Tag Archives: visual thinking

//Visual // Thinking //

Stefan513593 - making connections - sketchbook 1

Stefan513593 - making connections - sketchbook 2

 

// Making – Connections // 

=> a visual encounter and  drawing line to connect, my previous work (see microscopic color circles at: Project 4.5: Colour) and ideas of sculptural paintings

  • How scale matters (estimated 1:300 – my paint circles versus large scale street installation)
  • How found objects, ‘canvas’ like, could be considered as urban installations. The bin or the pillar as context ‘stretching’ and containing meaning and perception.
  • How the embodied experience of site and objects are informing space perception, scaffolding as kinesfield experience (as the expanded field around the human body in interaction with objects is described by Gretchen Schiller)
  • How fake is faked through imagery

 

 


Reference:

  • Schiller, G. (2008) ‘From the Kinesphere to the Kinesfield: Three Choreographic Interactive Artworks’, in: Leonardo. [online]. 41(5),  pp. 431-437,  At: https://doi.org/10.1162/leon.2008.41.5.431  (Accessed on 10 Dec 2017).
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Spin off play: Narrating a Gesture

Another spif-off idea from working on my assignment, playing with paper, paint, and stencils. Animation as narrative – painting as performance

A short animation video in nine still images (0:05 min)

 

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Project 3.5 – Ex. 3.4: Parallel Project – visual mapping

Working title: 

 

// Dislocated Image – Dislocating Self //

 

Ongoing interrogations   – a chronology 

// blog category ‘Parallel Project’ at: http://ocasp.stefanvisualart.com/?cat=126 // 

// this information will be amended in a word doc – accessible at: chronology log (455 kB)

// sketchbook aka notebook pages for my parallel project – accessible at: sketchbook pdf (29 MB) (below figures are selected pages from this sketchbook)

My first visual thinking – mapping out

My interest: MRI as visual imaging technique informed by my bodily experience from a MRI scan (Bern, April 2018)

My inspiration – Museum Visits: Bruce Nauman ‘Composite Photo of Two Messes on the Studio Floor’ (1967) and Hito Steyerl ‘war games’, drones and visual simulation for remote attack

My question: Is MRI (or medical imaging technique) not a similar visual technique as satellite or drones? 

Mapping the territory:

Fig 1: Visual Mapping . areas of interest

Possible routes:

  • imaging as  mapping / seeing above and through / dislocation gaze and object // working with raw MRI images to translate them painterly

 

My second visual thinking – mapping out

My question: How does Baroque folds compare to MRI imaging technique?

Fig. 2: Exploring a Baroque’ness of MRI

Possible routes:

  • Applying the 6 traits of the Baroque to MRI and explore through painting folds and unfolds, MRI more as a metaphor than iconographic

 

My third visual thinking – mapping out

Fig. 4: a summary

Areas of difference:

  • Bodily / Senses / Auditory & Tactile / seeing with the body
  • iconographically: Aesthetics of MRI
  • indexical: medical gaze of decoding information
  • metaphorical: conditions of detecting, differentiating, constructing a visible
  • Baroque’ness : 6 traits of subverting dominance

My intermediate conclusion

My question/statement: Mapping as technique, MRI as mapping device

Collecting and mapping (classifying) ideas

Fig. 3: collection of ideas – 8 routes to move. MRI as mapping device.

Possible routes:

  • The Baroque sensibility
  1. The encapsulated brain
  2. The Sound image – a push vibration
  3. The slices abstraction
  4. ‘Still images’ as performative one hour lasting stillness, ref daguerreotype and the neck brace
  5. Performative-screen-translucent => Dissolution of boundaries
  6. ‘X-ray’ layers, a scanning sensibility 
  7. Figure / Ground discipline
  8. Resonance Music / Sound / Visuals => moving into my collaborative project with music student Vicky Downey

 

Fig 5: sketching directions

 

 

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Spin-off Idea: Gesture as Narrative

Narrative gesture painting

While working and developing my assignment work experimenting in my sketchbook with various paper support textures, and creating a series of stencil approaches, I became aware of how a series made from ‘hands’ as gesture does strongly inform a narrative. Especially, as my work-in-progress was a time-based process evolving through pages and pages, turning pages , waiting for one page to dry, continuing etc. 

My thought: What if this would be indeed a book format? An artist book, a narrative of exploring surfaces with gesture? Or as the depicted de-contextualised gesture, a reflection of my gestural making, and a mirror-image of the viewer turning pages? What reminded my of Helen Chadwick and her thinking related to her work ‘Oval Court’ as a mirror-image of the viewer (Chadwick, 2011)

Consequently, I placed the pre-marked papers in a row to paint across with striations of color (oil paint) in reference to my screening experience of projected artefacts. Last not least, this sequence reflected also my time-based hand movement from left to right while painting that series. Why not to make a time-based moving images out of it before separating the individual pages into a book, a flipping gesture? 

Stefan513593 - A3 - time based gesture - a series of materiality (step 2)

Fig 4: time based gesture – a series of materiality (step 2). different supports (from left to right: paper 1, mylar, paper 2, reflective found surface, paper 3) with acrylic and oil paint (each paper 29 x 19 cm)

.. with with a resulting moving image:

Video #2: Time Gesture (0:11 min)

https://vimeo.com/327687150

 

Here, I became more aware that this moving image would benefit from a sound. Sound of turning pages, of human gestures in talking? of MRI informing my parallel project? Or more of a sound that matches the rhythm of the movement?

A book format:

 


Reference:

  • Chadwick, H. (2011) Helen Chadwick : of mutability, [Rev. rep.] ed. Edited by James, N. P. London: Cv Publications, c2011, c1989
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Spin-off Idea: Screen installation as Gesture

  • Spin-off Idea: Screen installation as Gesture
  • Spin-off Idea: Screen installation as Gesture
  • Spin-off Idea: Screen installation as Gesture

After part 2 of my assignment development work I sketched down some further ideas of gesture and ambiguity  – informed by one of my previous works (Fig. 1). 

 

Stefan513593 A3 - gesture & ambiguity - sketchbook Fig. 1: Sketchbook – gesture and ambiguity. Can this be done on two surfaces? Both hands to be in-front as well as behind one surface? 

 

.. this led to an installation of two Rhenalon plates, crossing each other (Fig. 2)

Stefan513593 A3 - gesture & ambiguity - installation view / double screen Fig. 2: gesture & ambiguity – installation view / double screen. Different placements of cut-outs (painted hand). Background: painted ‘mural’ on paper, and yellow oil paint on surface

 

 … and eventually, I placed the transparent cross (Fig 2) in-front of my dark laptop screen, making several still images at different lights and merging them into a performative moving image:

Video: Ambiguous Screen Gesture (0:03 min)

 

This seemed a spin-off idea informing my parallel project on MRI and self. I modulated time- sequence and added a MRI machine sound: Ambiguous Screen Gesture MRI #3

With being intrigued by installation of transparent surfaces I had to try out one more projection.

Using a human scale perspex plate (180x50cm) and projecting my recorded light performance Hand-Catch-Screen-Performance, through it, at the right wall the images are displayed. My hand as an additional ‘life’ performance act distorting, interrupting the projection, adding more layers of reality and meaning to it.

Stefan513593 A3 - gesture & ambiguity - installation of projection - performance Fig 3: gesture & ambiguity – installation of projection – performance. Left: photograph of projected and performative imagery, right: sketch of installation set up (using a perspex plate, human scale)

=> With these two set-ups, I am wondering about scale, human size, got reminded once again about Jutta Koether’s body of work, and how the viewer, the audience can be involved, engaged in the narrative, the work itself.

 

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