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Final display of work in courtyard.

I wanted to contextualise the large scale typographic work in a public space on campus to further enforce provoke thought on the given phrase. At first, I chose to present the work on the wall of the courtyard steps, though due to the rainy weather moved it into a sheltered area that was still quite visible.

I was very pleased with the printed colours, especially against the grey wall. They were striking and mildly grotesque in the way I was intending. Though IO wish the scale could have been expanded even further to reach the level of Kruger’s spatial graphic works.

The finale graphic and typographic style of the the quote before being printed and put into a space. The fluro colours are inspired by Joan Ross.

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Inspired by Joan Ross:

I thoroughly enjoy the use of fluro colours by Joan Ross and have reflected it in my work. She says that fluro “represents a type of colonising and a type of fear” which definitely reflects in the Sydney metropolis’ present culture of redevelopment, what could be argued as a form of ‘neo-colonisation’.

Joan Ross interview: https://www.youtube.com/watch?v=_v584m-QhBk

THE FUTURE IS BURIED IN PILES OF RUBBLE

scale expanded

In enacting this experiment I have become even more connected to the given quote. As I write the quote in this greatly expanded and materialised context, I think about it and feel its truth more and more deeply. In regards to this experiment: whilst I do enjoy the expanded scale, and feel that it creates even more impact with the quote, I do not like the graphic style and the newspaper surface. I was using newspaper to further exemplify how this ‘rubble’ is created though it doesn’t quite possess the sleek and sophisticated graphic quality of Kruger’s spaces.

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typographic experimentations with arial black

During this experiment I chose to limit my font to arial so that I could experiment with colour/placement/repetition. These phrases have been made out of chance, through the black out poetry, though “the future is hidden in piles of rubble” is a phrase that I thought about quite thoroughly as I worked on photoshop, and came to find quite a lot of meaning in it. I’ve chosen to slightly edit the phrases vocabulary to charge it with even more meaning:

“the future is buried in piles of rubble”

The typographic pieces reminded me of Barbra Kruger’s immersive room sized texts. The prospect of that scale is something that will be investigated and experimented with.

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“life is a $21-million-dollar historical photograph erased from what’s happening in the present”

“the future is hidden in piles of rubble”

“no one will ever be elite”

Experimenting with the removal of words to create new meanings. An expansion on the idea of tampering with ‘objectivity’ but also a play with typographic art. I would like to expand on this process by potentially writing the given sentences in an experimental type that evokes further meaning, and somehow experimenting with typography.

REMOVING HOMELESS PEOPLE FROM GOOGLE MAPS BECAUSE...

This experiment expanded on our last assignment in which Google Maps was used as a canvas for expression and cultural/social investigation. I wanted to explore the ways in which ‘objective’ and public visuals can be tampered with to evoke meaning. Additionally word and text art is a interesting prospect that I would like to investigate more in my coming experiments.

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Assessment_2

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Week 7 - Activity

TRANSFORMATIONS. Levent Dilsiz

Initial engagement with box was playful, utilising colour, attempting to multiply the number of boxes, using glue, and twine to bind. Disinterest in this transformation catalysed ripping of boxes into smaller pieces which were then bound by twine, a medium and method I enjoyed during my first experimentation. The result: highly textured, sculptural, waste-made, yet remaining was twelve small cardboard pieces that were physically unbindable. An attempt to create the same textured sculpture on a larger scale using garbage had disappointing results. Hence, after revisiting documentation, small cardboard pieces were discovered, and manipulated into digital collages, firstly shaping letters, then emulate brand logos due to interest in the intersection of ‘left overs’ with materialism. This inspired the collage of the Louis Vuitton monogram, the selection of this pattern as a result of its being an icon of luxury brand culture which perpetuates an unrelenting materialist philosophy. The irony of its assemblage from small cardboard scraps was initially in a criticism of increasingly mass produced exorbitant luxury fashion. Upon completion, the rough, frayed, disjointed, textural qualities of the image appear as if the iconic monogram is, disintegrating, rotting, suggesting the transience of materialist trends, stating that they will inevitably disintegrate.

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EXPERIMENTATION FIVE

After my previous experiment tracing brand logos with the leftover rips of cardboard, I thought it would be an interesting evolution to digitally collage an entire monogram/pattern of a brand. I chose the Louis Vuitton classic monogram as it is one of cultures most easily recognisable materialist symbols. Its construction out of scraps subverts the patterns associations with status, an interesting idea worth further exploration.

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EXPERIMENTATION FOUR

I felt uninspired and unexcited about my last experiment, so I look further back in my experiments and found a photograph of the leftover cardboard pieces that I couldn’t bind with the twine. I thought that there was something beautiful about them being unused and hence invaluable so I decided to manipulate them digitally to make them seem socially valuable. At first I experimented by collaged them to make the letter ‘E’, then I collaged them to resemble the ‘Gucci’ logo.

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EXPERIMENTATION THREE

I really liked the texture created by the bunching of the cardboard pieces by binding them on twine in my previous experiment. Additionally, I enjoyed the use of waste in an aesthetic manner. I thought that I could emulate the same effect on a larger scale by binding actual rubbish with twine. As you can see in the last image, that texture becomes slightly apparent, but largely when looking at the full piece it is absent.

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EXPERIMENTATION TWO

Following from last weeks exploration of twine and destructive evolution to the box, I thought I would combine the two elements to bring order to the mess of the torn corrugated cardboard pieces. Using the twine I sewed all of the small cardboard shred together, the only few that were left un-sewn due to size or holes are those on the last picture. The sewing was incredibly laborious, not because of the technique but rather the quantity of cardboard that was layered. Though this payed off in the balance between the chaotic texture of the cardboard shreds and the calming repetition in their flatness. I like how the ‘snake’ of cardboard shreds makes something that might be considered garbage, textural, beautiful and balanced.

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ADAD1001 - Friday 17th of March 2018

“Adam returned unfinished, soggy media.”

The sounds of the above sentence expressed through a multi-disciplinary poetic, sculptural, digital, performance, sound piece.

Tangential yet valid conversations of gender arose from the use of a starkly contrasting pink camera.

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EXPERIMENTATION ONE

Upon finding my box, my first observation was that it was too big. Naturally, my first instinct was to make various small boxes. After cutting the foldable templates for these smaller cubes, I experimented with twine to bind the edges. Working with the twine was quite laborious, especially considering the geometric imprecision of the templates I cut, and the difficulty of sewing corrugated cardboard. I abandoned this to paint the templates instead. My vision was to have vibrantly coloured concealed insides to these cubes, and dark, homogenous outsides. As I was waiting for the newly painted cardboard templates to dry, I felt a lack of interest in the work, especially from a textural and experimental standpoint. Instead of following through with the idea I chose to deconstruct all the cardboard, including the remaining pieces from cutting the templates, by adopting a purely destructive method. I enjoyed the texture and numerousness of the small ripped corrugated cardboard.

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ADAD1001 - Friday 2nd of March 2018

Unleash innocence. Splatter her all over the space. She may not be refined, reduced, distilled, disintegrated, to her most beautiful form. But she will be beautiful.

Asked to find a box, any box. In class, at first, we were instructed to write down things that you could turn the box into. My ideas ranged from ‘a portrait’, ‘a human’, ‘the soul vs. the body’, and ‘both open and closed’. Then we were instructed to, in silence, connect all of the boxes of people on our table together. Then this exercise progressed to connect all of the connected boxes on each table together, once again, in silence. Later we were allowed to talk and communicate with one another, this time if we noticed anybody not contributing to the making the work, they were to be integrated as a part of the piece.

Creative Innocence = Unleashed. She is messy. But she is beautiful.

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