I had an impromptu 121 with Jonathan (course leader) and the conversation opened up several new directions and he introduced me to some brilliant artist references. Here are my key takeaways.
1. Moire effect acetate tests
Jonathan was positive re the experiments with duotone background photographs – particularly the shots taken in error with slight overexposures or light leaks.
He raised an important question: the acetate allows for movement as you manipulate the layers, but will this quality be lost when moving to rigid acrylic? It makes sense to do the tests and see, or to experiment with how to retain movement in other ways.
Another insight: how can I disrupt and break the symmetry of the patterns? What happens if I explore the depth of movement behind the moiré acetate?
Ideas to test:
- Looking through the pattern at scenes outside a window and recording the results
- Observing depth moving at different speeds (like from a train window) – what happens with visual focus when multiple layers of movement interact?
2. Mark making
He encouraged my openness to experimenting with mark-making and other materials – as it can be a very meditative process.
We discussed Lucio Fontana’s punctured fabric that I saw at Frieze – it works because the material is stretched, creating real depth through the cuts.
Given my graphic design background, I’m naturally drawn to structure and rules around mark-making. Is there an opportunity to create my own version of the moiré patterns and depth of movement using paint?
Artist reference: Dan Hays creates work where “immaterial pixel and physical brushstroke coalesce. The digital screen’s icy crystalline matrix, seamless deliverer of watery flows of information, is rendered by pigmented oily mud on a weave fabric.”
3. Pen plotting – an interesting bridge
A pen plotter offers digital control using an analogue device – a perfect bridge between my two interests.
Questions to explore:
- Where does the print start breaking down? When do the spaces between lines start blurring and filling in?
- Mistakes could be interesting – what if I deliberately use a leaky pen?
- Easy to apply to other surfaces with the right pen: acrylic, fabric, calligraphy brushes
- What if the lines were cut into acrylic rather than drawn? How would light reflect off those cuts?
- Re the technical aspects – there are probably softwares which act as an interface between the two
- CSM digital media dept (2nd floor) have all 3D software – speak to Matt Edwards or Felix.
Artist reference: Roman Verostko creates “algorithmic poetry” using brushes and pens mounted on drawing machines. His pen-plotted work (1988-1998) was controlled by software he wrote himself, merging “the stark logic of algorithms” with “exuberant playfulness and quiet undulation.”
4. Viewer interaction
Jonathan referenced Nam June Paik, whose work often involves viewer participation creating the patterns and textures. In ‘Magnet TV’, a massive magnet allows anyone to manipulate the television image. Much of Paik’s work explores meditation and self-observation – very digital but simultaneously very analogue.
The Whitney Museum notes that Paik “challenged the notion of the art object as a self-contained entity and established a process of instant feedback, in which the viewer’s actions have a direct effect on the form and meaning of the work.”
Examples include:
- ‘Three Camera Participation’ (1969) – cameras film passers-by, projecting overlapping colored outlines
- ‘Random Access’ – users run a receptor over magnetic tape to produce distorted sounds
- ‘TV Buddha’ (1974) – a stone Buddha gazes at its own filmed image
- ‘One Candle’ (1989) – a burning candle filmed and projected onto walls
This reminded me of last week’s group session with CSM graduate Bobby Dowler, who uses discarded canvases and invites people to collaborate and influence the work. He’s anti-consumerism, wants art to be accessible, and surrenders control to others in the creative process.
During the session, Bobby asked us to direct where the canvases should be placed in the gallery. Suggestions included: stacking them, placing randomly on the floor, facing inward, placing outside the gallery, working with shadows, having Bobby paint live, removing his shoes, and asking visitors to direct his colour choices.
I enjoyed this different way of thinking. The idea of relinquishing control has resonated deeply – because giving up control is normally very difficult for me.
Next steps
- Continue with acetate experiments exploring depth and movement
- Scenes outside a window
- Observing depth moving at different speeds (ie train)
- Research pen plotting (+ capabilities at CSM)
- Investigate Dan Hays’ technique and approach
- Experiment with my own mark making of the moiré patterns
- Consider how viewer interaction could be integrated
- Move forward with acrylic fabrication tests once induction is confirmed