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Looking to the future

In future in looking to expand the work with more people and capture it as a documented mini video series. as the participants go through as their own ritualistic journey to see what the find in the process of their own mini work and they're perception once it's completed.

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Unbound Spark

In the final work of Unbound Spark, we find a product of pure circumstance who's varied personality has changed over time with the various encounters with their own flames. The ‘Unbound Book’ a collage, as influenced by the dadaism movement and their assemblages of various random objects to create new meaning as by chance. The new marker or ink becomes the flames of the sparklers imprinting their untamed form on each personality, changing the papers demeanour due to its raw experiences. As similar to the ones in our everyday lives with inanimate objects or our relationships with the media, friends, family or lovers. 

  The method in which trying to capture something that is already untamed as a flame, was left unto chance. From the randomisation of the selection of the pages to the way in which the sparklers were thrown onto the pages created uniquely distinct effects. The proximity left Some flames were too close, creating larger holes and some only charred marks if the spark if it was the end of its lifespan. Others didn't leave as much of an imprint due to the resistance of the paper product itself due to its material and thickness. However lasting the effects were the encounter was only temporary. Wether to compliment or oppose the existing artefact The sparks in our life which change us permanently, our past perception and how an understanding of that view changes our standing in the current context.

The shapes as a title cover in comparison to a traditional worded cover show there is no one form in which chance is encountered. The layering of the experiences each paper creates a new perception in juxtaposition with one another. Overall I was pleased with how the process of chance created an interesting overlap between past and present tense.

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Experiment 3 Continued

In this experiment, all of the papers in which I collected were assemled on a concrete floor. 

Example of some of the papers used.

Notebook Cover

Journal Tital Entry

An order of the 7 deadly Sins.

Doodle of a Panda

Greenhouse Experiment Sheet.

I assembled a handful of Sparklers, and on mass lit them  upso I was able to throw them on the various papers, as by chance. As it was also windy I didnt light 1 Sparkler for every paper, as in the last experiment some of the sparklers moved around. 

Result (Not all of the sparklers were lit).

Some examples of the End product of the paper. 

This one hard some charred lines.

This paper seemingly was able to catch more smaller flames, I quite like the bullet effect.

I liked the effect of the big charred stripe, as it connected well with the drawing on the page. Both striking and complementary.

As this diary entry was thicker paper it wasnt able to burn through as easily as some of the other material but it left nice black inscription.

The stripe changes in intensity and almost mimics the writing of the musical dynamics from crescendo to descrendo.

There was a consistency of very striking effects and bullet effects on each of the papers. The method being fairly ubiqutitious created such a patterneted and unique effect on each of the papers. Each one alreayd having its own personality and consequently changes in meaning as a result of the sparks flames.

The permeancy plays with the idea as to how encounters evolves a ‘personality’ over time, indirectly. Wether to compliment or oppose the existing artefact. I was pleased with the result of this experiment. 

Another part to this experiment was placing a piece of paper beneath each of the ‘burnt’ papers, and traced it with a red felt tip pen to trace the new form. I repeated this with every piece of paper on the same one.

This was the resulting product of tracing all the various forms. It almost resembles a map, as if to be able to trace back to the various effects and imprints the encounters with the sparklers have left. 

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Experiment 3

In looking for paper forms, I was tossing up between the tences of old and new. Inpired by the dodaism movements approach to collages, by collecting random items and collaborating them to create new meaning, I went through some old notebooks I used to write in from various years, varying in size and genre. 

I ripped out random pages, which at the time probably had some meaning in the moment (weather it was drawings, doodles,diary entries, essays, or just blocked words). It was interesting to take the pages out their own context and muddle them all together. As they probably to me personally lost their significance, but in that moment probably had a greater meaning. 

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Experiment 2

I continued with the sparkler Idea, and as to how I was going to ‘catch’ the sparklers imprint. I enjoyed the permeancy of the flame and the unpredictability simultaniously, so I thought it would be interesting if it were to affect another form. 

For this I used:

-1 Sparkler 

-Paper

-Lighter

Placed the Sparkler on top of a piece of paper.

Result of lighting the sparkler. (combination of wind and the sparkler moving around as a result created a form).

I liked the way in which the sparkler was able to create an abstract form, as the shape gave the paper new meaning. As it is open to interpretation the form could be an abstract outline of a human figure or anything. This idea of circumstantial ‘creation’ or a spark in which changes its meaning through interaction. By imbedding itself, it was unpredicatable as to the change it would cause. Which is true to chance. 

I liked the result of this experiment and wish to experiment with capturing sparklers flame in experiment 3. 

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Experiment 2; 

In this experiment I started of with the idea of a sparkler. As not only were they circumstantial in the way they light up and burn but also as to the way the user can bend to manipulate the light. I realised that much of the way in which sparklers are documented is through video or photographs but I wanted to see if there was a way of ascertaining the permeancy of the sparklers flame without photo or video. 

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Also looking at Dadaism, its purely circumstantial approach to the art, and it reminded me to let go of any preconotations as to what the artwork should look like as the end product is only secondary to the process. 

Emerging amid the brutality of World War I, the revolutionary Dada movement took disgust with the establishment as its starting point. From 1916 until the mid 1920s, artists in Zurich, Cologne, Hanover, Paris, and New York posed a radical assault against the politics, social values, and cultural conformity which they regarded as complicit in the devastation of conflict.

Dada artists shared no distinct style but rather a common wish to upturn societal structures as much as artistic standards and to replace logic and reason with the absurd, chaotic, and unpredictable. Their practice encompassed experimental theater, games, guttural sound-making, collage, photomontage, chance-based procedures and the “readymade”, most notoriously Marcel Duchamp’s urinal, Fountain (1917). Throughout, the Dadaists considered the visual appearance of their work secondary to the ideas and critiques it expressed. In this sense, Dada may be seen as a fundamental precursor to conceptual art. With a selection of key works from some of the most famous proponents of Dada such as Tristan Tzara, Marcel Duchamp, Hannah Höch, Kurt Schwitters, Francis Picabia, and Man Ray, this book introduces this urgent, subversive, and determined twentieth century movement and its lasting influence on modern art.

View on Amazon

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Heather Goodwind. Expecting Bird.

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I looked into the artist Heather Goodwind. Her processes include using her intuition and the the paper form itself. As each paper is from a variable point in time she Explored the mood, feel, and the time period of that paper to create her work. 

-Heather Goodwind

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Experiment 1

In approaching the topic for the final assessment chance I first did a brainstorm as to the meaning of chance, just to have some keywords to insignify themselves during the experimentation process. 

From our last group experiment, I decided to still play with the concept of elements and chance and colour and light. 

I took some tealight candles and before I started burning them I placed food colouring to see if it would have any effect as the candle melted. To see if various flame positions and alternating the area in which the candle was in would affect the melting process.

This proved to have failed as the food colouring stayed in its droplet form, failing to disperse with the wax of the candle. 

So I then got used a plain  jar and some  food colouring which was radomly dispersed into a jar, with every colour that was in usage only allowed two be added twice onto the jar. Each one being a  colour of the rainbow, which are the colours refracted in glass when light is shone through it. So playing with the idea of a natural element, and creating a spin on its original form through synthetic means.

I then placed a candle in the jar to see if it could enact as a lantern.

Lighting the candle proved difficult due to the length of the jar. 

In addition to the candle I was randomly adding already burnt twigs as the smokey atmosphere in the jar reminded me of a forest, with the streaky lines and the angled twigs. 

After this experiment I was not entirely satisfied with the outcomes of the work in the experiment, as it wasnt able to digress into something further; it felt very contrained, not just in form but by being an addition to the last assessment rather than its own. 

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Chance task 

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Final Work: Chance - Performance / Interactive Work Documentation. 

Video: https://www.youtube.com/watch?v=ExDKTMkejag&feature=youtu.be

Statement: 

Inspired by the kinetic works of our chosen artist Cameron Robins, in conjunction with the topic of chance our groups final work became an interactive artwork. Cameron’s investigation between the natural elements such as light, sound, water and other minerals and the impressions they leave, evidently became our inspirational force behind our artwork. The untamed nature of the natural elements highlights the very nature of chance being without underlying motive but significantly impactful. To demonstrate this, the finished artwork isn’t controlled by the artist so there is no way of predicting the final form. Thus, we were inspired to focus on interactions and inclusivity, as people involve their senses whilst exploring the notion of chance.We created three platforms which involve colours as a uniting feature that  and the sensory elements: sight, sound and tactility.

We brought together multiple jars of differing sizes to create a large interactive area. We placed a paper into them, filled them with water, and dropped ink of varying colours. Chance is evident in this as the way in which the ink falls into the water differs with every drop. Further, how the dye transfers, follows the folds of the paper and leaves patterns can never be the same, but is rather dependent on chance.

The second chance experiment is the throwing of coloured powder onto white fabric. Whilst encouraging audience participation, chance is explored with the transferral of the powders onto the white fabric, and the way in which the fabric creates patterns by holding the powder. Inspired by the the powders use in the Holi festivals, and the colour run, the powders unpredictable nature of placement due to factors of the external environment (speed at which its thrown, wind, amount of powder) the proceeding patterns created cannot be controlled by the artist, but is once again subject to chance.

The third  chance experiment is an interactive Led light panel that responds to the input of sound frequencies. As there is no way or instruction for users to know as to what kind and which frequencies of analog input will adjust the light levels and to what extent. Thus the pattern of light will never be the same consecutively predict the way in which the users will interact with the keyboard, and what they would interpret the input of sound, thus leaving the temperamental outcome of the artwork again unto chance.

Group: Zac Agius, Courtney Moss, Aby Seher, Anica Siljeg

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Elemental Chance

Inspired by the kinetic works of our chosen artist Cameron Robins, in conjunction with the topic of chance our groups final work became an interactive artwork. Camerons investigation between the natural elements such as light, sound, water and other minerals and the impressions they leave, evidently became our inspirational force behind our artwork. The untamed nature of the natural elements highlights the very nature of chance being without underlying motive but significantly impactful. To demonstrate this, the finished artwork isn't controlled by the artist so there is no way of predicting the final form. Thus, we were inspired to focus on interactions and inclusivity, as people involve their senses whilst exploring the notion of chance.We created three platforms which involve colours as a uniting feature that  and the sensory elements: sight, sound and tactility.

We brought together multiple jars of differing sizes to create a large interactive area. We placed a paper into them, filled them with water, and dropped ink of varying colours. Chance is evident in this as the way in which the ink falls into the water differs with every drop. Further, how the dye transfers, follows the folds of the paper and leaves patterns can never be the same, but is rather dependent on chance.

The second chance experiment is the throwing of coloured powder onto white fabric. Whilst encouraging audience participation, chance is explored with the transferral of the powders onto the white fabric, and the way in which the fabric creates patterns by holding the powder. Inspired by the the powders use in the Holi festivals, and the colour run, the powders unpredictable nature of placement due to factors of the external environment (speed at which its thrown, wind, amount of powder) the proceeding patterns created cannot be controlled by the artist, but is once again subject to chance.

The third  chance experiment is an interactive Led light panel that responds to the input of sound frequencies. As there is no way or instruction for users to know as to what kind and which frequencies of analog input will adjust the light levels and to what extent. Thus the pattern of light will never be the same consecutively predict the way in which the users will interact with the keyboard, and what they would interpret the input of sound, thus leaving the temperamental outcome of the artwork again unto chance.

Group: Zac Agius, Courtney Moss, Aby Seher, Anica Siljeg

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Erasure of Colour 

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Experiment 3 Completed 

Boxed Memory 

Artist Statement:

Transformation in my experience of the experiment, took a turn for a transformation of ideas and meaning. From an initial failure, it started to parallel similar process’ in childhood, which gave an undertone of nostalgia. This feeling then later influenced and shaped the formation of proceeding products. The trigger of memories itself from the inital box became a reoccuring theme which influenced the continuation of the artwork. in the beginning the literal meaning of a box and the feeling of nostalgia lead me to play with the idea of a memory box and then consequently, memories themselves. As the normal use of a memory box is usually to store things to remember various memories, I decided to externalise it in a physical sense. The box became symbolic of singular moments, and its perspective in time. It's distinct attributes and varying textures and layers potrayed the uniqueness of the human experience and was unified in its theme palette of bright colours. 

the final transformation shows a compartmentalisation the memory. As we see how its demeanour changes in its metamorphisis from a the bright context when it was a fresh and youthful to its darker Present. The idea that the memory fades over time and changes in meaning in accordance to the context of our immediate environment.

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Experiment 3: continuation of spray paint morphing the box into its environment