contemporary reality” and explores the interaction between performance and the environment, as evident by use of well-known personalities such as Tilda Swinton, John Doe, Devendra Banhart, and many more. The installation was also structured around the song I Only Have Eyes for You (1934) which expressed the statement of desire and dedication, as well as the universality of the song especially since a dozen versions of the song was made for Song 1.
Doug Aitken, SONG 1, 2012.
Some other artists that have influenced/inspired the progress of our work includes:
William Basinski - an avant-garde composer who works in experimental media and uses obsolete technology and analogue tape loops. He creates haunting and melancholy soundscapes that explore the temporal nature of life, as well as resound with the reverberations of memory and the mystery of time.
Ross Manning - an artist who creates kinetic sculptures made from everyday materials (ie. domestic fans, fluorescent lights, household twine & electronics). He dissects overlooked technologies to produce hypnotic exchanges between light sound and movement.
Ross Manning, Dissonant Rhythms, 2017.
Stan Brakhage - a filmmaker noted for his unflinching social commentaries & technical innovations. With his works, he encouraged audiences to abstain from traditional narrative structures in favour of pure visual perception that is not reliant on naming what is seen.
Stan Brakhage, Persian Series 1-5, 1999.
Krzysztof Wodiczko - an artist who uses his works as instruments to explore social and political marginalisation in which he creates solutions for alienated and excluded communities by sharing their experiences with others. His practice focuses on exercising democracy, as well as attempting to poke at politics and social structures through unexpected and controversial art forms.
Krzysztof Wodiczko, Abraham Lincoln War Veteran Projection, 2012.
The artists above have really inspired our group with the way we wanted to present our work, as well as how we wanted it to look and sound, whilst responding to the themes of Static, Noise, Interference, Glitch. This is evident in our process of creating colourful glitch visuals and our experimentation with audio samples and mixing. In terms of responding to the theme of Affect, we were interested with the concept of Hypnogogia, which is derived from the Greek words of “hypnos” (sleep) and “agogos” (leading). Hypnogogia is described as the state that leads into sleep, or the state between wakefulness and sleep. We thought that this phenomenon perfectly described how we felt initially when experiencing our work. Furthermore, we wanted to respond to hypnogogia as an event by using the video and audio aspect of our work in order to provide the viewers with similar feelings/experiences we felt about our work.
Experimenting by combining our two videos into one long panoramic video.
Group Members: @cartersutherland, @dionadad, @joshuaalipio & @senseintelligence
In continuing our experimentation process to further develop our assessment, this week, we booked a satellite room and proceeded to play with video feedback, projections and audio/music, by using two projectors, a camera and our laptops. We finally used proper cameras to experiment with video feedback in which we explored the impacts of zooming in, moving and tilting the camera, resulting in a very interesting effect. The process of zooming in and moving/tilting the camera also displayed some visual glitches on the projection, such as the random bursts of light and the appearance of colours (predominantly red, green and blue lights). Carter also created short video clips that utilised various techniques including video feedback to create colourful ‘glitch’ visuals, in which we toyed with the way these videos could be projected, including projecting onto the ceiling, as well as combining two projectors to create a really long panoramic video. Additionally, Peter experimented with audio/music in which he mixed glitch sound effects with samples from other music, thus creating this atmospheric but also foreign and futuristic kind of vibe and environment.
Set up of one of the projectors and camera.
Small movements and tilting the camera, with Peter experimenting with music in the background.
Zooming in and tilting the camera, with Peter experimenting with music in the background.
Zooming in with the camera, with Peter experimenting with music in the background.
Stills of Carter’s glitch video clips.
Group Members: @cartersutherland, @dionadad, @joshuaalipio & @senseintelligence
We started our experimentation process by exploring video feedback. Using two projectors and laptop cameras, along with Photo Booth apps to create special effects, we were able to toy with the capabilities video feedbacks and how these special effects impacted the outcome. We liked the results especially the ‘infinite mirror’ effect which created these colourful flashes of light when the camera is zoomed closer into the projection, as well as the ‘domino’ effect of the reflected movements. Additionally, the combination of the video feedback along with the special effects from the Photo Booth apps resulted in these hypnotic movements of colours, which was very fascinating.
Setup and using Photo Booth apps.
Zooming in with the laptop camera.
Photo Booth effects on video feedback.
We also wanted to experiment with live video as a possible way of making our final work to become interactive. We used FaceTime on the laptop and phone and it inadvertently resulted with audio feedback as a result from the phone and laptop’s microphone and speakers being in close proximity.
Setting up FaceTime + audio feedback from phone and laptop.
Photo Booth effects on video feedback + audio feedback in the background.
Group Members: @cartersutherland, @dionadad, @joshuaalipio & @senseintelligence
Our group wrote down some ideas we’d like to incorporate into our final work. The initial idea was to create a video installation that utilises projection and video feedback as a response to the themes of Affect & Static, Noise, Interference, Glitch. We wanted our work to be immersive and possibly interactive by utilising both video and sound, which could evoke some sort of reaction for the viewer, wether that be subtle feelings of sleepiness or hypnotisation. We were also interested in a ‘colourful’ yet ‘degraded’ kind of aesthetic, which we plan on achieving with our video projections.
Group Members: @cartersutherland, @dionadad, @joshuaalipio & @senseintelligence
Contemporary art and design often looks at the idea of constructed binaries, such as man/woman, soft/hard, straight/gay, dirty/clean, organic/synthetic. Considering the history of these ‘pairs’, how can art and design interrogate these binaries and offers new insights?
The Tutti-Frutti-Veggi-Meati Hat is a combination of painting and sculpture that expresses gender stereotypes as told by food advertisements and pop culture. It uses Carmen Miranda’s iconic Tutti-Frutti hat as the primary inspiration of the work, and further manipulates this image to exhibit the constructed binaries of gender. Additionally, Valerie Hegarty and Nico have had great influence in the aesthetic and process of this work. The painting depicts two overlapping faces with a female figure in front and a male figure behind. Both are wearing turbans in which the female is carrying a pile of meat and the male is carrying a stack of fruits and vegetables. Additionally, the top part of turban and the hoard of foods are three dimensional made of papier-mâché. The gender stereotypes are reinforced by the colours of pink and blue in the background on either side of the painting, which corresponding to the figure’s ‘assigned’ gender. In contrast however, the male and female figures, the turban and the food are painted in shades of grey, breaking away from the idea of binaries. The significance of the food and the figure’s gender is a critique on ‘gendered food’ perceptions in pop culture and advertising, as evident by my choice in swapping the ‘male and female’ foods with its associated gender.
Continuing from the previous assessment, the concept of gendered foods was something I wanted to further expand on, especially after being informed about gender’s role in shaping culture and vice versa, but also the role of marketing and advertising in constructing these binaries. Carmen Miranda and her Tutti-Frutti hat immediately came to mind as I had a hypothesis on her role in gender performativity. Upon doing further research, I have concluded that Miranda’s fruit hat was somewhat of tool used to portray the feminine sexual performativity, especially with Hollywood exhibiting her as the “Brazilian Bombshell”. From this, I was reminded of a more recent example which was Katy Perry’s California Gurl’s music video, a work inspired by Will Cotton’s portraits of Perry. From Perry’s music video and Cotton’s body of works, it can be deduced that sweet foods have been perceived to be connected to the female sexuality, based on their overt uses of dessert as innuendos. Furthermore, it is suggested that masculinity is commonly associated with foods like meat, this is supported by food advertisements specifically aimed towards men which I came across whilst reading articles, but also some cultural practices that indicates.
I initially began my experimenting process by creating a collage in which I combined the image of Miranda’s fruit hat with a male model’s bust from a Marie Claire magazine, and placed it into Cotton’s fairy floss clouds in The Coming Storm (2014). I wanted to create a quick visualisation of how a male figure would look in a stereotypically feminine context. Similarly, I continued with the same idea using collage, however I took a focus on expressing masculinity by creating a ‘meat hat’ using images from a Woolworths catalogue and utilising Carl Warner’s Salami Mountains (2016) as the background. After being inspired by Valerie Hegarty’s three dimensional paintings, I began experimenting with papier-mâché, resulting in a papier-mâché ball glued to a canvas. I liked the result of this experiment and decided to use this technique in my final work.
The process of my final work involved, drawing a sketch on gridded paper then translating that sketch into canvas resulting in geometric shapes as inspired by Nico. I created armatures of the food and parts of the turban using cardboard, tape and newspaper, before covering it with tissue and a glue and water solution. I moulded the top part of the turban into the painting, then began painting the canvas and sculpture pieces altogether. Aesthetically, I wanted this work to be related to my poster from assessment task one, so I maintained the cartoonish look and used a similar colour palette.
I enjoyed the making process of my final work, especially since the combination of painting and sculpture was something I had never explored. During this entire process, I learned more about gendered food and its role in pop culture and advertising. I have also had a deeper understanding of the construction of gender binaries and its importance in influencing how humans behave.
Final presentation of work.
Bibliography:
Carmen Miranda, photograph by Bruno of Hollywood (Anthony Bruno), May 29, 2009
Photograph by Peter Lindbergh for Giorgio Armani’s Autumn/Winter 2001/02 Collection in Marie Claire Magazine Australia, No.207, November 2012
Katy Perry - California Gurls (Official) ft. Snoop Dogg [video], YouTube, 14 June 2010, <https://www.youtube.com/watch?v=F57P9C4SAW4>
Will Cotton, The Coming Storm (2014), oil on linen, 72 x 98 inches
The process of making my final work began with a sketch on gridded paper in order to create clean geometric shapes, which I then translated the sketch onto a 16″ x 16″ canvas. I made armatures of various foods such as chicken, sausage, cauliflower and papaya using cardboard, tape and newspaper which I then papier-mâchéd using tissue paper and a water and glue solution. I also papier-mâchéd parts of the turban into the canvas which acts as a support holding the fruits, vegetables and meat. Once dried, I started painting the canvas and sculpture pieces in shades of grey before completing pink and blue background. From the process, I noticed that the surface of the papier-mâché pieces I made were not smooth and it caused the cardboard armature underneath to become damp and misshapen. Additionally, the sculpture pieces also began to absorb the paint, leaving white dots in it's place. If I were to repeat this technique, I would've padded the armature with more newspaper to reduce dampening and use sandpaper to smooth out the surfaces. Additionally, I would’ve applied a few layers of gesso on the papier-mâché surface to combat the paint absorption.
I continued doing research and came across food advertisements that reinforced gender stereotypes. An example of this Carl’s Jr.’s commercial which features Kim Kardashian eating a salad. The advertisement is overtly sexual with Kim seductively eating the salad. This obviously indicates that the advertisement is aimed towards heterosexual males, however the imagery supports the stereotype that women should stick to a light diet such as salads.
Kim Kardashian Carl’s Jr. Commercial (2010)
Additionally, a 30 Burger billboard featuring a burger product they sell containing meat, is marketed with the text stating “Grab both buns & eat like man”. The usage of sexist text reinforces certain ideals relating to masculinity and the prominence of the meat in the burger further displays the connection between masculinity and meat.
30 Burger billboard
Furthermore, I came across an online writing by Rae Chandran about masculine and feminine foods who links spirituality as well as masculine and feminine energies to food. In his writing, he lists a wide array of foods and determines wether they are attributed to feminine or masculine energy, as well as the role of food in an individual’s awakening process.
References:
Kim Kardashian Carl’s Jr. Commercial - Social Media Endorsement [video], YouTube, 2010, <https://www.youtube.com/watch?v=DzmFrcuwuuo>
30 Burger Billboard
Chandran, R., ‘Masculine and Feminine Food’, Rae Chandran [website], 25 August 2018, <https://www.raechandran.com/article3.html>
For this week’s task, I created a hat made out of Buff files. It is a “rejected” Marc Jacobs design from his collection, and is very “versatile” and can be worn many ways and even be used as a clutch. It is also extra “special” as it is made using a Marc Jacobs logo print.
During the bidding of our products, I ended up purchasing Isabella’s diary. She sold the diary as something that contained many secrets, in which that sense of mystery is very marketable.
Valerie Hegarty is a Brooklyn-based artist who produces paintings, sculpture, and installations that often addresses the themes of memory, place and history. I really liked Hegarty’s work and its sculptural features, in which she combines both the two and three dimensional together. Upon doing research, Hegarty commonly uses acrylics, papier-mâchhé and ceramics, inspiring me to experiment with papier-mâché on canvas.
Additionally, Nico is a Sydney-based artist who produces works found in public spaces and private collections. Nico’s works expresses his interest in the ancient and innate power of the decorative and its ability to impact humans emotionally. I came across Nico’s works at 107 Redfern and was interested by its geometric and simple design. I want my final work to be connected to my poster, and Nico’s work provides a great reference on that particular style of geometric and cartoonish art.
References:
Valerie Hegarty, Secrets of the Sea Series: Conch Shell (2017)
On Wednesday, September 5th 2018, I attended a Creative Hangout by Art Somewhere at 107 Redfern for a different assessment task for SAHT1102. Anyways, during the night I created a rough painting using watercolour of a potential outcome for my final work. I painted a female figure wearing a turban carrying a pile of meat. This was based on Carmen Miranda’s Tutti-Frutti Hat, however the choice of using meat instead of fruits was a critique on gendered foods from my previous assessment. I want to use this idea for my final work, however I have find a way to make the concept of “constructed binaries” more apparent.
The plan for my final work is to combine sculpture and painting so I tried experimenting with papier-mâché. I started by creating a ball with newspaper and with a mixture of water and glue, I started covering and layering the newspaper ball with shredded newspaper and tissue. After it had dried, I glued the papier-mâché ball to a used canvas I had lying around. I quite liked how it turned out especially because by adding sculptural features to a canvas painting, it has potential to produce an interesting result. When I use this technique for my final work, I plan on making the combination of sculpture and painting more seamless. I could achieve this by papier-mâchéing shredded newspaper and tissue to the base of the sculpture and the surface of the canvas so the transition is much smoother, and give a stronger illusion that the sculpture is part of the painting.
This week we were challenged to decontextualise a piece that we didn’t like from the Kudos Gallery. Peter and I chose Ella Byrne’s Mirror Machine (2018) which was a video work of a glitching portrait. We disliked the vagueness of the work and decided to turn it into a hurricane news alert as it resembled that imagery. We also took the monotone humming from the original work and mixed it with a stock sound of a hurricane to create this eerie and ominous sound.
titsay
turnnoffyourmind
origamiaround
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