Above is the unedited version of the video made for the class. No sound was added, so we just hear the sound the suit makes itself, the whole purpose of the assignment, while still delivering an abstracted message of some sort. Above is the edited version of the video. This was made to further get across the abstract message of the video, and was more so for fulfillment for me personally, not for the class. Here's the storyboard for the video, not followed strictly due to the 30 second constraint and my initial thinking that it was a minute long video. Originally, the video was to end with a symmetrical shot of the sun (which wasn't out that day) to replicate that of the shot of the light which did make it in the 30 second video. This was to show a visual similarity but difference between artificial and natural light/light sources. Also omitted was a shot of me leaving the seat to them leave the gallery 10 room. Only shown in the video was me leaving gallery 10 in the odd walking fashion, or as my friends have called it, the "shimmy". |
hannah_frost_happening.mp4 | |
File Size: | 3810 kb |
File Type: | mp4 |
john_bucher_1.mov | |
File Size: | 5241 kb |
File Type: | mov |
This action is the one to be performed by me for the 10 second animation.
These 4 notecards are the actions I wrote down.
My experience with this project was better than I expected, although there were some great difficulties on my part. I found that working with an entirely new partner (Hannah Frost, and using light and shadow in interesting ways to be the most beneficial. Capturing an action or the "happening" within the time frame was also interesting, so we made sure that every frame held a specific purpose and wasn't wasted or meaningless to the whole. Difficulty arose when I took Hannah's video of her feeling the wall. I filmed it wrong in that her body was mainly on the left side of the video, which would be covered up as Mad and Peter described to us earlier. The contrast between light and shadow also wasn't too strong. So I took all 40 frames into my photo-editing program, flipped them all vertically and bumped up the contrast so that the difference was much more distinct. Then I took these new 40 frames into my video program and exported it into the video that is available at the top of this post. This is why it is an mp4. file rather than a mov. file. As a project I've never remotely done before, the experience was fresh and overall enjoyable. Working within the style of New Vision Photography was also interesting, and was something I would not have considered if I haven't been exposed to it. It opened the door to new and more interesting possibilities when filming an already obscure act.
In this collaborative project, we cut out a human figure from a magazine, traced the outline of that figure onto a 4-folded piece of paper, and used a figure-ground relationship in which the figure (outline) was another image from a magazine, complimenting the ground (paint chips). What made this project interesting is that we work on other people's projects, so the end result was unpredictable. I found that working with complimentary colors and uncanny imagery was the most interesting, specifically seeing what other students used to make the image uncanny, and especially the end result of the exquisite corpse that I started (top image).
art_105_historic_reinterpretation_artist_statement.docx | |
File Size: | 16 kb |
File Type: | docx |
This project reinterpreted Gustav Cailbotte's Paris Street; Rainy Day, as pictured above, while retaining the umbrellas. The Art 21 theme used was "secrets", and the three creative strategies used were: coded communication, silhouettes of shapes, and expressive line. Overall, the painting has to do with lies, in this particular case, cheating. This piece, through working with it, has quickly become an emotional attachment to me. A lot of myself, specifically that of past relationships, is poured into this piece, but not explicitly. I wanted to make it as abstract and indirect as possible (while at the same time being aesthetically appealing) but just direct enough where someone can sort of get the idea as to what the figures were, humans/individuals and maybe a trace of its symbolism.
The coded communication, which is done in morse electric telegram messaging, reads "Lie" and is seen on the sides of the building in the distance as well as in red paint on the yellow figures, and also on the rectangular shape between them.
The silhouettes are of people, or other bodies. These represent association with the figure with the red dot for a head. In fact, the warm colors in this piece are of association with this figure. Notice the targets all over the figure's body and those colors' distribution throughout the painting.
Expressive line wasn't used primarily throughout the piece, but it's there. (I didn't fully read the criteria before I started the painting, so it was sort of implemented late into the process which is a fault on my part). The intentional expressive lines are the wavy ones, which represent uneasiness/disorientation. This again is symbolic, and all ties into to a specific idea within secrets.
I enjoyed this piece overall. Even though I made errors early in the work, It turned out to be one of my favorite pieces ever for me on a personal level, as a lot of my emotion was translated into this piece while still retaining the original paintings proportions and general placement.
The coded communication, which is done in morse electric telegram messaging, reads "Lie" and is seen on the sides of the building in the distance as well as in red paint on the yellow figures, and also on the rectangular shape between them.
The silhouettes are of people, or other bodies. These represent association with the figure with the red dot for a head. In fact, the warm colors in this piece are of association with this figure. Notice the targets all over the figure's body and those colors' distribution throughout the painting.
Expressive line wasn't used primarily throughout the piece, but it's there. (I didn't fully read the criteria before I started the painting, so it was sort of implemented late into the process which is a fault on my part). The intentional expressive lines are the wavy ones, which represent uneasiness/disorientation. This again is symbolic, and all ties into to a specific idea within secrets.
I enjoyed this piece overall. Even though I made errors early in the work, It turned out to be one of my favorite pieces ever for me on a personal level, as a lot of my emotion was translated into this piece while still retaining the original paintings proportions and general placement.
With the painting, I cropped out the area of the initial college that had at least one obscurity. I wanted to make sure the painting was as interesting if not more interesting than the collage. Using the triad color scheme (yellow-green, blue-violet, red-orange) was interesting. I've never been too fond of these colors being together, I wanted to pose a challenge for myself. Working with them by organizing and balancing their values, however, I found ways to make it all visually interesting, at least to me, and especially with the sharpie to really enclose the shapes.
We initially had difficulty figuring ways of depicting time in a single, real life image, but with our props of a baby doll and small wooden figurine of an elderly person, ideas began to formulate. With symbols of a beginning and an end (or old age), we began to arrange and situate them in a thought provoking manner.
The first image represents the beginning of life. The only real part of the human body we see are the hands, symbolic of creation, and that these hands are softly, gently placing or putting the finishing touches to this new life that is human itself. This life also acts seemingly as a light source, giving significance to it within the dark environment. It acts as the beginning of the life cycle, the beginning of time for this new form.
The second image is a depiction of looking back in time rather than forward. My partner has her head turned towards the baby, the past, with the figurine of the elder acting as the future. Some things we took into consideration were lighting. The "past" side where my partner looks is bright and lively (symbolic in the means that the past is clear and tempting/easy to reminisce on), as opposed to the darker side with the elderly figure. Notice also the tree behind my partner, medium sized, signifying her current area in the life timeline (it also just looked aesthetically pleasing).
The third image represents an elderly individual staring into a vacant scene, contemplating his or her life. I related this to time in that this individual would be looking back to his or her memories in an are familiar to them. The photo has a sort of gloomy yet comforting vibe to it.
The first image represents the beginning of life. The only real part of the human body we see are the hands, symbolic of creation, and that these hands are softly, gently placing or putting the finishing touches to this new life that is human itself. This life also acts seemingly as a light source, giving significance to it within the dark environment. It acts as the beginning of the life cycle, the beginning of time for this new form.
The second image is a depiction of looking back in time rather than forward. My partner has her head turned towards the baby, the past, with the figurine of the elder acting as the future. Some things we took into consideration were lighting. The "past" side where my partner looks is bright and lively (symbolic in the means that the past is clear and tempting/easy to reminisce on), as opposed to the darker side with the elderly figure. Notice also the tree behind my partner, medium sized, signifying her current area in the life timeline (it also just looked aesthetically pleasing).
The third image represents an elderly individual staring into a vacant scene, contemplating his or her life. I related this to time in that this individual would be looking back to his or her memories in an are familiar to them. The photo has a sort of gloomy yet comforting vibe to it.
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