Weekly Summary: 4.4.16 – 10.4.16
by Beauchamp Art
The experimental sound workshop, dubbed the Sound Factory was an interesting opportunity to play around with a variety of musical instruments and noise making apparatus in an interactive environment where the sound was gather and reprocessed live. One successful spontaneous collaboration was the duet with Sian on the glockenspiel.
I also reworked the Ian Glitch Phase piece, producing a soundtrack that reflected the video composition and another version using an earlier plan for the piece involving multi-layering the glitched imagery. Although the aesthetic produced in the Meta Phase was effective and the contrast between the overlaid layers relating back to the original sequence was visually stimulating, it lacked the structural interest of the previous version.
I have also been sculpting a 3D Andy Warhol in Zbrush, using a basic model that I previously half-made in Sculptris. This seems a logical progression from the previous work in 3D but using a subject more relevant to the residency brief, connecting it to the main exhibition at Firstsite, and simultaneously tackling themes of inauthenticity, replication and the simulacrum. Alongside this I have been gathering images of Warhol/Bowie/Swinton to merge together. The exact format of this work I am as yet unsure; but the idea of playing on the celebrity fascinations and iconoclasm of Warhol himself seems a fitting response, and enables me to experiment with structuralist video and digital formats with which I have previously engaged, and may contain echoes of the Media subversion of Warhol and other pop artists, notable the enigmatic Paul Sharits, whom used his own image in T.O.U.C.H.I.N.G. as the basis for a structural exploration. Sharits has evidently influenced the contemporary deconstruction of media in art fairly considerably, not only in my own practice, but his affect may be observed in much of the rise of glitch art, though his analogue approach involving cutting the physical film into individual frames is something which I have borrowed directly in a number of works, such as the Ian Mckellen pieces.
Evidently, my employment has aided, or at least influenced the format of work being produced, hopefully in a positive manner, as without it I could not have bettered my understanding of Zbrush, nor financed the transport costs to Colchester (to be subsidised) nor the luxury of regular meals, shelter, and warmth.
Moreover, I finished off the Precariat Punk sculpture that I nearly completed before the Easter break, though reworked the hair style, added chest hair, and made a few modifications to the rendering process. This figure is intended to connect to the apocalyptic narrative work that has been somewhat postponed until after the residency.
On the dystopian note, I read through Fahrenheit 451 this week, continuing my literary consumption of all things socially engaged and invoking of all things terrible. Ideally, I would seek to bridge the gap between this end of my critical engagement and the explorations of the residency, but forcing connections between subjects will only result in discord, they must emerge organically; with rhizomorphous tangents and non-sequitur reasoning the preferential mode of creativity.
Following this, I have started to read Brave New World, with the opening lines to the foreword felt especially fitting for the day I began reading it, and will contribute to putting more time into making art work in the coming weeks:
“CHRONIC remorse, as all the moralists are agreed, is a most undesirable sentiment. If you have behaved badly, repent, make what amends you can and address yourself to the task of behaving better next time. On no account brood over your wrongdoing. Rolling in the muck is not the best was of getting clean.” [Huxley, 1946: 1]
Moreover, the social themes in Huxley’s work should follow on from the previous books I have been reading: Ragged Trousered Philanthropists, Road To Wigan Pier, et al. though I may go for a change after this and attempt to find literature that does not invoke a total sense of calamity on every page.
I have also had to start giving consideration to finding work over summer, given the large time between the end of the evening opening times and the start of the new term. However, the NUA creative jobs page had some potential useful opportunities, or alternatively I have noted a number of service sector jobs around town that may suffice; due to assisting a peer in finding a job and with their application to NUA.
Huxley, Aldous. (1946) Foreword in (1932) Brave New World. 1988 edition. Marshall Cavendish Ltd. Great Writers Library. London, UK.