processandenquiryeuanmathie

[processandenquiryeuanmathie]

Project Statement

In the ‘Process and Enquiry’ module I have explored the realm of mixed media and created work responding to the brief of evolution within the life of a pebble. The main artists who I have influenced my work are Dave Miko, Tom Thayer, Andy Goldsworthy, Leena Nammari and Billy Leach. These artists have helped my create work surrounding the evolution of my pebble.

Ever since I found the pebble when I was young I have carried it around with me almost like a good luck charm with sentimental weight. Through the workshops, I have been experimenting with the form of the pebble. The abstract form has captured my imagination realising all the different shards and fragments just like it still out in the world. For one of the pieces I have created a photogram that resembles the abstract form as well as a shadow remnant of itself.

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Studio space ready ready for assessment

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Sound workshop expanded/developed with a mashup of other sounds and with added video

In the workshop the majority of us had lots of technical trubble with the sound editing software. So we had to watch and take notes whilst Dougie showed us how to edit the sound pieces.

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Sound workshop taken by Dougie Morland

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Whilst creating the other ones I had the idea of making pieces look like they were rebounding a shadow of itself onto a surface.

With these pieces I placed the glue dots on the surface of the paper aswell as the cut out abstract paper pebble and the acetate of the coloured version of the pebble aswell. This would then block out more of the light getting to the paper which means this specific area of the light sensitive paper would be lighter. I tried this out with different arrangements getting varied effects giving the impression of a ghostly image alongside a more solid form.

With this piece I created this piece by using a 2:4 ratio for 2 times but in between I left the glue dots in place but flipped the paper cut out over 180 degrees. This gives the impressions of tone throughout the piece

2 of 2-2D developments

“Fragmented Obscurities”

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After making the testers and getting the settings right I began thinking of the photogram artist Billy Leach and how his photogams were very sharp and high contrast. I liked the idea of having my work being very strong and bold so I began creating.

With these pieces I focused on the repetition of the pebble as there are bound to be other fragments larger or smaller than it is.

Firstly this image was created and then I had the idea of remaking it but turning the sheet of acetate whist exposing it to the light after the first 2 seconds and then another 2 seconds.

After seeing how this piece turned out it wasn’t as dark as I wanted it to be but I really liked the composition so I decided to make it again but increasing the light intensity:time ratio to 2:4 then turning it so giving the piece 4 seconds in total.

I then wondered what it would be like if I was to increase the amount of times that I turned the sheet of acetateto 4. However it didn’t turn out nearly as good as I hoped it would.

With this piece I placed the cut out paper form of the pebble onto the photosensitive paper with all the opposite negitive cut outs of the pebble aswell. This was quite difficult as it was very dark and arranging white pieces of paper like a jigsaw on a white photo sensitive paper, took quite a long time. However it was worth it in the end as I managed to create a piece which was sharp and of the mirror image of the paper cut out.

With inspiration from the woodcut block I created in the Glasgow Print Studios I remade the composition similar to that one.

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After creating the cyanotypes the piece which i thought to be the most successful reminded me of the photogram work I created. So I went back to the dark room and began producing more as I loved how I could create something so simple and I could get some really sharp crisp images.

Whilst in the dark room the previous time I created tester strips to help set the light level and the time in which to expose the photosensitive paper. At the beginning I created these test strips and I quickly realised that it was not enough time I was exposing it. As it was a different machine I was using it was a different set of ratios I had to use.

Eventually after testing and getting a broad range of results I managed to get the settings that I wanted. At the same time I got some interesting results even with just the testers

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“The Steps of Erosion”

Video piece for Process and Enquiry

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After making the other ones I began thinking about making a larger piece with the larger pieces of paper I had already prepared. This piece was to have the thought process of the pebble has changed in form and how it has eroded through its existence. I thought about this and decided to create a piece that shows all that in one print showing the beginning of the pebble to where it is now 16 years after finding it on that beach.

After creating it I relised that it didn’t turn out as successful as some of the other smaller pieces. If I was to choose one which I thought was the most successful I would say that it would be the one below. This being as it has a better compositional arrangement and looks more satisfying to look at

1 of 2-2D developments

The Negative Construct of The Pebble

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These are the first ones that I created of the batch which I found to be less successful. This is probably due to the amount of layers which was on those specific parts of the cyanotype, thus creating the white paper coming through more

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These cyanotypes have a stronger definition in the pieces.

This one was created with of a centralised focus towards the pebbles and fragments being combined again like they would have been in the last when the pebble was more of a rock than a ground down smooth pebble

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After I washed them I put them on the floor whilst the blue roll absorbed all the moisture from the paper

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When they were done absorbing all the UV light I carried them back up stairs to the studio to wash out all the solution that didn’t get exposed by the UV light

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Since I liked the outcome of the cyanotypes the previous time I wanted to continue and develop them further. I began by coating lots of paper and then I left it to dry over night in my drawer then forgot about them for about a month or so. I found them again and saw that they were still alright too use but they were a bit of a strong green in colour as they should be a light green instead.

With the glue sheets I put together on acetate I combined them with the printed acetates I had already and placed them in the UV exposure unit for about 10 minutes a time.

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“The Erosive Impression”

Unfortunately I left the clay tile on the Perspex sheet and as it dried some sections pulled away from eachother causing it to crack all over. And it cracked even more when it came off the Perspex sheet

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After waiting 4 days, I managed to separate the plaster mould from the clay impression and I’m pleased that it came out in one piece for both of them.

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After leaving the clay a few days to dry up a bit, I then started to dig it out. As I was doing so I relised that I was creating lots of dust and plaster granules.