Experimenting

After visiting Wellington Mill arts fair over the weekend, this inspired me to create a large wall piece after seeing some artists work involving spray paint. I wanted to explore working on a much larger scale than usual, so using some masking tape I begun to section of the wall with simple geometric shapes. I created the design free hand but took some inspiration from the photograph below. This was actually a lot harder than I thought it would be as I found it tricky to keep the tape stuck to the wall. When I had finished creating the design I noticed that the tape showed up really well in the uv light. And also captured the neon threads from the ceiling. I didn’t want to go too over board with colours so I tried to keep them quite basic. I also experimented around with shading of the colours, instead of just using block tones, and finished it off with a few metallic sections to blend it all together. Once I had fully covered the whole wall, I wasn’t too sure on how well it was going to work as it was hard to tell, but once I started to peel of the masking tape the wall piece started to come together really well. I was so pleased with the outcome and was definitely worth the 6hrs it had taken!

 

                    

                              

Agnes Martin

Inspiration:

Agnes Martin was a Canadian born, Vancouver raised artist who came to the United States at the age of 20, where she lived for most of her life. Influenced by the vast landscape she grew up surrounded by and by artists such as Mark Rothko, Donald Judd and Barnett Newman, her spare, paired down artistic style is often considered a minimalist art.

An emphasis in her work was placed upon line, grids, and subtle color but her visual language consisting of these basic geometric shapes retains small flaws, purposefully left by the artist. Closeness is potentially created between the viewer and the artist herself as her imperfect hand becomes a connection of a human touch. Martin’s work then becomes an individual spiritual experience as one can interpret her repetitive, reductive elements on different levels, adding dimensionality based on their own perception.

I love Martin’s delicate, nonhierarchical ease she brings into each piece. When you Google her name under images, you are instantly transformed into her fluent world of harmonized scales and rhythms.

 

Mixed Media

After choosing Sound and Vision, I wanted to Specialise in Mixed Media. I tried to keep the project flowing by deciding to look at rhythm and then started to make some drawings from this using a different range of medias. In this project I am going to really push myself to use new technologies and processes so that I am able to create a fresh and exciting body of work. I am also going to try a different approach of working out of my sketchbook and on a much larger scale as I did enjoy creating installations the most in the last project. Over the summer a lot ot work and artists that had inspired me had been related to projections, visuals and also architecture so am going to try and include this within my work somehow.

alva noto / carsten nicolai

Inspiration:

noto lives and works in berlin, germany.
carsten nicolai, born 1965 in karl-marx-stadt, is part of an artist generation who works intensively in the transitional area between art and science. as a visual artist, nicolai seeks to overcome the separation of the sensory perceptions of man by making scientific phenomenons like sound and light frequencies perceivable for both eyes and ears. his installations have a minimalistic aesthetic that by its elegance and consistency is highly intriguing. after his participation in important international exhibitions like documenta X and the 49th and 50th venice biennale, nicolai’s works were shown in two comprehensive solo exhibitions at schirn kunsthalle frankfurt and neue nationalgalerie in berlin. nicolai had further extensive shows in hamburg, zurich and new york.
as an electronic musician carsten nicolai performs and records using the pseudonyms noto and alva noto. nicolai's powerfully synaesthetic live performances combine minimal electronic sounds and real-time visualisations. 
his works captivate consistently through their elegance, simplicity and cool technicism.
alva noto has exhibited and performed in many of the world’s most prestigious spaces such as moma and solomon r. guggenheim museum new york, mot tokyo, neue nationalgalerie berlin and cac vilnius. he won a number of highly regarded prizes for art and electronic music and collaborated with the likes of ryuichi sakamoto, blixa bargeld, ryoji ikeda, mika vainio, michael nyman, thomas knak and olaf bender.

'in nicolai’s work neither music nor visual art are by-products of one another – the one calls the other into being' – rob young, modern painters, 2006 

Inspiration: Pascal Dombis

Inspiration:

Pascal Dombis is a digital artist who has been working with computers and algorithms to create simple repetitive forms and designs. He works and lives in France. The artist uses the paradoxical coexistence to shape destructing structures and build up irrational environments and then projects them on different surfaces such as paintings on the wall or other screens. As he articulates: “Today’s world strikes me as a place where orderly control and chaotic aleatory forces coexist. As an artist, I exploit this paradoxical coexistence to shape destructuring structures and develop irrational environments.”

In his interview with Danielle Delouche (curator, 2005) he describes his interest in complexity and using lines and forms. He says that he started to get involved with “complexity” when I began to wonder about significance of digital tools in artistic works. I studied programming, algorithmic and many other computer language systems he says. He eventually started to work on creating those repetitive shapes and generate those basic and at the same time full of activity environments. He also states that he finds those irritations so similar to human thoughts and the way that human brain works. “The irrational comes from the excessive repetition of simple processes. Such an activity is very similar to that of human thought. A human brain is actually made of neurons and neurons, in turn, are made of microtubulae. These tubulae work as automated cellular agents with an algorithmic mode of functioning. Derived from medieval arithmetics, an algorithm has been understood since the nineteenth century to be “a series of explicit operating rules”, in other words, it is a set of instructions designed to achieve something, for instance “Drawing a segment of a straight line 10 times and changing its orientation and dimension after each inscription”. A computer is the ideal tool to execute an algorithm ; as a matter of fact, it is the only thing it can do. By executing the operation “drawing a segment of a straight line 10 times and changing its orientation and dimension after each inscription”, one comes to a structure visibly made of 10 straight lines. Yet, when repeated one million times, the same operation does not produce one million straight lines but an altogether different environment in which the mere notion of ’straight line’ disappears to let other signs emerge.”

http://dombis.com/

 

 

Cinema created movement-images and images in movement. When used artistically, the new technologies create fractals, rhizomes and the movements of and in the image. We have gone from the multiple facets of a mirrored reality to an epidermis of layered images. A panoptic of the interface and the artefact in which curved topologies can emerge from what seems to be a geometrically ordered outer skin, in a minimalist Baroque all of structural fluidity and infinite visual pathways. Between Alice through the looking-glass and Icarus soaring across infinite skies, the modernist monochrome makes a sudden reappearance in works consisting of multiple digital monochromes piled on top of one another to create fleshless luminous "post-digital mirrors". But in this new "gaze craze" it is distance which allows you to attain a kind of indeterminateness without limits, a fourth dimension which opens onto an aesthetics of ephemeral and stratified temporality.

"Line_Wave" is a video installation composed of 2 lenticular-laminated screens that display generative proliferation of ten thousands of random color lines. During the time, the lines move with a smooth, wavelike motion. Because of the roughness of the lenticular materials, the wave form are not properly displayed and the 'staircase' effects are magnified, resulting in "jaggies" proliferation. And what should be curve shapes are then rendered in line segments or points.

This piece play with simple binary opposition, line and curve, low tech and high tech ...
 

Spin, 2006
Interactive video installation with 1 videoprojector, Video software: Claude Micheli, Electronic: Sylvain Belot
Spin is a digital generative process based on the endless depiction of concentric proliferation of thousands of rotating circles that composes hypnotic structures. The more they spin, the more they multiply and at a certain point, becomes more and more chaotic and finally ends up into a void image. Then another proliferation cycle of spinning circles starts again. This loop process is potentiality endless. Pascal Dombis moves the aesthetic research of rotating circles, including research by Marcel Duchamp at the first part of the XXth century, into a new digital computer space, and focuses his attention on a problem of how we can use algorithmic principles of generative art to make visual environments that can represent such phenomenon as vertigo, vortex or infinitude.

Sound and Vision: Variation of Scene

I created this installation as part of the Sound and Vision task. this was for the Variation of Scene task were we were asked to create a series of drawings with very subtle changes, based around the repetition and variation of music. the drawing was suppose to involve lines, or simple mark making over and over again or combine to form a larger texture. i decided to work out of the sketchbook for this one as i wanted to explore working on a large scale. i chose to work from a 27 minute Ricardo Villalobos track to create this installation. with the string representing the sound, and the different coloured string repressing the different sounds. i was really impressed with how this exercise turned out as i really explored a new process which i had never used before and believe it worked out to be the most successful.

  

Exploring Sound

We were then given several tasks, the first one Atmosphere. this looked at drawing objects or locations that a track evokes. i found this quite difficult to get my head around at first, so i began to list objects and locations that linked to the selected track i had chose without looking at youtube videos. i also tried to include a range of medias and colours within my work to show a level of visual investigation. for the second exercise we had to create a colour palette in response to music, this really made you think about how the different areas in a track for example, loud to quiet, slow to fast represent different colours and how you interoperate a track. the next exercise was Imaginary lines, which explored mark making from sound. for this task i selected several tracks which al varied in sound so that i was able to develop the response for each track and compare the difference. some of the tasks i will admit i didn't really enjoy like the pattern exercise will we had to create our own method of notating music. and preferred the more abstract approach of drawing rather than creating an illustration to describe music. the tasks were all similar in a sort of manner therefore was able to overlap several tasks at once when creating my media of work.


I felt that these tasks were very beneficial as even though they were hard to get my head around at first they really opened my eyes in how to visualise sound and made me be more carefree when expressing my work, and to also work on a larger scale.

                          

 

Amelie Petit Moreau

Inspiration: