ADAD1001 BLOG @violettecofa-blog - Tumblr Blog

concept statement ^

A big influence in the visual language of my video work.

Deanna Templeton’s photographic book “The Swimming Pool”

adad1001 - assessment 3

My final work!

Experiment #3

My 3rd experiment entailed the potential to paint water through technology. It entailed me taking an aerial photo of a rock pool in Maroubra and then use technology to enhance and bring out the already natural colours. This was successful. I love the idea of using water, a naturally occurring canvas as a means for contemplative art practice.

Experiment #2

For my second experiment I decided to muck around with dye in order to paint water in a more obvious way. It was beautiful none the less. However, it would be hard to replicate this on a bigger scale or in a natural setting.

experiment #1

My first idea was to use natural light in order to paint water. I set off on a nice afternoon, trying to find some nice reflections of light and sky. Although sunsets are beautiful this wasn’t as successful as I had hoped as the variables were completely out of my hands. Additionally, the water looked much more beautiful from afar than up close, and my camera didn’t allow me to fully capture the colour and light.

I have had the idea to paint waiter, like we painted the subjects in our response to Niki de ST Phalles work. I find this both contemplative and experimental as we cannot know how the work will turn out. I love this image of a projection onto the waters surface. This is the starting point for my work.

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ADAD1001 Violette Kirton, Henrietta Jackson, Mikaela Davis, Alice Cherry, Kate Aubin Krasa

Video Piece for ADAD Assessment 2

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Concept statement for ADAD Assessment 2

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Editing our reinterpretation of video Nike de Saint Phalle. After showing our audience the video we realised they were not shocked by it in the slightest. We then took them outside, instructed them to shut their eyes and attacked them with paint. This caused a reaction. In order to do this we HAD to make the audience become the artwork.

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The effects of turning the audience into the artwork… We supplied our guests with clothing as we knew it would be ruined and can then use these clothes as part of our finished piece

Creating the work

A week ago we decided to commence our creative process.

The work involved getting our whole group together, so we decided to get started before the easter break so that we would not be short for time on editing and evolving the work further.

The performance went well and we were very happy with the response from our audience.

We each invited as many people as we could to Henri’s house and hosted a reincarnation of Niki de St Phalle’s work. We invited our guests to watch the original work with an icy cold beverage to make them feel right at home. We observed their reactions , comparing them to the footage of St Phalle’s original audience. As expected, our audiences response was underwhelmed and not excited, surprised or impressed, like that of the audience in the original shooting performances.

In search for a reaction from our audience, we asked them to line up outside and close their eyes. We shot at them, like Niki did, with paint, light, balloons, and loud music. And BAM, they were shocked.

This reaction is interesting. although they were shocked and being assaulted, they were laughing, continued drinking and having questionable fun.

Turning the audience into the art work, seemed the only way to create a buzz and receive a certain response these days. An interesting comment on our society and culture. The amount of information we consume makes it very hard to be shocked in a world like ours.

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We are responding to Niki Saint de Phalle’s aim to cause a scandal and achieve this in a relevant way to our time. As our audience is so comfortable with the uncomfortable in our time to develop a shock factor the work has to directly affect them as opposed to being a separate entity. So we have decided to turn the work upon them, and splatter them with paint how Niki Saint de Phalle splatters her artwork with paint. To gauge a reaction the audience must become the artwork… We want the paint to look gross, so dark browns and reds. In the same way Niki doesn’t know how the paint will splatter we do not know how the audience will react and so the outcome will be unplanned and surprising.

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vimeo.com/5272032

For our group assessment myself, Violette and Miki and chosen to use Niki de Saint Phalle’s Introspections and Reflections as our basis example.

Our main idea is to recreate this video so that it is a relevant reflection of our time. The audience is shocked and in awe of this performance piece, intently watching her every move.

But what if this were to be demonstrated to the generation which is rarely shocked? To begin with we want to depict a shocking performance art to a disinterested audience who is focused purely on their own lives, checking their phones, checking their watches to reflect on our world today…

My final work.

A BOX OF SURVEILLANCE (STATEMENT)

The forever progressive nature of society has resulted in the fast obsolescence of the television; a box which once held its significant place in the lounge room of every first world household. A tool for mass communication and persuasive advertising, this “box” granted honest, welcome access into the private sphere of the contemporary home. A daily ritual, which invited families worldwide to the comfort of their very own sofa, to mindlessly consume targeted entertainment and information. The sheer, revolutionary power which the television granted the media, advertising and government sectors normalised censorship and persuasion.

Nowadays, the redundancy of the entertainment box has made place for new ways of information consumption, with computers, tablets and smart phones granting the consumer with a wider choice over their desired means of add-free entertainment. However, due to cookies and data transparency, our information is not private. Newer forms of entertainment consumption via the internet authorise an alarming personal view into our movements, interests, investments and fetishes.

This work comments on the obsolescence of the television, while transforming the “box" into a surveillance device. An Orwell-esque big brother concept, which aims to reminds the audience that transparency is more uncomfortably present than ever.

The installation consists of a small, temporary construction, which resembles the inside of a pallet of boxes. The audience enters via a small door and finds themselves in an uncomfortably small room, with a chair and a television set. The viewer has the option to turn on the “box”, at which point a camera reveals that they are being recorded.

The work confronts the audience with the uncomfortable realisation that they are being watched.

My third experiment was an attempt to create a structure out of a box. This was chaos, very dangerous and there was no way that I could re create the work at uni.

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