Paint – Catch – Move – An intermedia Box
asking for peer feedback on the following animation – an embodied painterly approach (at forum wide hangout)
Some ideas received:
(after the hangout and through other channels)
The overall feedback was that this was a powerful work with great potential through its “juxtaposition of the real and the digital, the organic and the constructed, colour and b&w, and the way these contrasts shifted and rearranged in a way that was uncanny, surreal and slightly unsettling” (Julia) .
- Struggle: ‘…. showing a constant struggle of catching that “good idea” to “make it work” ‘ (Marija) and idea of “my trying to catch onto an illusive idea he has in his head but it keeps slipping through his fingers. Then he catches one of these ideas but it is not what he he is looking for so he rejects it, only to retrieve it and try again to catch it” (Nuala)?
- Failure: alongside frustration of my ” constant effort for little reward as it continuously slips through ..fingers” (Julia)
- Reality: what if the withdrawing painted hand becomes unpainted? Surreal, breaking the fourth wall, and uncanny
- Contrast: black & white versus color – context surrounding it, difference of ideas in my head?
- Removal: moment of withdrawing my hand (B&w -> color, inside -> outside, acting -> getting on with things)
- Elements of monotone, illusiveness
- Painting: painted arm connotation of labor (e.g. coal or oil-smeared arm of a miner or other industrial worker), a nod to digital while retaining the painted and performance
- Disruption: other memories of childhood experience of TV and puppet shows, the hand as dissociated, independent of me (outside the box), “behaving badly, uncontrollable” (Emma)
- Context: Psychological element of mirroring, looking behind the scenes online, computers and devices what, connotation of ‘throwing’ pieces as Facebook ‘throw at us’ (Emma). It does remind me of ‘thing’ in the Addams Family
- Recalibration, new moments, e.g. letting the hand inside – and remove myself; reminding me of the later Bruce Naumann videos in his studio
- Technology: low-fi approach
- References: Alexa Wright, e.g. Alter Ego? Buster Keaton? Steve McQuinn? – old silent movies from begin 20th century, drama of sound, music, and intermediate texts
- How to incorporate further new, uncanny moments, unexpected, once the viewer got the idea? How to build drama into the narrative? Is drama temporal or can it also be spatial, like intrinsic in a ‘static’ painting?
- How to push painting and materiality alongside the virtual and digital further?
- Improvements: smoother transitions between takes
Interestingly, there were different opinions whether this work is to be considered as WIP for further elaboration, or already good as it is.
I do thank all for taking the time to look at my ‘moving’ images work and to respond with a wide variety of connotations
I do understand that this work plays very much with memories of the past of visual culture. relating to analog TV, puppet shows, performing puppeteers, childhood memories. The use of black&white has a strong connotation with analog films, and even silent movies. I think this might be an observation especially from photography students who do discern deeply when to use B&W photography due to its nostalgia appeal.
I am glad that the difference and contrast between the inside (b&w, painted) and the outside (color, my body, my actions) came across strongly and as being a key aspect in the work. Also the clarity of digital versus physical reality. In that sense, I am pleased with the engagement.
More to think about, and relating to my actual moment of performance: the dissociative, independent aspect of what is acting/performing and what is behind, aside, in the ‘now’ reality. The physical, embodied aspect, versus the virtual, displaced, disembodied one.
Next steps it to see how to bundle all of this, or just one aspect of it, into a narration. Thinking about visual only, or sound or music. And how embedded text (visual or verbal) could be considered, reflecting on the way silent movies developed drama.
I find the works of Alexa Wright very fascinating and bookmarked for further reference.
It happened that Peter posted on discuss forum his assignment work for the course ‘Moving Images’ that he developed through the entire course from idea, through screenplay towards filming. His subject matter was a conflict between mother and daughter, and I could learn a lot from how moving images as in film are developed for drama and through temporal, visual cues. In my above video I worked a bit with zooming in and out, wondering how much film knowledge I need to have as a Fine Arts student for my practice (what is still not very clear how this looks like)
The body as part of the image – the embodied image – the narrative . An appropriation of Richard Serra
One previous work (audio-video – 3:23 min)
and a still image:
- UbuWeb (n.d.) Richard Serra – Hand Catching Lead (1968), [online video] At: http://www.ubu.com/film/serra_lead.html (Accessed 09 Nov 2017).