Weekly Summary: 11.5.15 – 17.5.15
by Beauchamp Art
After clearing out studio space & a briefing on the preparation of the studios for the degree show, I began assessing the entrance to PS5 to see if I could hammer in some hooks, but as the stairwell is all stone, this is not possible, though luckily I discover two ones placed above the door, so I will be able experiment with hanging up one or two hi-vis jackets. Similarly, having spoken to H&S I will not b able to paint the steps green to match the rest of the installation, but this is not too much of a concern, though luring people in may still prove difficult.
Also, whilst going through my work for assessment, I decided to re-edit the Driver; Passenger video to include a brief title sequence, and altered the ending to reassert its connection to the rest of the body of work, by refilming the final few seconds to draw attention to the act of mediation, and position the viewer behind a more layered landscape; positing the windscreen of a car as like a television or computer screen, movement and transition may be observed and directed, but the moment is never felt, until the journey comes to a close, abruptly, as a crash; a vehicular glitch on the information super-highway, or gradually, as the destination is reach, and the presence of the mediate slips out of focus.
I put some more time into the drafting the critical evaluation, though it is not a complicated task, I am incredibly weary of the 1000 word limit, and the attention it receives, as I have to effectively summarise my dissertation, studio work, the degree show installation, and the connections there in, which no small task, given the amount of thought that has gone into discussing these works already.
As an aside, I was asked to perform my freelance photography services for the Museums at Night: Koonsbury Festival event at the castle. As there were multiple performances, including a recurring flash mob, fire-breathers, and the more, there was a fair amount to cover, but I attempted to find cross overs between the different activities, but still resulted in having nearly 500 pictures, cut down to around 150, from this I intend to select key images to include in my portfolio of work, but will include the full series in my submission, though more as a side note.
I also did a few quick digital paintings, including the one featured below, based on one of the Koonsbury photos, another of a peer’s profile picture, and I re-edited the ReEchoReFlex GIFs for the Lonely Spectacle project for Nick Osborne.
Furthermore, for each of the video and photo projects I have produced a short PDF, with a front cover featuring a full page image, followed by a contents page, images from the projects and annotations. Theses are designed to be both assessment aids and publications in their own right, which may be published online, or exchanged digitally. Should they be printed, online a few minor altercations need be made, notably, there would have to be a number of blank pages added. However, as these will be seen on a computer, having to scroll through blank pages would be an inefficient use of time and space. This did mean remaking the North publication to match the basic house style of the other series, but this was not too problematic and only required minor alterations.
Nevertheless, the full sized images, films, and animations will be included in the submission, so that the various materials can be viewed on a larger scale, but also as some materials cannot be embedded in PDFs. Due to the tentative nature of file compatibility, I have endeavoured to find a format that would work with most modern computers, and have ordered a new hard drive to submit the work on, as the total number of files is rather high, and I do not expect everything to be watched in full, hence the number of stills from the videos and so forth, and I appreciate there s a limit on assessment time, so the sound piece without a visual accompaniment will inevitably be skimmed over, but as most of them are dealing media and banality, this is somewhat appropriate.
As the sound works have not formed as major a part of this project, independent of films, then the secondary focus is not incredulous, and I have not yet established a format for presenting these works, although sound files and text documents should suffice. Even the photographic works have fallen behind the film and performative works, though everything seems to have taken a seat be wider reading and researching of political matters. Though this has been useful for the writing around TFHDR, quite often the work is a function as a platform from which discussion can leap, not thrashed out. It is important, but the discussion is equal (all aspects are equal, but the focus shifts over time).