#ArtisticExploration

[bogdansavchenko]

назва "Чумак" 2018 р. формат 10 см на 10 см папір, туш, перо.

navn "Chumak" 2018 format 10 cm x 10 cm papir, blekk, penn.

Ця моя робота несе в собі чарівність віку, втілюючи народження певного стилю та набору керівних принципів. Вона також слугує повторюваною темою, яку я досліджую час від часу, розвиваючи її нюанси в різних дискусіях. Як я вже згадував раніше, і це однаково стосується і цього випадку, ця робота була продуктом чистої імпровізації.

Тепер давайте заглибимося в принципи, які лежать в її основі. Виконана в скромному масштабі тушшю і пером, керуючись спритністю моєї правої руки, ця робота дотримується фундаментальних рамок. Саме цю основу я використо��ую в так званому "чистому вигляді", оскільки інструмент вже має власну пластику і логіку використання. Наприклад, перо легко промальовує плавні, динамічні лінії, особливо коли рухається зверху вниз. Ця адаптивність поширюється на створення делікатних крапок і заповнення невеликих площин - природна синергія, яку породжує інструмент.

Чорнило саме по собі привносить характерні риси, в той час як моя натренована рука виконує специфічні рухи. Наприклад, малювання безтурботних і плавних ліній вимагає спокійного стану душі. Таким чином, мазок руки стає сплавом технічної майстерності та емоційного резонансу.

Дозвольте мені зупинитися на кожному з цих аспектів окремо. Вправна рука означає ступінь вашого володіння рукою та інструментом, втілення ваших намірів у витончені рухи. Коли ваша майстерність дозріє, ви побачите, що будь-яка лінія, яку ви проводите, тече гармонійно - результат, досягнутий завдяки цілеспрямованій практиці. Одночасно ваше серце задає ритм руці, що є проявом вашого темпераменту. По суті, лінії, втілені на полотні, відображають ритм вашого серцебиття. Звучить досить просто, але дозволяє залишатися в рамках стилю. І створює внутрішню логіку, іншими словами, формулу творення. Проте не слід плутати стилістичні рамки з творчою в'язницею, вони радше нагадують правила гри, що додають інтриги до процесу. Переходячи від одного твору до іншого, від одного наративу до іншого, я стикаюся з викликами, які спочатку можуть здатися нездоланними у встановлених межах. Однак саме в цих обмеженнях моя творча майстерність по-справжньому сяє. Сфера графічного мистецтва пропонує широкий простір для інновацій та досліджень, запрошуючи мене до експериментів, водночас гарантуючи, що мій задум буде доступним для глядача. Але головне тут - не перестаратися.

З плином часу моя палітра графічних технік продовжує розширюватися, ще більше збагачуючи мій художній репертуар. Привабливість поєднання різних матеріалів в одному творі незаперечна, але це зусилля вимагає підвищеного досвіду та майстерності. Досягнення балансу між експериментами та цілісністю залишається захоплюючим заняттям, яке спонукає мене до постійного вдосконалення мого ремесла.

Роздумуючи над еволюцією цієї роботи, я вважаю доречним відзначити якість композиції. Створена на молодших курсах коледжу, це був час, коли я вчився розуміти суть ритму та просторового балансу. Ця робота є свідченням мого зростаючого розуміння цих художніх елементів.

Ця робота втілює народження стилю та принципів. Вона розповідає про спонтанність та внутрішню гармонію мого руху, передаючи ритм мого серця на полотні. Цей твір — втілення моєї художньої еволюції, викликаючи мене до постійного вдосконалення та відкриття нових можливостей.

This work of mine carries with it the charm of age, embodying the birth of a particular style and a set of guiding principles. It also serves as a recurring theme that I explore from time to time, elaborating on its nuances in various discussions. As previously mentioned, and equally applicable here, this piece was a product of pure improvisation.

Now, let's delve into the principles that underpin it. Executed on a modest scale using ink and pen, guided by the dexterity of my right hand, this work adheres to a fundamental framework.  This is the base and I use it in a so-called "pure form" because the tool already has its own plasticity and logic of use.   For instance, the pen effortlessly traces smooth, dynamic lines, particularly when flowing from top to bottom. This adaptability extends to creating delicate dots and filling in small planes, a natural synergy that the tool engenders.

Ink, in its own right, introduces distinctive traits, while my practiced hand executes a specific motion. Drawing serene and fluid lines, for instance, requires a tranquil state of mind. Hence, the stroke of your hand becomes a fusion of both technical proficiency and emotional resonance.

Let me focus on each of these aspects separately. A skilful hand refers to the degree of control you have over your hand and your instrument, translating your intentions into graceful movements. As your skill matures, you will find that any line you draw flows harmoniously - a result achieved through focused practice. At the same time, your heart sets the rhythm for your hand, which is a manifestation of your temperament. In fact, the lines embodied on the canvas reflect the rhythm of your heartbeat. It sounds quite simple, but it allows us to stay within the style. And it creates an internal logic, in other words, a formula for creation.

Yet, the confines of a stylistic framework should not be mistaken for a creative prison; rather, they resemble the rules of a game, adding intrigue to the process. As I journey from one creation to another, from one narrative to the next, I encounter challenges that may initially seem insurmountable within the established boundaries. However, it is within these constraints that my creative prowess truly shines. The field of graphic arts offers a wide scope for innovation and research, inviting me to experiment while ensuring that my ideas are accessible to the viewer. But the main thing here is not to overdo it.

As time unfolds, my palette of graphic techniques continues to expand, further enriching my artistic repertoire. The allure of blending various materials into a single work is undeniable, but it's an endeavor demanding heightened expertise and skill. Striking the balance between experimentation and cohesion remains an exhilarating pursuit, driving me to continually refine my craft.

Reflecting upon the evolution of this artwork, I find it fitting to commend the composition's quality. Created during my junior years in college, it was a time when I was learning to grasp the essence of rhythm and spatial balance. This piece stands as a testament to my growing understanding of these artistic elements.

This work embodies the birth of style and principles. It tells the story of the spontaneity and inner harmony of my movement, conveying the rhythm of my heart on canvas. This work is the embodiment of my artistic evolution, challenging me to constantly improve and discover new possibilities.

[gustedesign]

Feed Your Head

[jjfbbennett]

This is the torment and glory of creation: a dance with fear, a defiance of the ordinary. The artist emerges from the crucible, changed yet unchanged, armed with the unshakable resolve that striving is transcendent. For in staring into the abyss of their creative self, they come to a profound realisation. They are not merely seeking something enduring or meaningful. They are in the act of becoming it.

Blogger

JJFBbennett music

[brandonjohnbarnard]

Today I am going to go over my thoughts around my short ‘Doggy Style’.

Pre-Production

Early on in my investigation into chance as force for creation, I had thought about the use of animals. They are an element which are largely out of our hands. Sure, you can train them to do certain tricks, but they, like us, have minds of their own. The communication barrier in particular is what I find interesting.

Two creatures trying their best to communicate is fun. I often think that when/if our species interacts with aliens, it will be similar to talking to a pet (whether we or them are the pet, we shall see).

Skipping forward through time — my wife and I watched the Diary of Anne Frank (1959) on the 5th of May, 2024. It was an interesting film. It was odd seeing a young Richard Beymer (directly after we had watched Twin Peaks).

But what stuck with me was the acting done by Orangey the cat. Orangey was a famous cat in Hollywood at the time, also having had a major role in Breakfast at Tiffany’s (1961) 3 years later.

Well, in the Diary of Anne Frank (1959), there is a scene where Orangey makes some noise in the kitchen, stressing out everyone who is meant to be hiding away from the Nazis. To achieve this, they had to reverse the footage to get the shot they wanted.

I thought, in this very well-done and controlled film, that they were still unable to get a shot of this cat naturally getting them to do what they wanted, so they had to manipulate the footage for the results.

So, wanting to explore chance, and knowing how chaotic my pets are, I decided to work with them. Rather than try and eliminate the chaos created by having animals in films, I wanted to embrace it.

The idea that my dogs, which I love very much, would become part of my ‘film history’ was very exciting as well. I like that little parts of my life get woven into my work slowly over time.

Noodle is a very smart Chinese crested chihuahua mix. She is so clever, that she often ignores you to do whatever she wants. She absolutely loves new people though, always wanting to make new friends. Honestly, she loves and begs for attention from strangers more than any other dog I have met. She loves peas and cream.

Toffee is a softie, that is scared of any knock she hears, going into an absolute barking fit. Anyone at the door gets an earful. She is a Russian toy-terrier, that loves to please. She is very food motivated, and able to do lots of tricks. She always tries her best. Noodle likes to bully her.

On a side-note, I thought that this would be a great excuse to play with Sony Vegas. I had recently gotten back into using it, so I wanted to have a production where I could click on all of the effects to see what they did, and how they could be tweaked.

Production

My original vision was that Noodle would be the head of the film. In my mind, she always had more ‘star potential’. As such, you can see in my original planning notes that she was drawn in, with Toffee not even considered.

The original, basic idea was that Noodle would amble around on the blanket, with me slowly adding more Noodles. On top of this, they would shift into different elements like fire and water.

Then I went downstairs, set up a red blanket on the floor (so I had a colour to chromakey out), and started to record. I was expecting to film the dogs for 30 to 60 minutes, but they got bored after 12. Because of how the chromakey worked, if I were to move the setup at all, I would have made a lot of artefacts in the footage, so I decided that 12 minutes was all I was going to get.

Toffee taking the lead (nice pun) of this film was completely unexpected. She was so eager to please, that she would jump down in front of me (who was behind the camera) constantly. I know this is horrible for me to say as a dog dad, but before making this film I always saw Noodle as my favourite. Toffee was timid, and barked like all-hell. I loved Toffee lots sure, but Noodle always eked out ahead. From making this film onward, I have seen them as equals. Her personality has really grown over time.

Since Toffee became a major part of the piece, the jumping in and out of the frame did as well. I had not envisioned that at all when I was doing my initial planning and thinking about what would happen. This movement allowed for interesting transitions, which I feel made the film so fun and engaging. Entering and leaving the stage meant that clips could be moved around in fun ways, to make a constant feed of exciting movement to match the audio.

This film really pushed my ideas of how music can become a ‘second director’, dictating pace, energy, and forcing you to think about your footage in new ways.

Music acts like a chance prompt, with every track resulting in a completely different film with different takeaways. Also in terms of chance, I find it really fascinating that accidental matches to the music kept happening. For example, I would have a particular movement by Toffee match the music (on purpose), and then a few seconds later within the clip, it would match again (by accident). This kept happening. It makes me wonder whether there is some rhythm that dogs move in. An internal pacing. Or, it could just be coincidence.

I also want to explore more why ‘chance events’ make us (as a species) so excited. Ping-pong trick-shots, rare trading card pulls, a natural 20 in Dungeons & Dragons — there is something about these events which makes people so ecstatic that I feel is underexplored.

The song used was ‘Holiday Party’ by Infraction — it is such an earworm. My wife and I hum/belt the tune all the time. I like how all of these musicians are slowly being pulled into my body of work. It does lead to interesting thoughts about ownership, because I feel such warmth towards them. There is something there.

Post-Production

This has become one of my favourite things I have made. I can watch it all the time.

In retrospect, I wish I did not include the scene of me on the floor, the chromakey looks quite muddy in the shot, and its not the most flattering! Though, I wouldn’t re-edit it.

I find it really funny that screenings and galleries don’t accept this film. Maybe its due to the title — galleries do like to look professional at times. Maybe it comes across as low effort because of the dogs, like a Youtube meme video (there is something to be said about the arbitrariness of what is art and what is not, but another time!). We need to increase the dogs star-power so they end up in the Louvre.

[begouristore]

Top On Sale Product Recommendations! Magical Tracing Workbook Control Training Book Reusable Magic Practice Copybook Children Montessori Drawing Education Stationery Original price: USD 2.17 Now price: USD 2.08 Click&Buy:

[whatiscalligraphy]

Starting Calligraphy as a Hobby: Joyful Artistic Discovery

Starting Calligraphy as a Hobby: Uncover the Joyful Artistic Discovery of a Lifetime

Welcome to the world of calligraphy! If you have always admired beautifully crafted lettering and want to embark on a creative journey, starting calligraphy as a hobby is a wonderful choice. Calligraphy allows you to express your artistic side and create stunning works of art with just a pen and paper. In this section, we will explore the different stages of learning calligraphy, from the excitement of starting out to the sense of fulfillment when calligraphy becomes one of your core hobbies. Key Takeaways: - Approach calligraphy with a realistic attitude and be prepared for information overload. - Choose reliable learning resources, such as online courses or local workshops, to build your foundational skills. - Source the right calligraphy supplies, either through a starter kit or by putting together your own set of essential tools. Read the full article

[vidi-ink]

Part LXIII

“We went from animism and a place inside the natural world to organised religion and a place above or outside nature. Where did we go wrong? Our cities are testaments to how far we are removed from the natural world.¨

———————————————

“Via Marchesana”

Plein air architecture painting with figures

21 x 29,5 cm

Charcoal and watercolour on paper

https://www.instagram.com/vidi_ink/

[igraphixart]

Exploring the Mysteries of Gravity Falls in a Futuristic Dimension

In this latest rendition, we take a journey through a reimagined Gravity Falls—but with a twist. What if the town we all know and love merged with futuristic technology, creating a world of glowing screens, neon grids, and cybernetic landscapes? Inspired by the characters' endless curiosity, these visuals bring the magic of Gravity Falls into a world where technology and mystery collide. From Dipper venturing into high-tech ruins to a cyber-cat hero patrolling neon-lit streets, this new world feels like a retro-futuristic dream!Which version of Gravity Falls do you want to explore? Let me know in the comments! ✨🌌

[lilmo13]

Lorsque l’on se penche sur le design d’un vêtement, on découvre souvent bien plus qu’un simple assemblage de tissu et de couleurs. Chaque motif, chaque illustration raconte une histoire, évoque des émotions et suscite la curiosité. C’est précisément le cas du t-shirt que nous allons explorer aujourd’hui.

L’Arabesque de Saint Georges

Au premier coup d’œil, ce t-shirt blanc semble sobre et minimaliste. Mais regardez de plus près, et vous découvrirez une scène captivante : saint Georges terrassant le dragon. Cette image, tirée de l’iconographie religieuse, est chargée de symbolisme et d’histoire.

La Légende

Saint Georges, chevalier courageux, est souvent représenté dans l’art occidental en train de combattre un dragon. Cette scène est issue de la légende de saint Georges et du dragon, qui a traversé les siècles et les cultures. Elle symbolise la victoire du bien sur le mal, la bravoure face à l’adversité.

Les Détails Artistiques

L’arabesque qui orne ce t-shirt est minutieusement dessinée. Les plis de l’armure de saint Georges, la gueule du dragon, la lance qu’il brandit… Chaque détail contribue à l’attrait visuel de l’illustration. Le choix des couleurs est également crucial : le rouge vif du dragon contraste avec le blanc immaculé du tissu, créant un impact visuel saisissant.

Un T-shirt qui Invite à la Conversation

Ce t-shirt ne passe pas inaperçu. Il suscite des questions, des regards curieux. Pourquoi porter une telle scène ? Quelle signification lui attribuer ? C’est là que réside la beauté de ce vêtement : il devient un point de départ pour des conversations intéressantes. Que vous soyez passionné d’art, d’histoire ou de spiritualité, ce t-shirt offre une opportunité d’échanger et de partager.

En somme, ce n’est pas seulement un t-shirt, mais un véritable récit visuel. Portez-le fièrement, et qui sait, peut-être que quelqu’un vous demandera : “Quelle est cette histoire ?” 👕✨

[amazonbooksauthor]

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Order Your Copy Today and let the artistic fun begin!

[rooflesspainters]

Cherries and June in Retrospect: A Palette of Reflections

Painting by Julio Panisello-Huguet

Originally posted in our Roofless Painters Blog.

We're well into July and already immersed in our new monthly collection, but June still lingers in our rearview mirror, like the dim crescent moon we’ve seen these past few nights fading and dissolving into the distance. Have you noticed it? We started this post before June came to an end, or was sunsetting, as mentioned in the statement we read on the closing of the legendary Marlboro Gallery in New York City a couple of months ago. The notion of 'sunsetting' evokes a far more chic transition than a plain shutdown, so from now on, we are forever replacing with this term anything that ends. The expression invited us to muse on the history and legacy of that iconic gallery: how many cherry paintings might have graced its walls over the past eighty years? We think most likely none, so in some small way, it felt gratifying to correct that imagined omission by dedicating our June to painting cherries, ensuring their rightful place in our year's collections. Cherry season epitomizes the essence of June, a month embodied by these luscious fruits and their many associations. This year's season brought us creative joy as we painted and savored the cherry sweetness throughout the month. We set to work our individual realism skills to create several cherry still lifes, or still lifes with cherries, ever uncertain which choice of words best conveys the premise. Observing Philip Guston's cherries from 1976, we wondered if he also fell under their Venusian spell and painted them precisely in June almost 50 years ago. As with all our subjects, the process of painting cherries transcended the task ahead; it became a bountiful source of inspiration and joy. Cherries have secured their place in every religious text, revered or feared since the inception of sacred writings. They embody purity and a sweet disposition, and painting them has allowed us to imbue ourselves with these very qualities, sustaining our sanity throughout the month despite the tumultuous state of the world. Cherries have also been used in art as analogies for sanguine emotions associated with blood unshed: love, desire, and even obsession. Throughout history and across geographical boundaries, cultures have incorporated cherries into their art, not only as a symbol of summer and innocence but also within their love narratives and romantic traditions. In American folklore, cherries are imbued with Venusian qualities and used in rituals to express romance. This rich cultural and symbolic significance of cherries in art added layers of depth and appreciation to our understanding of the fruit as we were painting it.

We learned that each cherry tree species, flaunting its blossoms to signal winter's end, produces a unique cherry fruit a few months later, signaling summer's arrival. Even among the few cherry tree species that produce sweet, edible cherries, not all the fruits share the same qualities despite appearing similar when we see them bagged at the supermarket; each has its own distinct character. As we painted them, we noted the spectrum: some cherries deep crimson bordering black, others lighter red, the rainier kind blushing. Each of us translated these nuances differently, applying our personal experience and style. Just as we noted all these variations, we also extended these reflections to the mundane moments in our lives that seem routine but are, in fact, so unique. This effort to focus on diversity enriched our appreciation for the natural cycles, making painting cherries in June a journey attuned to life's nuances and possibilities. A perfect escape and refuge.

We also learned quite a few things about the physicality of cherry architecture. They are not round like balls or inflated like pool toys; they possess a distinctive shape with lobes crowning their top area and a remarkably svelte bottom. You can always see their side split, the 'cherry dimple.' The proportionally thin and long stems are anchored in a soft indentation, cratering below that wavy, lobed crown, resembling a quasi-orifice. And they always come with it. It's like when they are picked, the cherry tree lets them go with that graceful arm, not by themselves. Capturing these subtle details required reshaping their form numerous times throughout the process; it was quite the challenge, demanding keen observation and the flexibility to revisit our initial impressions several times. Then there was the matter of color. Cherries are not the simplistic red we often imagine unless they are caramelized and colorized to adorn white cakes. There is an undercurrent of blue within that red, leading us to use Alizarin Crimson as our base. In our study of Wayne Thiebaud's stunning cherry paintings, we noted the significant blue overtones he incorporated. Our focus on exploring the color of cherries turned into a journey of discovery, making us keenly aware of anything with a cherry hue around us: cherry fabric, cherry lipstick, cherry furniture. Such a perfect shade to bask in during the radiant summer months. And finally, there was the sheen. Their taut and shiny skin reflects light in a manner that adds complexity to their deceptively predictable appearance, capturing the immediacy of the present moment. This luminous quality was truly the cherry on top (sorry, we couldn't help using the pun ) during our painting process, adding depth and realism to our work. The sensuousness of the sheen spot brought us back to Philip Guston's fascination with cherries. During his transition from abstraction to figuration, Guston frequently depicted these fruits, their reflective surfaces mirroring his own artistic evolution. As he drew inspiration from the everyday objects around him, the seductive charm of the cherries' glossy skin provided a perfect subject for exploring the interplay between light, color, and form. Perhaps it was also a good subject because, during that period, he only painted with three colors: white, black, and pink, not red. This reflective quality, both literal and metaphorical, also became a central theme in our 'cherry paintings,' challenging us to capture the unassuming beauty that Guston himself had once sought. Working on this subject will forever cement the notion that June is not only the month when we celebrate Pride but also when hydrangeas bloom, and now, the month of cherries. The transition from the warm yellows of May, which we embraced for our self-portraits, to the rich reds of June has been a deeply satisfying change of palette. This chromatic turn of the page has not only mirrored the natural world's shift but has also brought a sense of renewal and excitement to our practice. Speaking of turning the page and changing palettes, we find ourselves now at the midpoint of the year, prompting us to reflect on the six subjects we have explored since January and exchange our favorites. By the way, for reference, we decided early in the year to count 2024, not in months but in paintings. This approach has allowed us to move away from conventional timekeeping and instead measure our year through the lens of our creative output. It has been liberating, helping us shift focus from the rigid structure of days, weeks, and events to more meaningful and inspiring painting-based cycles.

P.S. This month, we were also inspired to create a Pinterest board to indulge in the joy of adding images of the fruit that captivated us throughout June, revealing the myriad ways cherries permeate artistic expression and daily life. We included examples of paintings, graphic design, and various other forms of art to illustrate how this humble fruit is more ubiquitous than we might think.

[visionproductions2008]

Explore new heights with our latest digital art series, where the skies are just the beginning. Wander through the clouds of an enchanted flying society, where fantasy soars and dreams take flight. 🌌✨

[chusaengsri]

"Capturing the Essence: A Close-up Exploration of Sculptural Details"

[jjfbbennett]

Artists who Stare into their Creative Self

Vignette There is a reckoning in the soul of every artist. It begins as a tremor, a flicker of light, almost imperceptible, yet relentless in hunger. That precise moment when the artist is alone, silhouetted against the radiance of an internal inferno and stares unflinchingly into their creative self. They dwell in the space between inspiration and doubt, bathed in the glow of possibilities and tormented by the fear of mediocrity. To exceed the ordinary, the artist knows, is both a blessing and a curse. Each touch, each word, each act of creation becomes a paradox: an offering to eternity but rooted in the fleeting frailty of the present. What if they fail? What if the light within, so achingly bright, burns them to ash rather than illuminating their path? The act of creation is no longer a choice; it has become a necessity. There is no turning back. Like a lone figure before the furnace of their own making, the artist surrenders to the fire. They cannot know whether their work will endure echo through time or vanish in obscurity. But in that surrender, they experience transformation. The act of creation is raw, searing, and relentless. It has its meaning. Not a strive for triumph. But a continual contest of legacy. This is the torment and glory of creation: a dance with fear, a defiance of the ordinary. The artist emerges from the crucible, changed and yet unchanged, armed with the unshakable resolve that the very act of striving is transcendent. For in staring into the abyss of their creative self, they come to a profound realisation. They are not merely seeking something enduring or meaningful. They are in the act of becoming it.

Blogger https://www.jjfbbennett.com/2024/12/my-hidden-narrative.html

Description Dive into the soul of creativity with "Artists Who Stare into their Creative Self," a powerful visual and literary exploration of the artist's journey into their inner world. This evocative image and vignette reveal the psychological struggles and triumphs of creators as they confront the fear of mediocrity and strive for transcendence. Whether you're an artist, writer, or dreamer, this piece inspires introspection, courage, and transformation in the face of creative pressure.

Keywords: Creative self-reflection, Art and psychology, Overcoming artistic fear, Creative transformation, Artistic inspiration, Fear of mediocrity in art, Psychology of creativity, Inner artist struggle, Art and self-discovery, Emotional depth in art

Hashtags

Artists who Stare into their Creative Self

[brandonjohnbarnard]

Production history around: Circles

This piece goes into the history of how my short film ‘Circles’ came to be.

Flashing light warning for this one!!

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The film which I consider the first in my artistic, chance-filmmaking journey is ‘Broodiest Flunkey’. While I have been creating films since I was very little to various degrees. This is the first one where I had an image in my mind of doing it seriously.

This film was originally created, both for my MA Experience Design course, and so it could be shown at Imperfect Cinema’s Cinaesthesia 2 event, which was run by Patrycja Loranc.

As part of this event, there was the ability in the morning to attend a workshop. In attendance was my wife Isobel, Tim Francis, Sam Johnson, Patrycja Loranc, Dan Paolantonio, Kate Stubbs, and myself. The purpose of this workshop was for all of us to collectively contribute to a film which would be shown at the end of the event. Most of us would film the footage, Patrycja would edit it, and music would be added live by Oddstep Deployment Unit.

(Isobel and I prior to Cinaesthesia 2 starting.)

In terms of what footage we had to collect, Patricia gave each of us a random prompt. Mine was ‘smelly’, and my wife’s prompt was ‘circles’.

Isobel and I went out together and within an hour we had to collect as many scenes as we could that featured these prompts in one way or another. Since we were working together, we both ended up noticing objects that applied to the other person’s prompts as well. So for example, I would sometimes point out circles and Isobel would point out stinky objects.

This was a really fun and rewarding exercise, and was great for my PhD down-the-line, as it was a good example of using prompts as a method of chance. I wish I could share this creation with you (which I call ‘Change Spaces’, I’m not sure if it has a real title), but it is under lock and key.

(A screenshot from ‘Change Spaces’.)

A day passed from this screening, and then another, and then another, but something was irking me: I would still take special notice of every circle I saw, kind of with the energy of “oh this could have gone in the film”. A month later, I was still seeing and noticing circles more than other elements in town.

Not only did I notice circles, I also thought about how they could be used. What transitions could I do? Do I overlap them on top of each other? What about circles from different angles?

(Some of my raw notes when thinking about film ideas. I decided against many of them.)

Like banishing a demon, I thought to myself ‘I need to use these thoughts and ideas in something or else they would keep a bothering me’. Remarkably it worked.

A similar thing happened with my film ‘Graffiti’ later down the line. Once the film was out, it felt like the part of my brain that was storing all these thoughts got wiped clean and I could finally move on to something else.

Again, in a similar fashion to ‘Graffiti’, I felt that there was something special about capturing Plymouth. The time and place being immortalised in a weird way. Though, I did not use as much of the footage as I thought I would, with only maybe a third of the captured circles being used in the piece.

This happened primarily due to two reasons, both relating to my newly realised obsession with chance.

Firstly, the music. I decided to have God take the wheel, and by that I mean my wife. I asked her to select the song that would be used in the film, with no input from me. I wanted to work with whatever she decided on as a type of audio prompt, and a challenge. Originally, I imagined a type of frame-by-frame animation for this film, with each circle being used to move a ball around the screen. Similar to the onion skin animations often depicting how a ball bounces.

(Not my pic, not sure where it comes from. Sorry animation teacher!!)

However, Isobel picked the song ‘short set vol.2’ by szymalix. This song is way more poppy, like bubbles bursting. Rather than fighting this tonal change, I decided to go with the flow and create something different. This was the first time I used music which I had no control over as a prompt. I really liked having this weird ghost co-director via the music dictating the pace and energy of the production. It led to many thoughts about how collaboration is a chance-based practice.

Secondly, I tried to not have too many manufactured circles if possible. By that I mean I could have put myself in a position where I pulled out every single circle thing I could find in my house and then have hundreds upon hundreds of circles. I also didn’t want to use a single schema of circles, for example every round bulb I saw, or round sign, or round window, etc. I wanted the circles I used to be those I randomly came across.

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Two tangential thoughts.

One.

It is interesting how the ‘circles’ prompt in ‘Change Spaces’ influenced Gacha’nce. Because we were looking for circles, it led us to a gachapon machine due to both coins and the prize balls being circles.

(A section from ‘Change Spaces’ where the gachapon machine is used.)

I have become very interested in influence and chronology, especially the unintentionality behind a lot of it, so this has been something I have been thinking a lot about. I will make another medium article about this at a later date.

(Influence web, which shows Patrycja’s workshop unintentionally causing ‘Circles’ and ‘Gacha’nce’ to be created.)

Two.

I think it is interesting how there are these noises in our original creations, that create a louder echo later on. It is like a pebble dropped in a pond that causes a circle of impact to spread outward in all directions.

In this instance, the lights from the nightclub ‘Images’ is used in ‘Circles’. When I ordinally created ‘Circles’ I had no idea how many times I would go to Images in the future, the people I would meet there, the memories, etc.

Later, the nightclub would reappear in ‘After Images’.

The idea that this ignorance of my future is captured in my work I find kind of fun. Whenever I make something new now, I try to think about what stepping stones exist hidden under the surface. The more I make, the more can be made.

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Thanks for reading ❤