Experimental Surfaces II
Part A: preliminary work, design development + experimentation, online workshop – “Mono drawing”.
Observations of surrounding – overlapping textures and contrast of different materials with light / reflection play. Also looking at material surfaces and how the absorb and change other materials. For example a BLUE bic pen appears METALLIC BRONZE on matt black paper.
Pattern play with offset registration and line shading.
Hospital paintings: Jellyfish and Hospital Curtains.
Sarah Sze research: I’m interested in the use of collage, torn edges and negative space allowing for different images and mediums to come through (creating what looks like a 3D world with 2D elements. I also like the use of light play coming through the gaps. I’ve always been fascinated by how lighting can affect the whole dynamic of spaces and surfaces. These are aspects I want to try incorporate into my own experimentation.
Image/s reference: http://www.sarahsze.com/
Textile art research: text and images from: http://www.yrurari.com/about
The artist name Ýrúrarí was created in 2012 by Ýr Jóhannsdóttir.
The work of Ýrúrarí is mostly done by knitting and working with the possibilities of new visual elements knit can create in spaces and on the human body in a way of illustrating the everyday three dimensional space. Ýr’s creations are on the wide spectrum from hand knitting figurative fun pieces on old jumpers to machine knitting abstract and complex mathematical textiles, working with the technique of weaving, OP art and making dimensions meet on the surface of knitted fabric.
I’m drawn to the abject artistic style of Ýrúrarí, her works are both creepy and colourful, fun but complex in technique and execution.
Textile practice: ‘Danger Noodle’ work in progress – playing with lines and negative space patterns to build up textured elements.
From Cristina Burns website: Cristina Burns, an American artist born in Spain but raised in Naples, Italy, where she still lives, approaches photography very young as her favorite form of expression. She creates surrealistic compositions through her photography by juxtaposing images of conflicting elements. In her work, she purposely blurs the thin lines that separate fantasy from reality, purity from sin, and life from death. In her compositions, she may fuse candies, toys and flowers with anatomical parts and insects, or juxtapose human animals with characters from well-known cartoons. Cristina digitally processes images, whereby she enhances and prints a very limited number of copies. The resulting print is the only record of her production.
My own experiments with animated surfaces from around the home and using a torn viewfinder for both still and moving images.
Filmed with my camera phone and edited with a pixel animation app and some x-ray filters on the last clips, really enjoyed the outcome of creating moving textured, fractal surfaces. I like the idea of bringing textures to life through animation and how I can expand on this in Part B. Taking identifiable objects and turning them into mesmerising digital worlds. Something that is tactile in aesthetic but only visually within reach.
I was pleasantly surprised at how these two images above turned out. The white paper with torn holes over textured, veined glass (with light and leaves behind) made for some very interesting surface outcomes. Combining the surreal aspects and lighting elements I talked about in my earlier research into my own ethereal worlds – reminds me of looking at cells under a microscope.
Mono drawings with Struan:
Mono drawings using purple / black lipsticks and UV lipstick under blacklight, then animated into an underwater scene.
Max digital experiment using audio to playback a live video feed – generating animated textured patterns.
Here I animated my watercolour jellyfish painting. I adding audio (from freesound.org) to add ominous undertones to what was originally a ‘pretty’ picture. Creating a feeling of being uncomfortable with the added sound and movement. I also added a romantic filter to mimic underwater blur.