Alex Onisiforou on Alex Onisiforou

Within my second install I set out to develop an element that I had used in quite an unrefined way within my assessment, which had been a week prior to the install. I wanted to create a virtual re-representation of the viewer by using a video time delay whilst also juxtaposing this with a live video feed. I did this by using two webcams placed next to each other with one being run through a video delay program. I wanted to do this as I found delayed video feeds seem to really interact and interest individuals who are viewing it. I also wanted to build on the fact that people automatically act differently when a camera is put in front of them. With this piece I wanted to give the viewer the opportunity to watch/survey themselves. We are used to seeing our reflection because of mirrors however this very subtle change of just seeing ourselves in a delayed form is something our eyes are not used to and it allows us to really watch and record our own actions.

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I set up the two projectors in two separate locations. I wanted the audience to be lured into a false sense of normality, just thinking they are being watched by a normal camera reflecting what is in front of it and then to surprise them with the delayed feed where they are forced to watch themselves, giving them the opportunity to interact with the piece and also a virtual version of themselves. I started this piece just by asking the question how would people react and what can be discover within the space created by the delay. It very much became for me a performance-based piece than a video based piece, which I had thought it would be to begin with.

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This install has opened a wide range of experimentation for me and I am now looking to build on this piece and look how performance/ time delays can be explored and exploited within my work.

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Natalia Sahlit on Natalia Sahlit

Oh friends, not these sounds!

Let us instead strike up more pleasing

and more joyful ones!

(Ludwig van Beethoven, ‘Ode to Joy’, ‘The Ninth Symphony’)

 

An ode to failure. Whilst the third movement of Beethoven’s Ninth Symphony fills the room, I fruitlessly try to assemble 138 sheets of paper where the violin part of the music is written.

Like in a school test, I am supposed to listen to the music and to translate its language into symbols. But I am illiterate. I cannot read or write music, despite having studied the violin. So I do what I used to in music school, I memorise the score in advance and then I pretend I am writing by dictation during the test time. A performance, a farce? – a simulacrum. I am writing the music, but not really. Am I a cheat?

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Photo: Ben Lansky

I positioned people like they would normally be in a theatre. Somehow this was the stage performance that never happened, as I had to leave the music course before its end.

When the performance finished, there was cold and silence. I felt how hard it is to not have an object hanging in the room to support myself. I looked at the floor and there was only Beethoven’s music, nothing of mine. A performance is cathartic for an artist, but its immateriality is difficult to bear.

I was told it was too romantic, it was even called European – which hurt my Latin pride. I understood that it should be uglier. It may become so, but I am still unsure. After all, the real sorrow occurs when the sky is aggressively blue and the sun is shining hopelessly. There is beauty in the mistake; there is joy in the failure.

Carolina Mitsuka on Carolina Mitsuka

This text was edited to fit the audience.

Please fell free to replace the unicorn with any image that you would like.

 

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I am not going to go into the details of what it was supposed to be, rather than what it was.

It was a hanging fabric with a bad projection of the x-ray of my hand.

Awful! The x-ray had a white edge, which it made sense to me when I was installing the piece (my thoughts were: yeah, it looks like a doctor office, so why not?). Seriously????!!!!! I have no idea why it made sense to me!

Another issue I had with the piece was that we as a group decided some pieces needed a bit more darkness than the other, I did not mind having mine in a semi dark space, but after it did not work, I saw that maybe I should have chosen a darker space.

In the end, I was really frustrated with the way it turned out. It seemed like the piece was more about the x-ray, rather than my body. In the crit of the afternoon, I received some feed back of my classmates, which I really appreciated, but I still do not think it was a good work. I am ready to move on and try to make it better.

SIMONA SHARAFUDINOV on VALENTINA STOCCO

I enter the room and I am standing in front of a suspended wall, made out of small embroidery wooden circles and watercolour portraits painted on silk. They hang like antiquarian pocket watches, ticking away, tracing time and our space.

I’m moved by its blinding beauty and rhythm of this wall, immensely. Is this what “a perfect family” looks like, I ask myself; so composed, so together and how beautiful. Each one like a branch extending itself onto the world, yet no trunk, each one in its own circle, so centred yet so very fragile. Each one hanging in his own shell. Framed, hanged and exhibited, transparent, double sided, so tense and so very lonely in its own frame.

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The artist’s watercolour technique, the chosen silk material, and delicate strokes depict the subjects in their best composure and perfect light, the circles that they so proudly embody in their silken worlds brings to mind the circle of a spectacle one encounters among the civilised shifting uncomfortably in their seats whilst trying to ‘keep up appearances’ at a ‘high culture’ outing. Social upstanding and appearances are of utmost importance. The circular shape, their beauty and their individual perfection bring to mind the halos that adorn the heads of amany sculptures and paintings of saints from the classical period. I can’t help but think of the Medicis still hanging in their gold gilded frames and oily silks at the Uffizi Gallery in Florence and the depictions of the royal bloodline at any National Gallery.

Perhaps then this work, as a wall, as a unit and structure, in its intricacy, delicacy, realism and the perfectionist detail reveals the suffering that appearances attempt to mask, in a similar way how Gerard Richter’s and Zhang Xiaogang’s Bloodline paintings reveal the fragility of both that very line and the human condition.

With the help of my imagination, the more time I spend with this “perfect family”, the treads of their isolation and blots of their desolation, become visible, they are like the tragicomic subjects of Cindy Sherman and Hendrik Kerstens.

I detach and come back to myself and my work, having learnt that “the perfect family” can only exist through art.

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Yixiao Shao on CAROLINA MITSUKA

Carolina’s work is a looping video. However, for me, this time her work is totally great than last time.

This time, she installs her work on the floor with mirror in an angle of 45˚, and the image reflects on the floor. For me, it is amazing.

Although, may be carol doesn’t satisfied her work and way to install, I think it is really fantasy. Every time when I saw her work, it likes a dream. I really like her idea and final work. The color is beautiful with light. This work also let me remained to kaleidoscope. The relationship between the two images on mirror and on floor is also very subtle. Two images from top to bottom form a space.

For me, sitting on the ground look at the image is the best way to appreciate her work, in which can let me into the deep thinking and reminds me a lot of memories.

At critique, people discussed about the place of choice. Carol chose Piccadilly Circus to shoot video. For aesthetic consideration it is a good idea because the light and crow can make her work more outstanding. However, tutors advised her should think about the place in political way, I think the place is meaningful for her is the most important thing.

However, I really like Carol’s work, it is like a beautiful dream.

 

Yixiao Shao on Irene Domínguez Jervis

For me Irene’s work is totally different from her past work. This time she chose sculpture as form to create, which is a challenge for her. However, this time, she still pays a lot of tension on light. Related to the meaning of her work which is continuous her original idea that is all about her inner emotion and feeling. As she said to me, she is an intimate artist.

There series of work has three parts. Artist related sculpture and light to create a world that is her own Utopia.

I really like her work is because she transform her imagination to real objects, at same time the objects are not completely represent reality. It depends on reality, but beyond reality. Her work is interesting, evoke emotion of people and also can inspire others imagination. Secondly, using light make her work or her “little world” more fantasy and fascinating. May be it is because the influence of photography, Irene has sensitive feeling about light, which is a huge advantage for artist to create artwork.

Irene’s work is discussed about the relationship between imagination and reality, space and light. When I saw her work, it inspire me a lot about how far I can go away on create artwork.

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Aelxander Onisiforou on Benjamin Marland

Benjamin’s work I felt captured the dark reality of our over consuming and mass wastage as a society. It very quickly gets across the idea that we view animals and food as two separate things all together. We completely dehumanize/ are denaturing the product by wrapping the product up in slick packaging and giving it a cash value. In away the screen itself being placed in a watermelon can be seen as dehumanize/ denaturing the melon and bringing it into a digital format, like the throw away society we live in. There is a conflict presented to you on the screen within the watermelon. The flickering between live animals and fast food wastage created juxtaposition that forces the viewer to ask themselves the question about how much you waste yourself.

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The use of locations that are familiar with all of us, such as McDonalds, means that the piece lives with the viewer past the exhibition space. As for the next time they visit said location they will question if they really need what they are purchasing or are they just adding to the vast land fills we have already created on this earth.

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The presentation of the piece I felt was extremely witty, the green and red of the melon complimented the white plinth it was placed on very well and a visually pleasing piece was created and well presented in the space. The fact you could not see the power source for the screen placed in the melon also gave the impression that the screen was using the natural source of the melon to create the energy to power the screen. This was also emphasized by the cracking affect present on the plinth, which reminded the viewer of a dry desert plain, as if the screen had sucked all the resources out of the area around it. I would like to see what would happen to the work if it was left in the gallery space for an extended period of time as I feel the decay of the watermelon would give the another dimension as it would look like the screen had used up all the resources around it, similar to us as humans using nature as a resource rather than living as one with it.

ELISA COSTANTINI ON LUCREZIA DE FAZIO

Everything is moved by desire in this world, the desire of someone, the desire of something… in this case the artwork was installed in a way that all around the studio we can feel the desire. “Conceptual fuck” of Lucrezia was installed in the main space of the studio and the sounds go around the entire room. The artwork is composed by a series of portraits and drawing that she put on the floor in right side and in the center we find a series of plinths on where she projected the preparation process before the action of drawing, so the waiting before the desire keep the power.

The sound all around the room was made cutting with the knife the paper needed for the work was energized and at the same time violent.

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I found this installation powerful and full of passion and desire, maybe I would prefer a more intimate space, maybe also a little bit darker. But nonetheless I really enjoy this artwork and the spirit of it.

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ELISA COSTANTINI ON VALENTINA STOCCO

Veleggio come un’ombra

nel sonno del giorno_MG_3070

e senza sapere

mi riconosco come tanti

schierata su un altare

per essere mangiata da chissà chi.     

Io penso che l’inferno

sia illuminato di queste stesse

strane lampadine.

Vogliono cibarsi della mia pena

perché la loro forse

non s’addormenta mai.

(Alda Merini)

 

Memory is the most precious things that we have; thanks to our memory we keep in mind moments, feeling, people, places, ecc.

I found very interesting a research on the perception of reality, memories and time for a person affected by Alzheimer; meanwhile I appreciate this research since is an intimate and personal research focused on a discover the feelings and the real the perception of a relative.

For the last install Valentina present sculptures realized with fragments of pictures of her grandmother and install them as lights.

She realize two different type of lights one built with black/white picture and very strong light bulb and high voltage; where the use of black and white to signify the older memories and the use of high voltage and strong light means the stronger memories due to the fact that people who suffer of Alzheimer’s disease best remember old episodes of them life.

The second type of lights sculpture are realized by color pictures and low voltage of light to signify the younger memories but at the same time the more evanescent memories for people who suffer of Alzheimer’s disease.

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I really appreciate the installation of the artworks, I found it really intimate and personal and I find the idea of install them as lights are brilliant because it seems like walking thought the memories.

ELISA COSTANTINI ON ELISA COSTANTINI

Media information constantly affects our daily life.

We are bombed of information from many different sources not always correct and verified and so often, our opinion could be influenced by misrepresented and improper information.

Incorrect and inaccurate information can be very risky and hazardous and can generate an improper and inexact opinion of the events. This can also compromise and affect, not just people opinions, but even worst, people behavior turning it in negative, offensive and disrespectful conducts.

My second install is titled “On-air dancing”. I reproduced a little analogic radio with a cardboard structure and covered it with ripped pieces of newspapers; I made the music and the sounds played by the radio by ripping newspapers in the way to reproduce a likeable and catchy theme. I reproduce the music and the sounds from Bluetooth speakers and an iPod.

The action of rip newspapers was my personal way to be disappointed to all the misrepresented, improper and inaccurate information that assail us every day; but meanwhile I decide to symbolize this disappointment with a catchy and engaging music and sounds made by the action of ripping papers to contrast the negative, offensive and disrespectful behaviors that inaccurate information can generate.

Firstly I decide to install the radio on a plinth, but then I realize that wasn’t a sculpture, was a radio with the purpose to create a relaxing and embracing atmosphere; to create a sense of freedom and independence. At the end I put the radio playing on the floor, exactly like if I was listening at real one.

In the same day I also installed my previous work “Black Holes” using a overhead projector to reproduce the images on the wall and making a collage of the images on the board of the projector. The idea was to create the idea of walking trough the black holes by projecting on the wall and on the floor. For exhaustive explanation about this last work please refer to the previous install.