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| IEVA'S PIECE
| | =[[Annotations from Yalou and Ieva to Aitana]]= |
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| '''what?'''
| | =[[Annotations from Aitana to Ieva and Yalou]]= |
| Yalou says the first she saw was a flower and a flower, how it blooms, the music reminds her of constantly that the time goes, things are going, changing, movement.
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| Ieva: assignment about time that you had to do, time that goes faster and slower, and she was thinking about internal time, when things go faster or slower. Blooming artificially and non artificially. | |
| A video about internal time.
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| '''How?'''
| | =Final text= |
| She had three different process, blooming and dying.
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| Stop motion opening a flower,
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| the second one boiling a flower
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| and the third one just an opening flower.
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| edited in double exposure mostly stop motion, collage and photoshop. Picture>Photoshop + AfterEffects> Eyemovie
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| For the blooming itself 20 or 50 images, together may be around 100.
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| '''Why?'''
| | This first result is composed of a series of images completely or partially covered with paint, more or less opaque.There are four A4 size images completely covered in black and pink and 8 others of different sizes partially covered. The paint can be scraped off, revealing the image underneath. The images below are unretouched fashion photographs, which have never been published on the internet. |
| She didn't know how to represent time. Flowers have this real timeline, and clear to simbolise with the process. She also watches videos of nature. Time would be involved more time in the project that way.
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| Why did you choose animation? She couldn't think of anything and usually when that happens she overcomplicates. She sees the difficulties of working with camera and sets.
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| (A) May be you feel more connected with paintings and still images? Video made out of pictures, so she find that cool to capture movement and there is a strange time of movement.
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| She always starts experimenting but doesn't have a clear vision of what she wants to achieve. Music through "Ableton". Check certain tones and notes.
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| '''What came before?'''
| | This is an experimental approach to the research I am working in now, which in a broad sense is related to the unknown, the unspeakable and the things that are about discovering. It could also be related to the subconscious, with the discovery of what lies underneath. For now is a work in progress and can potentially be plenty of things and adopt different forms. I suppose the process is very introverted, because It is about discovering things and this is more of an internal process. However the outcome is extrovert as an art piece it aims to be shared and modified with people. |
| Before this project she was making more abstract animations, making them with music to get synchronic audiovisuals but more in an abstract. Yalou comes back to the choice of music, Ieva says that she is inspired by Nicholas Jaar, because he makes music with interesting sounds which seems more landscapes having different textures visually, when a glass is broken you can visualise the kind of texture. So she was trying to make more sound music herself and she puts cords in there, "oh, the four cords are used in all the pop songs". Yalou says that she uses the basic to develop further.
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| '''What will follow?'''
| | A specific procedure inspired by the sgraffito technique is needed to ensure that the paint layer can be easily removed. Once the photo is printed it is necessary to cover it with a layer of fat, then a layer of some material that separates the grease from the paint: I used butter and chalk powder. |
| There's a relation about the theme: she is struggling with internal problems and subconscious problem. So it relates in the content but also in the formal aspects: audiovisuals by animations with music, which she thinks there are some meaning behind.
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| '''What would you change'''
| | [[File:Butter process 01.jpeg|250px|frameless|center left|]] |
| The proportions (aspect rate) in some places and also she feels messy that the frame had a wide line out there. Also work to be cleaner and focus on the details.
| | [[File:Butter process 02.jpeg|250px|frameless|center right|]] |
| | | [[File:Butter process 03.jpeg|250px|frameless|center right|]] |
| '''What are its limits?'''
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| She doest know the context of the question. The limits are not that easy to understand if you don't know what is it about? It doesn't have a clear narrative and it is mostly made by one technique.
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| '''How could it be translated?'''
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| She doesn't know... but thinking about showing the video for an exhibition.. It could be translated into a book, with more pages with smaller frames and happier one could just be more faster and clear. The idea becomes very repetitive so it could be translated into a repetitive kind of piece.
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| YALOU'S piece
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| what?
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| Ieva says it is a child in an art class painting a tiger, the facts. It is rough footage.
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| This project is for te Eye, about her curiosity about God and religion, and she thought that the God was the sun. She is interested in how children how humanised God. (Ieva) when you see children is kind a feeling of innocence, and specially with the children drawing and painting it is very pure and raw, they don't have the anxiety, they are not overthinking, so it is very beautiful and it works thinking about God. With adults you feel that they are defending what they think, and with children there is no violence in there, just honesty, they give everything.
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| how?
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| She really wants to experience religion, there are a lot of negative opinions in religion and there is a big truth about that, she thinks you cannot judge religion if you didn't try the religion. You cannot say anything related with the "J" or goodness.
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| (I) are they very religious? they do have an organ, but they are very open, so the younger child is 4 years old, but her mother says that it is ok if he is not believing in God. She went there on Thursday (this church), she shows us the music performing in the church (pop music). No one really talks about it but the christian church is trying to connect the youth to make it live. The kids in the video says for example "tits" or "vagina". She met other families who believe in God and they even asked if she wanted to be baptised.
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| (I) SO do you want to be religious or you just want to see how people live with religioun? She needs to really experience to truly understand it, so in journalism she thinks that they don't do it at all, but you have to open it up to understand it. She is open to do that, she is trying to experience religion without any judgment.
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| (I) How do you find these families? Is the sister in law (her brother's girlfriend). She has always been judging religion and she feels religion only can be judged if you experience it. Talking about the Bible and New Testament, who wrote it? Ieva is angry about it.
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| (I) Do you live with them? No, just they text me when they are going to church.
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| '''Choices?''' Not to put their faces in the footage, it was about their story, she wanted to focus on the creation and how they see God, not on their faces.
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| '''What came before?''' A discussion with her mum about religion. She was telling her experience with religion, and her boyfriend too (he is catholic, and she is not religious).
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| '''What will follow?''' A personal journey with religion, she is not going to stop to stop with this project. Not stop with this experience, it also feels unfair, as it is a very personal passion of her, that she should give time to grow and shape.
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| '''Introvert-extrovert?'''
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| So, as a introvert-extrovert, I dove in an extrovert religion focusing on two extrovert Childs with an introvert mother.
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| '''What does it change?'''
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| It changes my vision on religion and it adds something to the people saying this video.
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| '''What are its limits?'''
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| It has millions of limits, definitely how people would interpret it and she doesn't care about, so it is about the receiver so it is very possible that it doesn't fit into their likeness.
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| YALOU NOTES
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| '''My interpetation:'''
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| Three scratch images. Ieva finds it childfull playfullness. Ieva went to discover the interactive art piece. She is interested in what it means. "You can remove it, but not bring it back?" Ieva thinks it is about discovering things. Maybe even about playfulness and discovering it.
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| '''What?'''
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| This is an experiment. Something she wanted to try for a long time. Since she came here she almost forgot her texturizing side with art. And it also fits to here research. That is related to the unspeakable, the unknown. This can be plenty of things. This is an experimental approach and a work in progress. It is about discovering new things.
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| '''How?'''
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| She thought of it when she had the portrait assignment. It is an image of Yalou and it is abstract. She wanted to give it to Yalou and let her write on it. So that Yalou would not know what it is but it would add an extra layer to it. An example would be she creating a childhood image and Yalou writing on the photo about her childhood. Discovery of the childhood she created. It is quite open.
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| You print the picture, and you have to cover the image with fat. She used butter and chalk on top of it. The butter allows the chalk to be glued to the photo. And then another layer of painting is separated of the lay of chalk. So, it is three layers and the photo.
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| She is more interested in the textual aspect.
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| '''Why?'''
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| This textual piece is part of the research for the Eye project. She also find this making sense and she has done this a lot before. And right now this art piece fits to her research and she feels a connection to the content. It is a rediscovery technique and playful technique. It is also very stable between the conceptional and the technique.
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| Would you use this for the Eye project?
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| I would not make it this exact way. I do think that my research is about the things that you can see and what you cannot see. There is world of possibilities with so many different subjects. It is a different approach of the same concept. It has a connection with the unconscious mind and discover yourself and the unknown you.
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| '''Choices?'''
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| For this art piece, she experimented, and she wants to do this more. Change the color underneath and see what the possibilities are for this. Because this is an experiment she decided to choose simple ways. She was more focust on if it was working than how it would look when it works.
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| '''What came before?'''
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| In a broader sence. She has always been more interesting in the abstraction and the materials. She has always been working with wood, painting and really interested in materials. And things that are not presented realistically. She was painting the last year connects to this project. She was painting landscapes but it was not equal to the realistic view. More realisticly is the video she made with Yalou about the unknown, unspeakable.
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| '''What will follow?'''
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| So this afternoon she will be working on this. And she attends to apply these techniques for Cihads project. And she wants to connect it to another project that she created in the past. And hopefully she will find some interesting results.
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| '''3 questions from the question generator:'''
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| How does it change?
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| She thinks that this could be an open work. So what she likes about the last layer, that it could be anything. I t could change completely the meaning of the piece itself. Or it could add other images. It is a very open piece but change the meaning of the photo.
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| How could it be translated?
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| For the video, for example. She is thinking in formal aspects. She has been experimenting in video. How can she work with audio and video? When you see the video, you see the image and the voice, but what if we disconnect this. It could be translated this way.
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| Introvert/Extravert?
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| The process is very introvert. Because it is about discovering things innerly. And the outcome is extraverted.
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| | The final layer is regular acrylic painting and depending on its quality and color, the image underneath would be more or less visible. Technical decisions have been conditioned by the means available. There is still a range of possibilities to be explored: I would like to experiment with the final coat of paint and see what results it can offer. I wanted to try this technique because I believe it fits my conceptual research and was a kind of pretext to meet again with painting but also to abandon the digital world for a moment. |
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| | The first idea I had from this technique was in the form of a diary, a kind of notebook that invites you to think and imagine the images underneath. In this way, the writing would lay bare the image. In the first workshop we had with RES, in which we had to portray our partner, I chose a series of photographs I took of Yalou as she talked to me about his childhood and other experiences. Inspired by the conversation and the story she told me, I played with the images, edited and blurred them and the result was an abstract image. In the end I didn't have time to go through the whole procedure, I just developed the idea. |
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| | My research revolves around the concepts of the visible and the invisible in image world. In this case, for example, the act of discovering (through the physical act of tearing, scratching or scraping) an image that belongs in particular to the world of fast fashion photography. These photographs question the concepts of beauty, canon or truthfulness in a virtual world plagued by unreal images. |
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| | I have always been interested in working with abstraction and rough materials, I believe there is always a tension between representation and abstraction. What I have been painting for the past years was heading towards this topic. |
| | This proposal could be an open work. The final layer could be anything, it could completely change the meaning of the image underneath, so the spectator has somehow the power to decide and speculate about it. Perhaps, although this is a bit reductionist, I think having an abstract approach allows us to talk about complex issues from a distance and see them more clearly, although I don't know if it makes sense. |
| | It is easier for me to think about formal aspects. Thinking about the possibility of translation this piece into a video for example I wonder what happens if we disconnect the image from the sounds, what happens if you see an image but you don't hear anything and vice versa. It could probably be a formal translation of this exercise. I guess that conceptually speaking, this piece could be translated into other languages as well. |
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| https://pzwiki.wdka.nl/mediadesign/Methods30-11-22 | | https://pzwiki.wdka.nl/mediadesign/Methods30-11-22 |
Final text
This first result is composed of a series of images completely or partially covered with paint, more or less opaque.There are four A4 size images completely covered in black and pink and 8 others of different sizes partially covered. The paint can be scraped off, revealing the image underneath. The images below are unretouched fashion photographs, which have never been published on the internet.
This is an experimental approach to the research I am working in now, which in a broad sense is related to the unknown, the unspeakable and the things that are about discovering. It could also be related to the subconscious, with the discovery of what lies underneath. For now is a work in progress and can potentially be plenty of things and adopt different forms. I suppose the process is very introverted, because It is about discovering things and this is more of an internal process. However the outcome is extrovert as an art piece it aims to be shared and modified with people.
A specific procedure inspired by the sgraffito technique is needed to ensure that the paint layer can be easily removed. Once the photo is printed it is necessary to cover it with a layer of fat, then a layer of some material that separates the grease from the paint: I used butter and chalk powder.
The final layer is regular acrylic painting and depending on its quality and color, the image underneath would be more or less visible. Technical decisions have been conditioned by the means available. There is still a range of possibilities to be explored: I would like to experiment with the final coat of paint and see what results it can offer. I wanted to try this technique because I believe it fits my conceptual research and was a kind of pretext to meet again with painting but also to abandon the digital world for a moment.
The first idea I had from this technique was in the form of a diary, a kind of notebook that invites you to think and imagine the images underneath. In this way, the writing would lay bare the image. In the first workshop we had with RES, in which we had to portray our partner, I chose a series of photographs I took of Yalou as she talked to me about his childhood and other experiences. Inspired by the conversation and the story she told me, I played with the images, edited and blurred them and the result was an abstract image. In the end I didn't have time to go through the whole procedure, I just developed the idea.
My research revolves around the concepts of the visible and the invisible in image world. In this case, for example, the act of discovering (through the physical act of tearing, scratching or scraping) an image that belongs in particular to the world of fast fashion photography. These photographs question the concepts of beauty, canon or truthfulness in a virtual world plagued by unreal images.
I have always been interested in working with abstraction and rough materials, I believe there is always a tension between representation and abstraction. What I have been painting for the past years was heading towards this topic.
This proposal could be an open work. The final layer could be anything, it could completely change the meaning of the image underneath, so the spectator has somehow the power to decide and speculate about it. Perhaps, although this is a bit reductionist, I think having an abstract approach allows us to talk about complex issues from a distance and see them more clearly, although I don't know if it makes sense.
It is easier for me to think about formal aspects. Thinking about the possibility of translation this piece into a video for example I wonder what happens if we disconnect the image from the sounds, what happens if you see an image but you don't hear anything and vice versa. It could probably be a formal translation of this exercise. I guess that conceptually speaking, this piece could be translated into other languages as well.
https://pzwiki.wdka.nl/mediadesign/Methods30-11-22
