Understanding the why behind this final semesters work at Eastern Michigan University and where to go from here.
On the first day of September just a few days ago I met with my Advisor Jason DeMarte and Chris Ridgway to get further insight. We talked about musical choice behind in the geode crystal moving video, and how it needs sound that compliments the visual language of the shifting focus. We discussed photographers like James Friedman, who photographed golf balls and showed how curious they looked when cut in half. They weren’t recognizable, but looked as if they contained multicolored shapes and patterns of an almost microscopic substance.
Music that will accompany my geo crystals will be much less “epic” I’ve decided because I want the work to delve into the subconscious level, because that’s the level I’m trying to influence. I’m going back to my interest in artists like Bass Communion here, because the soundscapes cannot be easily defined. In other words, the videos and animations I create this semester will contain more of a sound than a musical score.
The question was asked, “what lens are you looking through?” and although I realize the question was not meant to be a literal lens, the thought of adding an extra sensory level beyond light does sound interesting to me. Similar to this image which uses an infared sensor. Basically, I want to create a timelapse that expresses something beyond the traditional black trees and night sky and juxtapose whites instead. Below is a timelapse I did [Canon 5D Mark III and Laowa 15mm f/4] that shows a 7 second preview of a timelapse using “normal” filtering.
In the past, I’ve discussed moving forward with the concept of duality. This theme is making me wonder what this would look like shot side-by-side with an infrared camera one one end and what you saw above in the other, and then layer each screen in such a way it becomes seamless on one screen with possible 3D integration? This is one candidate that could be used in my two television screen proposal. Originally reconstructed into window frames for Chris Reilly’s class on animation last semester, I want to bring forward the idea of showing two similar but opposite videos and animation on either side of the gallery wall in Ford Hall.
The photographer John Mann and video artist Bill Viola, brought to me by Jason and Chris during this meeting, do have some exceptional aspects I can appreciate. For Mann it’s his idea of repetition and finding the details that connect them. His series “The Fire is Behind You” is great in the sense that these objects (books and their pages) were influenced by something external (the fire) that was recorded with heat impressions. Bill Viola, from what I’ve seen, looks very experimental and drawn out, which again is something my work seems to share.
Below are new images I’ve been working on. I’ll start out with a random one.
I know I’m a tad obsessed with the unexplained, and getting mixed in with symbolism and the unknown. I hope to show archetypal imagery such as night skies, planets, the sun, fire, and seasonal patterns in a new context of specific time eras or completely dissociated from any specificity whatsoever, but with extra attention to cinematic / aesthetic detail. The example above does have a “symbolic” element to it but I’m not quite sure how it resonates with the modern design of the bathroom just yet.
When objects don’t deal directly with symbolism I want them to express power through scale and mood instead, with no additional explanation needed. Below are two examples from looking into a red glass glass as well as down the spine of a plant. It’s the simplicity, the ambiguity, and the unattainable I find so interesting to photograph using macro lenses. Keeping in mind some of the philosophical principles I’ve discussed in the past regarding the ONE, I’m constantly making an effort to keep these textures circular, as well as evocative of spirals and things of that nature.
Moving on from timelapses, animation, and abstractions I want to talk about what kept coming up again and again in this first meeting: Simplicity. Another professor on my committee this final semester, Amy Sacksteader, understands this point very well. She chooses to paint with combinations of graphic patterns, ambiguity, and playfulness in her metaphorical portfolio. Her advice to me last semester was to keep things simple. Building on this idea then is probably my best example seen in my A Variety of Figments series.
This summer has been filled with other experimentation, with the additional category of MOTION containing several additional series, all based on long-exposure photography and objects converged. The example below, Towers Converged, illustrates the same building photographed from two slightly different angles, resulting in the appearance of a shift. I like to think of this shift as time-related one where the building would continue to move with the earth constantly shifting beneath our feet if left in it’s current physical condition.
Keeping in line with motion, here is an example of another type of image I’m developing that plays with motion of landscape in reference to what’s beyond it.
I’m planning on getting more workable images on here soon, while figuring out what aspects of duality (motion, light-dark, layers, details) to focus on for my final show.
Just for fun, this article from Blazepress.com features other everyday objects cut in half