Fluid exploration – Outcome

Paranoia [Trailer] from Nicole Olivetti

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work in progress – SOUND

here’s the soundtrack for the trailer that Ryan created for it

It’s always a pleasure to work with ryan because he totally understands what i’m going for and always creates the perfect sound/music for what I’m creating visually. We worked together last year aswell for my DBFR project with Ana. We also do our own music together that I create visuals for~

I was majorly inspired by this delicious soundtrack:

FEMINIST AVANT-GARDE OF THE 1970S

Went to go see an exhibition on Feminist Avant-garde of the 1970s at The Photographers Gallery I found it quite interesting and inspiring,
These are some of the works I liked the most:

I decided to do more research into Cindy Sherman’s work as it was suggested to me at the review as she did a whole series on recreating movie stills:

“Masquerading as a myriad of characters, Cindy Sherman (American, born 1954) invents personas and tableaus that examine the construction of identity, the nature of representation, and the artifice of photography. To create her images, she assumes the multiple roles of photographer, model, makeup artist, hairdresser, and stylist. Whether portraying a career girl, a blond bombshell, a fashion victim, a clown, or a society lady of a certain age, for over thirty-five years this relentlessly adventurous artist has created an eloquent and provocative body of work that resonates deeply in our visual culture.”

The Love Witch

LOVE WITCH TRAILER from Anna Biller

more and more inspiration! The colors! the sets! the looks! BYE Y’ALL.

interesting article about Anna Billers film The Love Witch on Another 
“The film is blessed by the striking, celluloid beauty of 35mm, which is perfectly offset against the kitsch costumes of Biller’s characters and the vivid artwork that adorns the walls of their abodes – all meticulously crafted by the director herself.”

 

Tutti i colori del buio, 1972

Watched All The Colors of The Dark (Tutti i colori del buio, 1972) the other night to get more familiar with some classic italian giallo films. This one is set in London and follows a woman (Edwige Fenech) who joins satanic rituals out of fear that a man (Ivan Rassimov) is trying to kill her.


Despite the terrible spoiler-filled trailer the movie itself was a great watch, I made sure to keep a note of how everything was filmed, the angles, lighting etc and even saved stills of scenes that stood out to me or reflected the giallo aesthetic I’m intending to capture.
I was particularly interested in the pursuit aspect of this film as I’d like the film that I make (if I go with that idea) to be about the feeling of being watched and pursued, tension rising until the end when the identity of the pursuer is revealed to the viewer.

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BIRD HOUSE [research]

Looked into the negative impact of captivity on birds

It’s never been shown that birds in the wild self mutilate and feather pluck. Only domestic birds. Birds in captivity can become depressed and bored and start self-harming by pulling out their own feathers or picking at their on skin and feet. The pulling out of feathers can get so bad that they no longer grow back and in turn lose their ability to fly.

Wing Clipping
wing-clipping
Wing clipping is the process of trimming a bird’s primary flight feathers (“primaries”) so that it is no longer fully flighted.
In addition to the physical effects of wing-clipping, there can be adverse behavioural effects. Birds use flight as an instinctive reflex action and as their first means of escaping any threat: they take to the air to fly upwards and away from the source of the threat; their fear then dissipates. Where this behaviour is prevented by wing-clipping, this innate reflex action is denied the bird, and its fear will not subside. This may cause behavioural problems for the afflicted bird.

I find it quite distressing when people purchase birds without doing any research into what caring for one really entails. Some people think it’s okay and normal to leave a bird in a cage all the time and just feed it seeds and keep it pretty much just for decoration. Birds are very intelligent animals and deserve to be treated as such. So help me god if I see someone leaving their pet bird in one of those round cages..birds need corners because it gives them a sense of privacy and gives them somewhere where they feel they can hide By putting a bird in a round cage you are subjecting them to a constant state of panic and anxiety.
I was really frustrated about terrible bird owners so I made these drawings with some fancy new oil pastels I bought:

note: I meant to write “Not your pretty BIRD“, my mistake!

 Really lovely documentary showcasing different kinds of bird nests, how they’re built and why they are important. What was interesting aswell was how it showed how unique each nest is depending on the type of bird. Each one using different materials and perches to start their nests using similar but varying techniques..
I really liked how it ended with linking it to how even humans build their own nests when we climb in to bed at night after a long day
The ending reminded me particularly of my screen print project from last year where I illustrated my boyfriend asleep in his bed and it could be interesting to have an opportunity to continue and elaborate on what I started last year.
Scan 34I turned the lino cut print into a large A1 colored screen print. I had planned to do some more, different poses and combine it with other life  drawings
Scan 49
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HUMAN NESTS = BED
bed
photo by @Roo_Roo_S

The Hotel, Room 47 1981 by Sophie Calle born 1953
The Hotel, Room 47 1981 Sophie Calle born 1953 Presented by the Patrons of New Art through the Tate Gallery Foundation 1999 http://www.tate.org.uk/art/work/P78300

Sophie Calle
The Hotel, Room 47 1981
“On Monday, February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday, March 6, the job came to an end.”
Calle’s descriptions of the hotel rooms and their contents combine factual documentation along with her personal response to the people whose lives she glimpsed by examining their belongings.Outside the room, she listens at doors, recording the occupants’ conversations or any other sounds she may overhear, and even peers into a room when the floor-waiter opens the door to catch a glimpse of the unknown guests.
Calle began her artistic projects in 1979 on returning to Paris after seven years’ travel abroad. Disorientated, she felt like a stranger in her own city, not knowing how to occupy her time. She started to follow random passers-by and spend her days as they did. Eventually she picked up the camera she had been experimenting with during her time abroad and photographed the strangers, writing diaristic notes of their movements. From this she has developed a particular way of working, collecting information about people who are absent and investigating her subjects like a detective.

Sophie Calle’s observations of people reminds me of how the bird nest documentary from earlier showcased all those different bird nests, collected and documented and then put on display in a museum. Similar to Calle’s work, who in this case photographs and documents human “nests” and displays them also in museums perhaps as a way to understand ourselves better? I don’t know..

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Sophie Calle
The Sleepers, 1979
“I asked people to give me a few hours of their sleep. To come and sleep in my bed. To let themselves be looked at and photographed. I took photographs every hour. I watched my guests sleep” (Sophie Calle, The Sleepers, 1979).
Sophie Calle’s intimate portraits of strangers who she invited to sleep in her bed is a consummately resolved installation, and marks the beginning of her intense examination of the boundaries between public and private life.
The Sleepers (les dormeurs) commanding physical presence is offset by the intimacy of people captured during their most private time, but by doing so in somebody else’s space, the work provides us with an immensely powerful and prophetic insight into the innate human desire for companionship, while at the same time retaining the basic need for privacy in our increasingly public world.