I have been neglecting my blog and I miss it. Alas I have pressed pause on my whirring sculpture; I have however still managed to keep printing. Printmaking really does seem to be my fallback option as a creativite outlet. (Its nice to recognise this.)
My parcel of goodies has arrived..
The clockwork motor is the most exciting item; it is beautiful. I bought it on a whim really, but as I have ambitions for my sculpture to whirr it seemed like a good idea. I like the fact that I can see exactly how it works, there is no mystery, no digital chip or ellusive wiring – its simple and functional yet delicate.
Based on these thoughts, my next step is to see if I can scale it up and construct one of my own. The basic principle is that you wind up the handle, which in turn tightens a coil and then after a little delay the energy you have built up is pushed back out again from the coil into a little cog system which turns a metal rod. (this rod could be attached to anything)
So, supposing the handle was some bicycle pedals, and the coil was much bigger, then there is a possiblity of this powering part of my sculpture. (i'm not envisaging a sit on bike as part of my sculpture, though, I'm more thinkijng that the pedals would act like the handle on a mangle)
I like the idea of having the audience triggering some of the movement, that they have to invest some energy into it.
Along with the clockwork motor, I got a selection of pulleys. It immediately occurred to me that the pulleys were exactly like the bicycle wheels, as they have a channel around them too, where the inner tube fits. All I need is some sort of belt system.
I'm still musing on magnets. But for now all I need to get going is some time, so i'm trying to arrange that.
Things have progressed. I now have about fifteen bicycle wheels in the barn at work. I have borrowed some science stands and clamps from the chemistry department and have also ordered all sorts of exciting motors and gears and pulleys from supplier in sheffield. (i'm now waiting for my parcel of goodies to arrive) 8mm steel rods are also on their way.
I have been musing on the moving qualities of the sculpture and have aquired some large fishing swivels. I'm envisaging that some parts will be driven by a motor, that others might be clockwork or wound up by pedals, that wheels will act like cogs in some places but will also be moved by cog systems. I have also been thinking about the possibilites of magnets in conjunction with these, that maybe I can use their ability to repel and attract.
In terms of research I have made a few more discoveries. I met a man with interests in sustainable architecture and cycling; he has just aquired a space to work in that also has an exhibiting space (he seemed interested in my cycle experiment so maybe there's a possibility there).
My friend Gen also sent me some information about pedal powered cinemas; the possibility to show films in various locations outside and inside, while people pedal to generate the power needed…. maybe a film about a mad cyclesculpture seen in this context could be pretty exciting?
The last thing was that I rediscoverd my picture of the strange Victorian bicycle at Anne Of Cleves house in Lewes. It had one huge wheel running parallel with two small ones, and apparently the lady with a frock sat with legs pedalling in front of her in the middle..
I'm in Edinburgh for the weekend and can feel my brain whirring. I'm feeling quite a bit more optimistic than I did on my last post. I've have lots of things to think about and a few big decisions to make, but more specifically; I'm reinvigorated because I saw a brilliant exhibition yesterday.
It was at the Fruit Market Gallery and it was an exhibition by Canadian artists, Janet Cardiff and George Bures Miller.
This artist duo have reminded me just how good installation art can be. I have seen numerous exhibitions where artists aim to create new environments within the gallery space; where the viewer is transported and narratives are alluded to. Mike Nelson and John Bock spring to mind as examples.
The exhibition at the Fruit market achieved this more succcessfully than any other I've seen. In the piece 'Opera for a Small Room', you walk into a large dark space and and are drawn to a shed-like cabin, where the only source of light originates. Peering inside reveals a chaotic music den, a place where somebody obviously spends hours shuffling through records, wires up speakers and plays with numerous record players. There are packed shelves and piles of LPs, and all manner of lights; from chandeliers to bulbs in soup cans to coloured disco lights. You become aware of a man's voice, and music which changes the mood according to the dialogue. The narrative rolls, the record players spin, the lighting shifts. The sound moves from one speak to another, smoothly directing the viewer. A train rushes past which rattles the lights and you become aware of the artist's skill and eye for detail. There is sound eminating from outside the cabin as well as a lever system to jangle the chandelier.
Never once do you question the absence of the man, for your imagination has put him right in the middle of it all. The music and the lighting are dazzlingly choregraphed, taking the viewer on his own journey alongside the missing man.
Other exhibits included the chilling 'Killing Machine' for which the viewer is invited to push the red button to set things into motion. This piece gives the viewer enough to make you want to recoil but not so much that you are a passive onlooker of a horror scenario. The political overtones of this piece were not lost.
'The Dark Pool' seemed more playful. The viewer becomes an investigator; searching though a myriad of strange experiments and sound within the context of someone's attic.
I certainly want to know more about these artists and what they have been up to. Their technical ability combined with their aptitude for teasing and luring the viewer make the work very successful. I felt transported directly to the workings of their busy minds.
I'm disappointed because I haven't managed to get my materials yet – the rest of life seems to be standing in the way – but I'm not going to let that stop me..
I just had a play with my wheel sketches in photoshop and discovered that the clone tool allows me layer them quickly and look at different compositions. I've got an urge to do some screen printing again, its the same sort of layering process but more fun!
