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I was fortunate enough to be able to stay at Studio Kura, Itoshima in Fukuoka. This was vastly different from Kagoshima, trading in the busy and active atmosphere for the rural surroundings of Studio Kura. The facilities there ere wonderful, providing some authentic Japanese living while I continued to explore the cultural elements of Japan, experiencing the amazing delicacies and my first onsen.

DCIM100GOPRO

DCIM100GOPRO

Although Fukuoka is seen as being safe in regards to volcanic activity I felt it was important to continue to produce experiments with my casting kit in this location. Japan has a huge proportion of the worlds active volcanoes as well as hosting dormant and deceased volcano’s as well. This area may not have active volcano’s for the moment but the volcanic material still lines the soils and surroundings. This would come from far off distances, far reaching volcanoes depositing its ash here or finding it siting within the soil from many years ago.

Sakurajima near Kagoshima was my first stop in my research. One of the most active volcanoes in Japan, this giant mountain is a constant threat to the local population as it continuously erupts volcanic ash covering the city. During the past week I travelled around the Island of Sakurajima by foot and by bike, spending full days researching, gathering information and recording different elements. I was amazed at how active it was there. The activity of the Island seemed to mimic that of the volcano; constantly active, things constantly happen, people moving working rushing. I captured some movements in audio and video recordings while conducting my minor experiments on the Island.

First Sakurajima Film Experiment

Second Sakurajima Film Experiment

The first experiment shows the actions as they happened with my physical presence very evident in them, while the Second Experiment features the sound of the event over a recording of the finished object in situe. The audio recording reveals the sound of the ramming rod compressing the ash while the image shows a still solid object. This disconnection between the visual and the audio creates a different resolution. The overlying of the sound disconnects the making from the object and disrupts the timeline of its life. The Sound of the action continuously plays over the stationary form as if mirroring the quiet form of the volcano as it remains constantly active.

First set of experiment Number one images. This was my first time using the compression mould on location. I was initially worried about how I was going to be able to make this work, it took some getting used to, working out the kinks in the methods of using it but I am happy with the results. These small temporal forms are part of my time on the Island, very discreet and unassuming really but mirrors my presence in a foreign land. I am out of place and finding my way in this alien location and leaving this little trace connects me to the space I’m inhabiting for a short period of time and will inevitably fade away shortly after its creation.

Without any time to spare I went straight from Catania to Minneapolis to be part of the 10 chances residency. This residency brought myself and 5 other artists with varying backgrounds together, 3 from Scotland and 3 from America. Bringing together 6 very different art practices in to new surroundings.

This residency provided space and a connection with the surrounding art world without the added pressure of deadlines for fully formed work. This allowed me to be experimental and take the time to listen ad critique with others and my practice.

Two of us were housed in a small house with the living area provided working as a group studio for the 6 of us. The tight space coupled with the amazing surroundings led me to explore the new location and gather notes and document experiences as well. Leading to experimental works and on site mould making.

Film Experiment

 

While in Minneapolis I came across these stamps in the sidewalk. Dated and marked by different companies. I found these particularly interesting as they are exposed to the extreme spectrum of Minnesota weather, with extreme heat in the summer and an abundance of snow and cold in the winter. These conditions must have such a powerful impact on the concrete they are imprinted on. the degrading material needing to be replaced systematically to ensure safety. But it was these extreme elements which led me to produce these casts and will be looking to implement them in future works.

They are almost a frieze of the moment they were captured, a particular time in their lifeline. The exact make up of the shape and form relates to that time and date as it degrades daily and was well past its prime form on the day it  was made and set.

Also placing the impact, the forces that implement themselves upon the stamps has become and interest for me and I have begun working on ways of creating a symbolic recreation of this action. A force imparted upon an object.

A great audio piece by Lyndsey Gilnour

CuratingtheContemporary (CtC)

Through the course of this series, individuals will recollect through the use of an object, place, or sound, for moments in their history that was significant. With the outcome of producing an immersive vocal landscape of their story.

Recurring fragments – a common thread for many. Memories pulled to a singularity, endlessly cycling through our thoughts. And yet their appearance in our recollections is a certainty to our being – pulling our focus into the perspective of the individual’s eyes. Could we not then claim these reappearing themes in our memories, the objects to our minds eye? Or those tits and tats that form the anchor point to the self?

Lyndsey Gilmour explores this notion of the repetitive fragment through a continual narrative collage that explores this chaotic, multilayered remembrance. Interestingly, her recollection mirrors her visual practice: flatness, form, layering, familiarity and repetitiveness. And through her narrative Lyndsey divulges the…

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