Thoughts on my creative process

I am currently looking to finally get some images after some research. I have followed the advice from the tutorials and I have been looking into Labanotation, choreography and dance sub-cultures. I have to admit that Labanotation is a bit ambiguous to understand and it is not intuitive to the uninitiated. However I believe this will work in my favour as the initial response may be that of bemusement from the viewer and then to discover that the routines illustrated are of a non-theatrical tradition, may amuse the viewer. Dance music and club culture are a source of inspiration, offering alternative choreographies of an informal nature.

Music sub-cultures such as Disco, Northern Soul,Hip Hop and House Music have always interested me. The informal performative nature of these predominantly working-class sub-cultures offer an edgy alternative to the theatrical tradition of classical and contemporary dance. It was interesting to read Adrian Piper’s essays about disco and funk as a politically defiant expression of sexuality. Highlighting the hypocrisy of detractors as they “attempt to eradicate their own uncontrollable impulses” (Piper, 1975). Transgender Bathroom Bill anyone? Also Halifu Osumare discussed the global phenomenon of breakdancing as a method of resolving disputes and its expression of the signifying (Dissing) tradition prevalent in African-American popular culture.

I have also looked at the work of Bauhaus artist/choreographer, Oskar Schlemmer, who seems to have been treated as a minor footnote in the history of the Bauhaus. The famous Bauhaus parties enabled him to design costumes and geometric set designs have influenced contemporary fashion designers, such as Issay Miyake and choreographers such as William Forsythe.

I’m collating an image bank of dancing figures, gestures, musical ephemera with a view to create an assemblage or collage of imagery. I briefly mentioned to Kim Charnley that in “the real world” I would not have this opportunity to research deeply into these subjects, but the research that I will eventually undertake into the technical aspects of architectural glass will broaden the research into something that is not so specific to this brief that I am using as a structure for this module.

Bauhaus, Constructivism, Performance – Johannes Birringer

Oskar Schlemmer’s designs/choreography has been mostly treated as a minor footnote. Bauhaus parties allowed playful exuberance and were an important prominent aspect of the school. The “Bauhaus: Art as Life” exhibition at the Barbican Gallery in 2012 presents these social choreographies. One photo shows “the building as a stage”, included Schlemmer’s musical stairs and glass spheres suspended from the ceiling. Actors in costumes present themselves as architectural elements.

 

Schlemmer arrived at Weimar Bauhaus in 1921, running the wood and stone workshop and the sculpture workshop, undertook many preparations for festivals/parties. He assumed the role of a kind of multimedia impresario. His practical work motivated him to experiment with choreography and his interest in space and plasticity, akin to Gropius’ Architectonics, investigating space, form, colour, sound, movement and light.and Schlemmer’s interest in the geometry of the human form.

 

The “Triadic Ballet”, was in 3 acts, 3 performers, 12 dances and 18 costumes. Each act displaying a different colour and mood. Figurines of exaggerated headdresses and masks, padded torsos and outfits built with wire and concentric hoops, were to impede movement. The stage was an extension to the traditional proscenium arch/stage, similar to a fashion runway. This would influence contemporary fashion designers who drew heavily on this form of avant-garde installation/performance art. Geometric lines on the floor inhibits the movement to that of chess figures involved in an abstract game. The human body or face is obscured by sculptural costumes, rejecting expressionism and mimetic theatre conventions of the time. The choreography neutralises the performer to geometric motion. The performer is the unseen puppeteer, the operator of the figurines.

 

Mapping of figures in space “Figur und Raumlineatur” and “Egozentrische Raumlineatur” uses uncostumed figures to show the mathematical principles to measure space, treating space as abstract. These biograms show man as a combination of mechanic and organic components.

 

Contemporary choreographer, William Forsythe, coined the expression “choreographic object”, transposing dance from the stage into other manifestations, e.g. participatory installations. This fluidity of space has informed the idea of “liquid architecture” to overcome the ideas of static, fixed architecture to transform space.

 

Constructivism endeavours to to use analysis of the materials and forms for utilitarian purposes for a new society. Kandinsky’s spiritualism was at odds with this new approach, forcing him to leave Russia. His biomorphic shapes reverberated with Schlemmer’s choreographies, unlike Moholy-Nagy who would work directly with the new technology available.

 

Moholy-Nagy created the “Light Space Modulator”, a motorised sculpture of glass, mirror and steel was a kinetic installation which imagined light as performance art. Both art’s collaboration was complementary to their practice and are the pioneers of “Hybrid Art”.

 

Schlemmer’s “Hoop Dance” is similar to Moholy-Nagy’s “Light Space Modulator” film as a kinetographic study of movement through objects. William Forsythe’s interest in architectural notions of spaciality and choreography is often linked to the legacy of Rudolph Laban rather than early 20th Century Constructivism.

Dance – Documents of Contemporary Dance – (Edit) Andre Lepecki

Dance as a Practice of Contemporaneity – Andre Lepecki

 

Dance’s main qualities:

  1. Ephemerality
  2. Corporeality
  3. Precariousness
  4. Scoring
  5. Performativity

 

  1. Ephemerality Dance leaves no object behind after the performance, away from the commodification of tangible objects.
  2. Corporeality A dancer’s job is to embody, disembody and re-embody. Reconfiguring the body and proposing them impossible.
  3. Precariousness Ongoing interaction with forces. Performing the precariousness of life, globalisation of neoliberalism.
  4. Scoring Or choreographing, reveals the technology of scoring. Once enacted operates in a regime of obedience. Dance establishes a contact between choreographic planning and the actualisation of movement.
  5. Performativity Reproduction of choreography, non-metaphoric implementation of these preconditions, again and again despite its ephemerality.

 

 

 

Recently dance projects have been created by artists, not choreographers. For example, Nevin Aladag’s Dance Occupations where groups of non-dancers invade a space, dancing wildly to no music. Flashmob. Here there is no collaboration between visual art and dance, but this fusion is driven by a need for the arts to break away from neat divisions.

 

Dance as a metaphor emerges at the end of the 19th Century in an attempt to establish dance as an autonomous art. Away from the constraints of music, literature and symbolic gesture.

 

After WWII many artists links their practice to questions of freedom and participation. Experimentation opened up the body to new arenas, getting closer to problems linked to questions that are constitutive of dance and choreography.

 

At the beginning of the 1980s two forces combined to reignite the political and aesthetic capabilities of dance:

  1. The AIDS pandemic and its effects around issues of mortality, corporeality and and identity.
  2. Hip Hop’s hypervisual music video culture and beat laced with specific visuality and raciality. The global non-theatrical dance recaptured the social

 

Dressage (1992) – Henri Lefebvre

 

People gesticulate, usually the top half of the body but sometimes with the hips and legs. Each segment of the body has its rhythm. What is fully natural?

 

Gestures cannot be attributed to nature, they change according to societies and eras. These manners are acquired/learned.

 

Something passed as natural when it conforms without effort to accepted models. Distinguish between education, learning and training (dressage). To enter into a society is to accept its values, bend to its ways, dressage. Dressage is based on repetition to break-in people to perform a certain act. Repetition is ritualised in humans, rites.

 

Phases of dressage:

  • Linear Has a beginning signal, and an end.
  • Resumption of the Cycle Reprises Cycliques General organisation of time, therefore of society.

 

The military model has been imitated in western societies to preserve and extend this rhythm. Repetition is pushed to the point of automatism.

 

Rhythms are present in learning and training, as well as dressage, these must be united as are the organs of the body.

 

Some Reflective Surfaces 1 (1975) – Adrian Piper

 

“Aretha Franklin Catalyst” (1972)

Adrian’s interest in disco dance figures as a form of ritualised sexual and political confrontation. Also this type of dance was capable of expressing a whole spectrum of feelings that they have about their own bodies, because the  rhythms tend to be repetitive and transform while musically it is complex and densely textured. Disco makes possible a physical empathy with the music which requires coordination and rhythmic discrimination to achieve this. You have to actually dance to disco and not just behave. To succeed is to express one’s sexuality individually. In a sexually repressive culture this is to express deviance. Hence the racist/homophobic reaction to disco.

 

The expression of defiance and individuality is open to misinterpretation. For example, you want to be picked up.

 

“Some Reflective Surfaces” (1975)

Explores the gestural and political significance of disco on a number of levels:

  1. Mutual self-consciousness of the audience and performer as to the meaning of gestures.
  2. Self-reflection of the dancer on their movements and their meanings.
  3. Partial definition and appropriation of those meaning by others.
  4. Political unity.

 

Voluntary self-objectification can be an act of political defiance, a celebration of the self by exposing the hypocrisy of the disapprovers as an attempt to eradicate their own uncontrollable impulses.

 

Notes on Funk (1983) – Adrian Piper

 

Motivation for doing “Funk Lessons” was the ignorance and xenophobia of black working class culture since 1972. Deemed inappropriate for serious political topics, which is elitist and patronising.

 

“Funk Lessons” (1982-84) – Hand-out summary

  1. Relaxed back.
  2. Knees bent.
  3. Whole foot on floor.
  4. Isolation of body parts.
  5. Polyrhythmic.
  6. Unifying music with dance. Each kind of music has its own dance style.
  7. Personalistic. Individual self-expression.
  8. Self-transcendent. Become one with the music.
  9. Participatory and non-exhibitionistic. A communal event, not for a spectator audience.
  10. Socially functional. Integrated into daily life, not a special feat of accomplishment.
  11. Modular. Simple units of physical movement.
  12. Repetitive. Patterns repeated until they become second nature.
  13. Improvisational. Transforming extended patterns.

 

Global Breakdancing and the Intercultural Body (2002) – Halifu Osumare

 

Breakdancing takes place in an improvised circle. Each soloist demonstrates their skills while encoding gestural messages which usually comment on other dancer’s perceived lack of skill. These battles originally took place in opposing gangs, lined-up facing each other, usually to settle disputes. A creative dance alternative to gang violence allows it to claim a discursive basis as a particularised dance form of the signifying tradition prevalent in African-American popular culture.

 

This has become a global phenomenon during the current era of capitalism, going beyond the barriers of language. Global capital and evolving Hip Hop subculture exist as parallel, yet intertwined, forces in this increasing complex era.

 

Rest in Pieces: Scores, Notation and the Trance in Dance (2005) – Myriam Van Imschoot

 

Dance has not used the word score for a specific object. Also dance has not depended on copyright and distribution to publish these scores. Scores are working tools.
The English word “score” covers a far wider range of meanings than, for example, Partition in French. Lisa Nelson’s “Turning Scores” does not refer to a written score at all. It is more a case of learning and enacting the rules of a game. William Forsythe scribbled lines, arrows and numbers onto a book of sketches by Tiepolo, forming an enigmatic riddle that the dancers were free to interpret. This choreography-at-a-distance resulted in “Hypothetical Stream” (1996). These scores enter a whole range of possible implementations.

Technical Journal – Labanotation

Labanotation is a standardised system for analysing and recording dance movement. Hungarian Rudolph von Laban (1879-1958) published this first in 1928 as “Kinetographie”.

Staff

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The “Staff” is a vertical grid which indicates which part of the body is moving/gesturing etc

  1. Support column – transference of weight eg steps
  2. Leg gesture column
  3. Body column
  4. Arm gesture column
  5. Head column

Bars, Beats and Time

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The centre line will indicate beats with a short dash across and bars are indicated with a line right across. A vertical line indicates the duration of each step eg position 1 transfers weight to right foot for 2 beats.

Directions

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Horizontal movement is indicated using the symbols at the top of the page. Vertical movement uses similar symbols; cross-hatched symbol is up high, dot in the middle is level/horizontal, and full-shade is low/down gestures.

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Relationship Pins

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Indicated horizontal and vertical directions and can be used to show directions in a room/space, written in a square. Can also show intermediate positions by modifying the direction of the symbol, and by merging two pins together.

Arm and Leg Gestures

These symbols show the position of the limbs.

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Intermediate Direction Gestures

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Usually in increments of 15º but it is possible to get intermediate 7.5º, using symbols connected with a bow. Eg a symbol for 0º and another for 45º with a dot between.

Foot connections uses modified pins.

Centre of weight and transference of weight

Five thing can happen:

  1. Everything stays as it is
  2. Centre of weight is shifted
  3. Weight is transferred – steps
  4. Jumps
  5. turns

A small circle = hold weight

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The staff should be read from the bottom up.

A/ The starting position; weight on both feet, legs straight, both arms down.

B/ Weight stays on both feet

C/ Right leg lifted to mid point, left arm to low point

D/ Hold weight on right arm, left arm straight down

E/ Transfer weight to both feet

F/ Weight stays on both feet

G/ Jump and leg gesture

H/ Land on both feet

Shifting the Centre of Weight and Steps

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Walking

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Jumps and Turns

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Body Parts

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Quantity Signs and Connection Bows

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Paths

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Floor Plans

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These are just some of the basic symbols used in Labanotation. There is also software available which facilitates the drawing of symbols.

Tutorial with Gayle – 27/11/17

Gayle noted that my site visit to Eastbourne College was useful in gaining key information about the dimensions and the proportions of the room. The drawing I produced of the space in Google Sketchup will help with my design exploration.

Gayle also feels that Labanotation symbols have potential, especially with regards to semiotics and suggested looking at Carl Jung’s “Man and his Symbols” and Howard Rissatti’s Craft Theory book which also has a section about symbolism.

250px-Labanotation1 51604-004-C0558E67

I mentioned the various dances that could be interpreted using this system of recording movement. Potentially this could be slightly subversive by using dance moves that are used within the public sphere as opposed to contemporary dance practice. I’m quite keen to use the “raver’s” standard “Big fish, little fish, cardboard box” move that is really a bit of a micky-take of ravers and their rather basic dance expressions.

mfish

Coming in at number two is the wedding reception standard the “Hokey cokey”. There are other moves, such as the basic Northern soul shuffle and samba/salsa, however the criteria is that this moves are performed without a dancing partner.

Gayle thought it would be beneficial to visit a dance studio and take photos of the dancers within a dance space and also suggested looking at musical scores and play with composition/imagery. Also mentioned looking at Kandinsky’s book “Point and Line and Plane”. 

Tutorial with Kim Charnley – 14th November 2017

We discussed the Stevens Glass Prize brief and Kim though it would be useful to use this to model the considerations of for a brief of this kind. Look at different ways of visualising my thought processes about light, space and movement. So I will use Google Sketchup to produce a number of copies to help me visualise the relationship between the two windows.

I have been looking at various methods to present the notion of movement. Either figuratively through drawing and mark making, possibly using motion capture software as used by animator and digital games designers.

We also discussed what kind of cultural form is dance and Kim suggested looking at the work of Oskar Schlemmer to see now art/design/dance may interact in the avant garde. I have also been looking into Constructivist theatre productions and contemporary dance. I mentioned choreographer Michael Clark as a better known contemporary dance choreographer.

I am interested in dance sub-cultures and it’s influence to artistic practices and Kim though the subcultural dimension of dance would be an interesting and worth exploring. For example Carl Slater and Mark Leckey’s “Fiorucci Made Me Hardcore”

Which leads onto the question of how can dance be explored and represented in architectural glass?

Kim note that I an establishing design principles for my work in glass design and this would allow me to develop a research process in the domain of architectural glass. My research question will probably be restated to how does the research into dance interplay with the technical limitations and potential of architectural glass, that as a form involves image/material/light/relationship to space.

The key goal

To generate lots of image research and visualisation of the space/potential design so that I can see and identify different possibilities that I may pursue.

dance studio x3

Goggle Sketchup visualisation of the dance studio

Technical Journal – Photo-intaglio

Niepce​ ​invented​ ​a​ ​photomechanical​ ​process​ ​using​ ​a​ ​sensitised​ ​pewter​ ​plate.​ ​The images​ ​produced​ ​were​ ​called​ ​​heliographs.​ ​​Photogravure​ ​became​ ​the​ ​commercial process​ ​for​ ​reproduction​ ​in​ ​the​ ​late​ ​19th​ ​Century.

Photopolymer​ ​film​​ ​-​ ​UV​ ​light​ ​sensitive.​ ​Laminated​ ​onto​ ​any​ ​smooth​ ​surface.

Photo-intaglio​​ ​-​ ​Image​ ​is​ ​held​ ​in​ ​the​ ​photopolymer​ ​surface.

Steps​ ​for​ ​Positive​ ​Image​ ​on​ ​Transparency​ ​for​ ​Photo-intaglio
Before​ ​preparing​ ​the​ ​image​ ​in​ ​photoshop​ ​to​ ​make​ ​a​ ​positive​ ​transparency,​ ​ensure that​ ​it​ ​has​ ​been​ ​saved​ ​at​ ​300​ ​dpi.

  1. Open​​ image​​ in​​ Photoshop.​​​ Image>Mode>RGB​​Colour>16​​Bits/Channel​.
  2. Image>Mode>Grayscale​,​​ to ​​remove​​ colour.
  3. Clean ​​and ​​modify ​​the ​​image,​​ i.e.​​​ Image>Adjustments>Levels​​​ or Brightness/Contrast​.​ ​Resize​ ​to​ ​the​ ​dimensions​ ​you​ ​want​ ​the​ ​image​ ​printed.

    Image>Image​ ​Size​ ​​to​ ​set​ ​to​ ​15x21cms​ ​for​ ​this​ ​example.

  4. Edit>Convert​​ to ​​Profile>Grey​​ Gamma​​ 2.2 ​​​(Windows) ​​​Grey ​​Gamma​​ 1.8 (Mac)​ ​to​ ​increase​ ​tonal​ ​range.
  5. Image>Adjustments>Levels ​​​or​​​ Curves ​​​to​​ achieve​​ best ​​tonal​​ range.
  6. Flatten ​​image ​​if​​  necessary,​​​Layers>Flatten​​​  and​​ reconvert​​ to​​ 8-bit​​channel, Image>Mode>8/Bits​ ​Channel​ ​before​ ​printing​ ​the​ ​transparency.
  7. Print,​​​ File>Print ​​​select​​​ CC_Upper_Art_Xerox​​@​​bramley

Image​ ​preparation​ ​from​ ​drawings
The​ ​following​ ​can​ ​be​ ​used​ ​to​ ​create​ ​images:

  • ●  Mark​ ​resist​ ​film.​ ​Can​ ​use​ ​pencil,​ ​acrylic,​ ​guache​ ​etc
  • ●  Photocopies​ ​on​ ​acetate
  • ●  Scanned​ ​images​ ​output​ ​as​ ​half​ ​tones​ ​onto​ ​film

Plate​ ​Preparation
Cut​ ​plate​ ​to​ ​desired​ ​size​ ​and​ ​bevel​ ​the​ ​edges​ ​and​ ​corners​ ​with​ ​a​ ​file.​ ​Lightly​ ​file​ ​the back​ ​as​ ​well.

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Use​ ​electric​ ​sander​ ​to​ ​roughen/key​ ​the​ ​surface​ ​of​ ​the​ ​plate.

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Degrease​ ​the​ ​surface​ ​of​ ​the​ ​plate​ ​with​ ​detergent​ ​and​ ​water​ ​to​ ​neutralise,​ ​then​ ​rinse thoroughly​ ​with​ ​water.​ ​Dry​ ​the​ ​plate​ ​without​ ​touching​ ​the​ ​surface​ ​to​ ​ensure​ ​that​ ​the film​ ​will​ ​laminate​ ​properly.

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Laminating​ ​the​ ​Plate​ ​with​ ​Photopolymer​ ​Film
Avoid​ ​handling​ ​the​ ​film​ ​in​ ​direct​ ​sunlight​ ​and​ ​have​ ​a​ ​light-safe​ ​folder/box​ ​for​ ​the plates.​ ​The​ ​Etching​ ​Room​ ​has​ ​red​ ​darkroom​ ​lights.​ ​The​ ​film​ ​has​ ​3​ ​layers,​ ​a photosensitive​ ​layer​ ​sandwiched​ ​between​ ​two​ ​clear​ ​plastic​ ​layers.​ ​Set​ ​plate​ ​on​ ​some newsprint.​ ​Cut​ ​film​ ​slightly​ ​bigger​ ​than​ ​the​ ​plate.​ ​The​ ​film​ ​curls​ ​back​ ​on​ ​itself.​ ​From the​ ​inside​ ​of​ ​the​ ​curl,​ ​peel​ ​away​ ​the​ ​clear​ ​layer​ ​and​ ​then​ ​stick​ ​to​ ​the​ ​plate.​ ​Take​ ​the plate​ ​to​ ​the​ ​press,​ ​cover​ ​with​ ​the​ ​blankets​ ​and​ ​turn​ ​the​ ​press.

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Take​ ​plate​ ​and​ ​return​ ​to​ ​the​ ​darkroom,​ ​ensuring​ ​that​ ​the​ ​plates​ ​are​ ​light-safe,​ ​and trim​ ​the​ ​excess​ ​film​ ​of​ ​the​ ​plate​ ​with​ ​a​ ​scalpel.​ ​The​ ​return​ ​the​ ​plate​ ​to​ ​the​ ​light-safe box.

Exposing​ ​the​ ​Plate​ ​for​ ​Photo-intaglio
A​ ​test​ ​strip​ ​must​ ​be​ ​produced​ ​which​ ​will​ ​result​ ​in​ ​a​ ​more​ ​accurate​ ​way​ ​of establishing​ ​the​ ​correct​ ​exposure​ ​time.
Check​ ​the​ ​UV​ ​light​ ​unit​ ​has​ ​been​ ​switched​ ​on​ ​for​ ​at​ ​least​ ​five​ ​minutes​ ​to​ ​reach optimum​ ​strength.

1st​ ​Exposure
If​ ​the​ ​image​ ​does​ ​not​ ​have​ ​a​ ​halftone​ ​screen​ ​then​ ​you​ ​must​ ​expose​ ​an​ ​Aquatint screen​ ​onto​ ​the​ ​surface​ ​of​ ​the​ ​photopolymer.​ ​This​ ​will​ ​produce​ ​the​ ​midtones​ ​of​ ​the image.​ ​Carefully​ ​place​ ​aquatint​ ​screen​ ​emulsion​ ​side​ ​up,​ ​place​ ​plate​ ​face​ ​down​ ​onto the​ ​screen​ ​and​ ​cover​ ​with​ ​newsprint/blanket​ ​to​ ​protect​ ​the​ ​rubber​ ​vacuum​ ​frame.

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Close​ ​the​ ​frame​ ​and​ ​expose​ ​for​ ​5​ ​units.
5​ ​units​ ​is​ ​a​ ​good​ ​average​ ​for​ ​an​ ​image​ ​with​ ​various​ ​tonal​ ​makeup.

2nd​ ​Exposure
Check​ ​the​ ​test​ ​strip​ ​to​ ​establish​ ​the​ ​optimum​ ​time​ ​then​ ​set​ ​the​ ​UV​ ​to​ ​that​ ​time,​ ​in units.​ ​Place​ ​the​ ​transparency,​ ​right-reading,​ ​onto​ ​the​ ​glass​ ​of​ ​the​ ​exposure​ ​unit.​ ​The emulsion​ ​side​ ​of​ ​the​ ​image​ ​should​ ​be​ ​in​ ​direct​ ​contact​ ​with​ ​the​ ​plate.​ ​Put​ ​the​ ​plate

face-down​ ​onto​ ​the​ ​image,​ ​cover​ ​with​ ​newsprint/blanket,​ ​clamp​ ​down,​ ​switch​ ​on vacuum​ ​and​ ​expose​ ​the​ ​plate.

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Developing​ ​the​ ​Plate
Dissolve​ ​half​ ​a​ ​tablespoon​ ​of​ ​Sodium​ ​Carbonate​ ​(washing​ ​soda)​ ​in​ ​2​ ​litres​ ​of​ ​warm water.​ ​Remove​ ​the​ ​remaining​ ​plastic​ ​layer​ ​from​ ​the​ ​plate​ ​and​ ​place​ ​face​ ​up​ ​in​ ​the developer.​ ​Gently​ ​rub​ ​the​ ​surface​ ​of​ ​the​ ​plate​ ​with​ ​a​ ​sponge​ ​for​ ​2-3​ ​minutes.

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Gently​ ​spray​ ​with​ ​vinegar​ ​to​ ​“Stop”​ ​the​ ​developer.​ ​Wash​ ​thoroughly​ ​and​ ​gently​ ​with cold​ ​water.​ ​Blot​ ​the​ ​plate,​ ​dry​ ​it​ ​quickly​ ​and​ ​thoroughly.
Post​ ​bake​ ​the​ ​plate​ ​or​ ​harden​ ​the​ ​plate​ ​under​ ​the​ ​UV​ ​for​ ​3-4​ ​units.

Printing​ ​the​ ​Plate
Clean​ ​the​ ​plate​ ​with​ ​a​ ​little​ ​vegetable​ ​oil​ ​to​ ​prevent​ ​the​ ​paper​ ​sticking​ ​to​ ​the​ ​plate.

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Ink​ ​the​ ​plate​ ​with​ ​the​ ​edge​ ​of​ ​thick​ ​cardboard.

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Form​ ​an​ ​inking​ ​pad​ ​from​ ​scrap​ ​net​ ​curtains​ ​and​ ​press​ ​and​ ​twist​ ​into​ ​the​ ​inked surface​ ​of​ ​the​ ​plate​ ​to​ ​remove​ ​the​ ​ink​ ​form​ ​the​ ​non-etched​ ​part​ ​of​ ​the​ ​plate.

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Unfortunately​ ​on​ ​the​ ​left​ ​side​ ​of​ ​the​ ​plate​ ​there​ ​seems​ ​to​ ​be​ ​a​ ​cloudy​ ​texture. Something​ ​has​ ​gone​ ​wrong​ ​during​ ​the​ ​preparation​ ​of​ ​the​ ​plate.

We​ ​now​ ​plate​ ​the​ ​inked​ ​plates​ ​on​ ​the​ ​press​ ​with​ ​damp​ ​paper.​ ​The​ ​moisture​ ​of​ ​the paper​ ​will​ ​draw​ ​out​ ​the​ ​ink​ ​onto​ ​the​ ​paper.

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The​ ​cloudiness​ ​is​ ​visible​ ​on​ ​the​ ​right​ ​on​ ​the​ ​printed​ ​image.​ ​Slightly​ ​disappointed.

The​ ​plate​ ​can​ ​now​ ​be​ ​cleaned​ ​with​ ​vegetable​ ​oil​ ​(red​ ​spray)​ ​and​ ​detergent​ ​(blue spray).

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Induction​ ​Reflection

This​ ​was​ ​an​ ​interesting​ ​and​ ​enjoyable​ ​induction​ ​although​ ​I​ ​cannot​ ​see​ ​how​ ​this technique​ ​work​ ​with​ ​glass.​ ​Intaglio​ ​ink​ ​is​ ​very​ ​viscose​ ​and​ ​needs​ ​moist​ ​paper​ ​to​ ​draw out​ ​the​ ​ink​ ​from​ ​the​ ​etched​ ​part​ ​of​ ​the​ ​plate.​ ​However,​ ​for​ ​the​ ​purpose​ ​of​ ​creating prints​ ​and​ ​collages​ ​as​ ​part​ ​of​ ​the​ ​creative​ ​process,​ ​this​ ​has​ ​a​ ​lot​ ​of​ ​potential.​ ​A​ ​scan could​ ​be​ ​made​ ​of​ ​the​ ​finished​ ​prints​ ​or​ ​alternatively​ ​just​ ​using​ ​screen​ ​printing​ ​as​ ​a method​ ​will​ ​save​ ​a​ ​lot​ ​of​ ​time.​ ​I​ ​am​ ​looking​ ​at​ ​etching​ ​directly​ ​onto​ ​glass​ ​in​ ​the FabLab​ ​using​ ​the​ ​laser​ ​cutter/etcher.

The Stevens Glass Prize 2018

Front Stevens-2018-Brief-2 copy

The Worshipful Company of Glaziers & Painters of Glass (‘The Glaziers’ Company’) has been running the prestigious annual Stevens Architectural Glass Competition since 1972. It is open to student glass artists and designers and those who have commenced their vocation in glass within the last eight years.

The 2018 Competition requires entrants to design two windows to be installed in a dance studio at Eastbourne College in East Sussex. The Glaziers’ Company is appreciative of the school’s support.

Diagrams Stevens-2018-Brief-2 copy

The Full Brief 

I visited Eastbourne College where I was taken on a tour of the school, chapel and the new building site where the dance studio will be situated.

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Photographs of some of the stained glass windows in the chapel at Eastbourne College

The finished windows in the dance studio should have a contemporary feel as it is situated within the new building. The studio will be used for extra-curricular activities but mainly contemporary dance, so the windows should not be traditional stained glass.

The left window from the back of the room

The left window from the back of the room

As you can see form the photograph above, the windows are rather small so the windows must let in plenty of light. They are West facing so there will be sun coming in from the left the afternoon.

The right window still under construction

The right window still under construction

 

A finished window in another room

A finished window in another room

 

The view from the right window

The view from the right window

 

The finished windows will be double glazed. The inner pane will be 6mm safety glass with the out-facing side which can have the design applied directly, or a separate panel which will sit between both panes of glass. I also need to include a logo of the sponsors.

I have a few techniques in mind regarding this brief:

  • Pinhole photography directly onto glass coated with silver nitrate
  • Contour-fused clear glass shapes. I did some test firings using greenhouse glass (see below)

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  • Paint enamels/powder/frit onto glass
  • glass chalk and/or glass pen(Glassline)

I have a couple of printmaking inductions which i hope will inspire other possible techniques for experimentation.

 

Tutorial with Gayle and Glenn – 2nd November 2017

This tutorial could not come quick enough for me. I have been ruminating about community engagement and how that would possibly inform my work. I feel that this is an issue that will have to be addressed on a case-by-case basis. Glenn pointed out that with site specific projects, public engagement is also about the space and how it is used and by who occupies the space. Involving the public in the creative process or running workshops as a part of a residency is usually specified in the brief.

I mentioned my interest in photography and graphics/typography and potentially laser-etching a colour photograph, whereby each process colour (CMYK, cyan, magenta, yellow, ‘key’ or black) would be engraved, possibly to a different depth for each colour. This method may still require firing each colour separately. Four colour decals can be made but the quality is negligible and screen printing each colour would require accurate registration, as well as firing after each colour is printed.

We discussed the Stevens Glass Prize which is an annual architectural glass competition organised by The Worshipful Company of Glaziers and Painters of Glass. The commission is to design and make samples for a couple of windows for a dance studio at Eastbourne College. Gayle said in her tutorial notes that I should consider the space and decide which aspect of dance I want to explore, music, dance, rhythm, beats etc. Also try to attend life drawing classes and look at Abstract Expressionism like Pollock, abstract artists such as Kandinsky and also Paul Klee’s Thinking Eye book, Zaha Hadid, Jeff Sarmiento and Erin Dickinson. Even produce large-scale paintings. Also look into 3d Scanning

Maybe because I work with glass, I have always developed my ideas before engaging with the material. However these have been sketches working towards finished piece, whereas now the initial creative process is less mannered and procedural, working to a larger scale. I’m also looking to enrol in life drawing classes and try to develop a sense of movement and rhythm with the drawings and paintings.

This approach is new to me as glass will not be the main focus of experimentation it will be the development of ideas through painting and drawing instead of designing a finished piece.

I am going on a site visit to Eastbourne College on 9th November.

Exercise – The Research Question

Scoping the Research Field – Notes

Practice-based or practice-led research.

Art practice is reflective
More focussed
More engaged with theory
Conscious experimentation
Challenging assumptions

Why do you need questions for research that’s practice-led?
To clarify your research
Ascertain your objectives
Plot your trajectory

Can develop the project although there is tension when developing research questions. Embrace uncertainty is difficult.
Questions establish parameters and there is a need to develop strategies when accumulating research. View this research as a passion or a hunch

Graduate School Symposium 7-2-18

Present/Report on development of the research
Map out what I am doing
Work in progress

Short Word Circle Task

Reflect on area of interest and choose 20-30 relevant words
From this list create a word circle
From this word circle, choose two or three words to create a question
Remember Why, Where, What, How
Try to create 4-5 questions
Answer these questions using “free writing” technique, don’t worry about grammar, spelling, syntax
Take words from the answers to form new questions
Discuss with peers
Use as prompts for making creative work

This technique is useful to overcome being stuck and to clarify your thinking and to keep it moving along.

My Word Circle Task

Glass
Transparent
Technical
Processes
Public
Community
Narrative
Communication
Craft
Context
Materials
Opaque
Light
Texture
Form
Architecture

How can the inherent qualities of glass (light, texture) be used for public engaged artistic interventions?

What form can glass take to be a suitable medium for community engagement?
Usually windows, limits the format
Dangerous to work with if inexperienced
Can glass be a suitable medium for community engagement?
Discuss with peers
Add to our group presentation
Present my segment

“Can glass be a suitable material for public engagement?”

Presentation

"r3Pr0b8s" Group presentation

“r3Pr0b8s” Group presentation

“ My question is, “Can glass be a suitable material for public engagement?”. I will first discuss the pros and cons of glass as a material.
Pros:
Glass is beautiful
Can inspire, inform, present a narrative. Religious building for example.
Cons:
Dangerous material to handle if inexperienced.
Health and Safety
Public liability
Difficult to work as you are limited to what you can do with glass.

The two photographs illustrate two aspects of community engagement.

The top photo is a project I did in the 2nd year of my BA, shows an example of the community contributing to the creative process. The Unity Hall used to be a well known popular venue for rock concerts in the 70s/80s. The plan was to get people to send in any mix tapes or bootleg tapes that may hold some special significance to that individual. The labels would be copied and sandblasted onto a central column of glass on the foyer.
The second photo is from a one-day taster session that I ran in stained glass. The participants were shown how to make a glass panel using the copper foil technique, which i walked through the process with them, demonstrating at each stage of the process. The community engagement was the participants creating their own panels with my assistance.”
My overview is that I need to investigate the “notion” of ownership within community based interventions.