Degree Project: Digital Sketchbook

Lockdown and Light is a virtual exhibition that took place during the first lockdown of 2020 in the summer. It’s an Instagram based gallery which showcases a range of artists and their different temporary light installations which are made in the comfort of their own homes. See Instagram page below.

Last year I watched many people take part but was quite nervous to put my work out there for a new audience to see. But this year, I entered and used my imagery of Pink and Up Close which is a series of images/projections I started prior to The Art Station group exhibition, see my previous blogs in January this year. I hadn’t taken them forward yet as my main focus has been the exhibition, however I the vibrancy in the image was impossible not to post and use! Since this exhibition was about light a projection, I projected the image into the bath and ran water. I have wanted to experiment with this idea for a while now and it appeared to be very successful, see my first submission for Friday 29th January below. I first worked with photography for this day and ripped the water so it would disrupt the pink image of the form.

• I wanted to showcase the ways water distorts the female figure the same way the cinema does.

I really liked this Instagram connection and you post it on your page and then they share it onto their own for a new audience to see and like. It was a new experience to enter an exhibition virtually, even though I am currently helping create one it’s a completely different experience. All you had to do was #LockdownandLight and tagged them in your post.

On the Saturday 30/01/21 I submitted a film of this still, see image and link below, I filmed the tap running, moving into the water disrupting the image further and disfiguring it even more so. I edited the film to slow motion which created some kind of slow skin like ripple on the image of the figure, allowing you to see where the water is hitting the skin. I felt so excited to create these due to the unexpected result, and it made me realise I wanted to work further with water and projection after The Art Station exhibition.

Film submission for Lockdown and Light.

A really exciting and new experience to be part of.

From my group crit 29/01/21, following the feedback I got back into filming details, close ups and photographing areas to include in editing the final cut for the exhibition. See few  examples below. I tried to take these images in a similar position to where the filming is so I create a relatively clean transition from film to still, it gives the viewers a better and clearer image of the space/work that isn’t physically moving. I used key burns to allow the perceptive of the image to slowly move as the film progresses. I think will worked well in transition, see final film further down.

Reflection 03/02/21: I had a chat with Jane today and we discussed the blur tool between images doesn’t work – too distracting for the viewer, instead I will edit the images as a cross fade.

Reflection 03/02/21: A comment was made that there’s a confusion between what is film and what is stills. I liked this – I tried to film as steady as I could, ‘it works well with the use of transition from space to image’.

I wanted to focus on the islands display of breasts to explore this stained glass window approach/burst of colour that covers the breasts. I wanted the audience to question what the objects are at this point of the film. I hovered over the area with a steady hand and used a mixture of images, key burns tool on iMovie (where I will be creating the film – very easy to use) and film to create a mixture of perceptions of that one space/work as a taster of what is to come.

I titled the film Are You Watching? I wanted to promote this idea of cinematic/theatre relations to the work and women’s representation within the kitchen space. This was a comment made from my peers in my group crit 29/01/21 of this film, the recognition of the placement of a cinema follows through to my dissertation research: Metz, Mulvey and Lacan, there’s this sense of watching a film of women watching themselves, similarly to Sherman’s Untitled Film Still #2. The play on words of the work being a film plays to the audience watching on their own screens too. See the edited film below for the exhibition. The variety of angles, in-depths of focus and overall view of both the projection, colour and the clay breasts, helps show the exhibition, what it is/how it could be viewed if it was done in a different time before COVID.

Reflection 04/02/21: Jane brought to my attention the projection, where it had become pixelated on the wall. She questioned if this is something I like or not and we agreed that it works well with separating the projection and the sculptures apart, showing the viewers close that it is a projection – almost like the ‘behind the scenes image’.

Reflection 16/04/21: Having this experience has helped prepare for the exhibition proposal documentation/exploration, creating a space and capturing a space that viewers won’t be able to physically see.

I used the front image of the kitchen lights on, see screenshot below from film, showing the projection in a lighter setting with the clay breasts, it gives the viewer an idea as to what the space is prior to seeing the walkway of the film in the dark. In a 1-1 on the 03/02/21: Jane and I spoke about how this shows the viewer where they are about to enter/what they will see. As the image isn’t in the dark, it leaves the vibrancy and actual visual as a surprise for the rest of the film.

The opening name and titled was liked by my peers, (will be used for all) it helps separate our works from one another but still continues the similar path so there is fluidity within our group house exhibition. Everyone was really happy with this piecing of the film, it’s exciting as it’s finally all coming together! In response to my feedback from Jane on the 03/02/21, see notes below, I reedited the film with smoother transition to play around with different transitions for the film as explained earlier.

The blur I used was too distracting for the viewer. Instead I have used a ‘cross dissolve’ which graduates the film and images less drastically together so each cross over will sink into one another. I have also edited the last few stills so they don’t move so quickly with key burns so it slows down the film before it comes to a halt. There will be a playing around with the opening scene for the film but that will come together once I piece everyones films together – this is a whole new experience for me as I feel as though I have taken charge for the film editing of this exhibition.

Sound – I have carried the noise of the projector through the film as that is the sound you would hear being in the space. Helps viewers imagine they’re seeing it. See the final film below, this is my final film one that will be for the exhibition with The Art Station. I wanted to finish mine early so I can edit everyone else’s with a clear/continuous path in mind so the group film has a repetition and flow.

After my meeting and group crit with my class on the 29/01/21, I decided to use new content in for the projection as said previously the film wasn’t working due to the change in colour, lighting when I walk – unclear visual. I tried the projection in the day time too as this was a comment made by Jane to how it would look with regards to most peers work possibly being in day light. It looked very flat and dull it wasn’t what I wanted to work with. See below, natural light made it much harder to work with than the darkness, light would bounce off the breasts making it impossible to film.

I reverted back to my original pink imagery to use in the projection. I filmed sticking to the actions that worked well from the groups opinion, outside lamp off, hallway lights on, kitchen lights on when you approach, and kitchen lights off when you enter, a slow walk round to the top of the projector and then capture the rest of the work, see below. I really enjoy the beginning of this film, it allows you to see what’s underneath the darkness of the projection.

I had a group crit 29/01/21 on the newest film getting feedback on the filming of the film, as well as the content/meaning etc as they haven’t been discussed as a group. See images below of my notes from this crit. This really helped as I learnt that my work is being perceived as I hoped to make it. One peer mentioned it looks as though it’s a cinema/theatre stage which is what I had in when creating.

The colours in the still are much more impactful, bright and captivating. A peer said the colours look feminine and soft, Reflection: 01/02/21: This comment reminds me of Rachel Maclean’s Make Me Up, she displays women as pretty and ideal figures to begin with, but further into the film, it becomes dark and disturbing when exploring to the audience, the way women feel and what they go through. There’s this correlation with my projection, being bright and colour yet contrasted situ of a dark room. Another peer highlighted that the projection stretched across the island reminded them of a stain glass window, see still below. There’s something beautiful about this and the bursts colour into the kitchen, contrasted with the darkness that surrounds.

Entering the space was very successful, the house felt ‘homey’ and ‘familiar’, the lights on in the kitchen works well, when the lights were off all together, there was a lot to take in/figure out in e.g. projection and what is on the island. Yet when the lights go off you are drawn to the projection/space more with close up filming/photography it will show a real perception of the breasts. The walkway into the house was a good speed. Reflection 01/02/21: This is what I included further in the editing of the film. Showing a better view of the clay breasts as at first you cannot see what they are as Jane pointed out to me, those seeing this film wouldn’t have seen my work before, therefore not knowing what it is I make/work with – something I have to remember.

Reflection 18/04/21: This is something I have to work with now, as Gary said in my 1-1 on 15/04/21, there can be a point where playing with the projection of Sweet Tooth B&W, where it can lead to confusion as to what it is.

The display of the breasts scattered and look like ‘cast aside marbles’, they work well with the imagery of women being put to one side e.g. with no importance and/or appearing like objects which can be handled and sexually objectified by male. I think this works so well with the display of my work, it makes you feel you cannot look away. This is what I want to include in the editing of my film. There’s the comment of the breasts appear like they’re ‘climbing/growing up the walls’ this immediately reminded me of Eggs to Breasts. Reflection 01/02/21: I originally wanted to stick the breasts to the cabinets and walls as though they are growing over the kitchen, like Eggs to Breasts. I like that with the projection, there is already this acknowledgment, it was something I did without realising. See below, it looks as though they could actually be on the walls.

There seems to be this circling back to physical desirable objects e.g. icing. In my crit it was mentioned that the breasts appeared as ‘icing cake toppers’ due to the bite size of the breasts. Consuming 2 in L5 was a very successful film for me as the breast was physically being eaten by a male, suggesting how women are consumed by society and men. I like that without the film, there is still this correlation to this meaning and that the breasts themselves carry the imagery of treat like objects even though they’re made out of clay, like how women and their bodies/breasts are seen. Reflection 06/04/21: It was this comment that has made me want to revisit Consuming but recreate it in Sweet Tooth B&W, to highlight that I have acknowledged this repetition of women as consumption and it’s proving most effective in my practice.

The connotations of the kitchen space/theatre stage/clay breasts, see below, suggests women watching themselves in this continual loop of patriarchy, as I am inviting the audience to acknowledge this, similarly to the way Kruger works with her collages and her communication with the audience/viewer.

In this crit, we discussed the way I had filmed the film, like everyone else, I assumed it must be filmed with one take, as an actual walkway. It was described as ‘harmonious’. Reflection 01/02/21: I took this forward when filming more of the work as I liked the harmonious element.

Reflection 18/04/21: Interesting to note that there is no sign of harmonious-ness within my current practice now while working with Sweet Tooth B&W, it’s aggressive and violent as matt suggested in my 1-1.

Instead, we are going to split up the film and include short takes, long takes of movement, images etc and piece them together to give a more in-depth overview – makes much more sense/works much better allowing you to focus in on details and the placement of the environment, while including images that may appear better than the film.

Reflection 12/02/21: The breaking up of film and images appear more attractive. It makes you want to watch as to what could come up next, instead of watching a flow moving camera go across the projection could’ve become tedious. It’s been very fun to edit and is working well as a group as it all follows similar film cutting techniques.

We as a group decided to trial a continual walk film which turned out to be very difficult, the slight wrong move and a shot was ruined. This is a whole new aspect to learn/work with how to document my work.

Reflection 23/02/21: This didn’t work for the film, we ended up splitting it up and adding stills to gather a better scope of the space/work. We all agreed this as a group it was much more effective.

I’ve learnt that experimentation helps me decide on what works best. I wanted a more open view of the kitchen, having to walk around the back of the island to get to the right ‘view point’, like when you’re at the cinema finding your seat. Also get a personal touch of the artists living environment. Below in the experimental films there were a few issues/obstacles I had to over come: wobbliness, centralising the film, proportional, focus and paying attention to where you’re going in the dark.

Started in the hallway – stair lights on, living room light on, created a lived in feel before you enter the dark space. It’s said from a peer that it feels like you are intruding. See below.

Too many lights on at this point – I kept the stair lights on as they add a welcoming light into the hallway. It’s aspects of the film like this that I struggled with at first.

Reflection 29/01/21: Working with lights on as I enter instead in the actual kitchen space allowed me to be dramatic/draw more attention to the projection as soon as the lights are off. It creates a whole new ambiance to the work and the space.

I then started from outside the front door up close and walk in to practice the angles of the door as well as opening the door.

I moved further back down the drive and get a feel for the whole of the front door and house, as there was the possibility of my film being first due to being the kitchen. Moving outside there’s more elements to consider, e.g. light, darkness, the weather and noise. Noise is something I was worried about in this film, as with my photos of my projection, there is no noise present. For this film, I had to ask my family to go for a walk as these are other obstacles which were hard as usually I would be at uni.

Reflection 23/02/21: There was a mass amount of experimenting for this exhibition and lots of circles, stops and stresses as it has been very difficult creating work with the rest of your class virtually, but it worked once we all had a plan. This exhibition has taught me to not be so precious over my work/films as there’s bound to be changes throughout when working with others to see what works as a whole.

Outside lamp – appeared better off, more impactful as you open the main door. See still outside images below. When it’s off you can’t see as much of the house except the glass front with the warm of light coming through the windows, again suggests it’s a lived in space I liked this.

I tried the lamp on so you could see more of the house, but my shadow takes away from the attention away from the hallway/space as I walk. See below, it’s a more successful viewpoint of the house, but not a practical one. The weather was also very loud, it adds to the sound/lived in space alongside the foot steps – changing from stones, hallway to the kitchen tiles.

Reflection 23/02/21: The film worked well being dark – created a creepy but intriguing approach to the opening of the film, played well with the flow from dark to light – through the film.

Reflection 06/04/21: This is an element I have come to with my practice now in Sweet Tooth B&W, it didn’t mean to have a scary aspect to it but this is a comment which keeps popping up throughout my work.

Shoes – different noises happen when you have shoes on, they’re louder and more distracting. I had to think about what to wear outside and if they were easily to slip off when I then come inside. It was a hard transition of taking the shoes off as I walk without the film being cut or wobbly. The change in footsteps from inside to outside worked well from a group meeting 01/02/21, not too over powering/adds to the feeling of moving into someones home. I kept the camera eye level for the viewers as though they are experiencing it.

Reflection 27/01/21: I recently had a group meeting with my team and a 1-1 about the filming/content of this film, it has a good start to work from however, there’s was issues about the darkness of the film (being filmed at night) and if that would play an effect with those others who are filming during the day. Personally I don’t think so, it will add to the individuality of each other’s work/space.

•  Try filming with some lights on brighter as I walk into space so you can see more of the room and then turn them off focusing in on the projector? 
• Cover the time displayed in the lock, can be distracting.
• Remove things off of the oven, can also be distracting to the film/breasts.
• Different approach to filming work, cannot see the breasts clearly or even see what they are.
• Try image stills like I did originally as the colouration of the film is off as you move with the camera.

I’ve seemed to come round in a circle with this exhibition and going back to what I first did originally – working with stills. They are so much more vibrant and will be something I will work on this weekend.

Reflection 06/04/21: We adapted to the use of dark/light environment and created a continual flow in the house (first part – downstairs was dark) and we finished on light (the upstairs was light).

I began to experiment for the group film which was much harder than originally anticipated. Jane mentioned I should explore a multiple range of areas in the kitchen to position the clay breasts/projector to find the better angles/positions for the camera/viewers. It was also then difficult to include a tracking walk from door to space to work with the environment, see below.

Reflection 29/01/21: I realised that I focused more on the film than the sculptures. Instead I am using a still image and currently trying to find that balance while I walk/film.

Reflection 27/02/21: The editing of the film played to our advantaged, we filmed/photographed different angles of the work and editing it together as one ruling piece – this helped with capturing details to help have a better view of the installation (this played to capturing the sculptures/projection equally just as well).

Experimental images below of space and in situ – very helpful to do as it allows me to see I definitely want to use the oven space within the installation, but slightly more of it than was shown previously. NOTE: While I was documenting I thought some of the images would work for the slide show of the Art Station’s website. e.g. details/close ups – gives viewers more of an insight.

Fridge – unsuccessful, I miss the colour from the projection, it felt flat/unexciting. But there is the visual of women’s breasts being trapped in this space as a desirable object. I liked the act of opening the fridge, see below.

Island worked really well, I decided to interpret/develop this further. Almost displayed the breasts out to this desirable quality – A comment made in group crit 24/11/20, Only Touch With CLEAN Hands, “the environment (kitchen) where the breasts are displayed with the sculptural ‘pretty’ clay breasts, continues this idea of them being desirable foods for society/men.” I aimed to involve more of the kitchen in these frames below, capturing from another angle, shows off more of the space. NOTE: The walking suggests this intense watching – the gaze’s presence of the audience watching the film. !!!! Almost like they’re doing the watching?

Reflection 30/04/21: I have begun to reintroduce this moving elements to my documentation and possible final edit films. You get a better understanding for the work in situ, where the audience cannot view.

Stretched projection – works well, it stretches across the island half on the breasts, oven, fridge and back wall. There’s this broken perception of the imagery as well as the act of the film handling the breasts.

A comment made by these images/films was that the breasts look as if they’re sat watching a screen!! Suggests Mulvey’s cinematic theory of the sexual objectification of women, especially in relation to the imagery of the hand carelessly handling the breasts, like objects. Does the play of the display of this film on a big scale suggests a cinema screen?

Reflection 04/02/21: I had decided to work towards this; continued this perception of cinematic lay out (which I couldn’t unseen after this comment). 29/01/21 group crit comment was made about the placement of the breasts suggesting a theatre/cinema – this excited me as I have heard this comment a few times about this film and is good to hear that my work is being perceived as I hoped. – I am glad I didn’t use this video for my exhibition, feels flat/unappealing you can’t see what is happening.

Reflection 06/04/21: From this I am still now exploring the sexual objectification of women presentation in the cinema through Sweet Tooth B&W.

See the film of the space below. This was an important piece of feedback, made me want to continue this idea and use the kitchen to my advantage as the place where women are objectified. ‘The breasts sit like they are an audience, watching themselves’ – the gaze of the self gaze, a moment of which Half Foster picked up in Cindy Sherman’s work Untitled Film Still #2.

I tried to film the projection from a side angle, see below, but in some peer feedback, they said it wasn’t as exciting as you couldn’t see much of the space as it’s a straight walk.

I tried Baking, which I hadn’t projected before until now – it wasn’t as successful, the film is too long and it isn’t as clear as to what is actually happening in the film, see below, but this exploration made me realise film may not be right for this exhibition.

Reflection 29/01/21: Reflecting here, I now can see that the busyness of the kitchen utensils plays as a distraction for viewers, the film and the sculptures. Also the use of film – I realised film wasn’t beneficial for this piece and moved to projection of still images – it gave focus to the space, the sculptures/projection.

I really enjoyed using the space as part of the film, showing that it is being filmed in a home suggesting the struggle us art students have to be creative in our home – a bit like a ‘behind the scenes’. The film below is the base to work from for the group video and haven’t settle on the title.

See plan below – how to approach the video, I aim to film the front door of my house, walk in through the hallway and into the kitchen, go around the island taking in the room at the same time, place the phone down to continue watching the rest of the film. I’ll need to experiment in the next few days with this plan and with how to cut the film etc, to cancel out jitters.