JENNY PARK

Oct 30th: Setting up for Assessment 

Contextual Statement

Possible Future World Scenario

By 2050, earth’s citizens are spending most their time in artificial environments, affecting their quality of life and enhancing stress levels. A new generation of youth called ‘the star children’ are frustrated by the lack of entertainment and face-to-face interaction between their peers. In need of a cultural shift, the ‘star children’ have created an annual ocean music festival held in an underwater infrastructure. It aims to promote social interaction and interaction with underwater life. The event's purpose is to provide the ideal festival experience based on three core values: change is inevitable, joy is ephemeral, and we should always live in the moment. (Everfest, 2017)

Introduction

With a theme of ‘future worlds’ this semester, this project is based on the research of ‘Operating Manual for Spaceship Earth 2050’ by Buckminster Fuller (1968). The manual can be seen as a metaphor and compares planet earth to a machine. The University of Southern California imagines Spaceship Earth 2050 as “a future world where the earth is a spaceship made of 70% water, roughly the size of the moon, a shared vehicle with finite and regenerative resources” (University of Southern California, 2017). The University of Southern California (USC) invited COLAB students to participate and collaborate on a future story-world comprised of interconnected systems. Using their category of culture and festivals, I chose to design a concept for an underwater art installation.

The world’s population has more than doubled in the last forty-five years to seven billion (Bongaarts, 2009). Despite this, younger generations feel more alone, uncertain and disconnected than ever before. ‘Ripples’ uses a speculative design approach based on the values of societal change, sustainability, and shared experience. Dunne and Raby (2013) explain that “design speculations can act as a catalyst for collectively redefining our relationship to reality” (Dunne and Raby, 2013, p. 8). Exploring themes around liminal spaces within the physical and metaphysical realm, the project hopes to enhance mindfulness aspects of the festival experience. Furthermore, the authors state people work where work is available, travel to study and live away from their families. As we channel energy into making friends around the world we no longer need to care about our immediate neighbors (Dunne and Raby, 2013, p. 8). As we have become a society of individuals, the project hopes to bring people together to inspire and aid positive social outcomes.  

Music Festival Culture

 Music festivals are a mega-trend in today’s society due to growing urban density population rates and the growing market for the ‘experience economy’ (Robertson et al., 2015, p. 579). A driving force behind this is the need for individuals to create their own identities and increasing freedom to shape personality. Such experiences become a source of personal information for stories people tell about their lives (Mehmetoglu & Engen, 2011). Engagement with new and virtual landscapes and with the enhanced sensory feelings and imaginations that technologies can offer may enhance the overall experience by adding relevance and meaning to the attendee (Robertson et al., 2015, p. 567). Throughout history, technology has bridged the gap between reality and science fiction. Technologies within festival environments have the potential to facilitate liminal space, allowing for new cultural identities to emerge (Robertson et al., 2015, p. 581). Author and theologian Richard Rohr describes liminal space as the places “where we are betwixt and between the familiar and the completely unknown” (Threelevers, 2017).

Synergy & sustainability

 Based on the principle of Synergy - "Synergy is the only word in our language meaning behavior of wholes unpredicted by the behaviour of their parts". Fuller (1968) explains that the “Universe is synergetic. Life is synergetic” (Fuller, 1968, p. 23), everything is connected and one action can create a ripple effect. Here, he is referring to a need for humans to be in symbiosis with nature in order for human race’s survival on earth. This directly correlates with our impact on global warming as a collective whole, reflecting society’s perspectives in failing to realize the implications that actions, no matter how small can have on the entire world. Fuller's (1968) observations of society conclude that people do “not think there are behaviors of whole systems unpredicted by their separate parts” (Fuller, 1968, p. 22).

 Social engagement & shared experience

Within the consumer mindset, the trend of time sensitivity encourages us to eliminate “dead” time and use all moments of the day for constructive or rewarding activity (Yeoman, 2008). What results is the consumer’s desire for greater efficiency and convenience —something that has been coined the culture of immediacy (Kleijnen, Ruytor, & Wetzels, 2007). The success of future festivals will depend on the intellectual and emotional depth of the participant along with their type of involvement. Everfest Magazine (2017) reports that “Humans have been converging for shared, communal experiences for as long as we have been humans. This social nature is a defining trait of our psychology, hardwired into our instincts and the driving force behind much of human societal development (Everfest, 2017). Themes of interest include the juxtaposition of living in a connected world within a disconnected era and the implications this may have for a future society.

Conceptual Statement

Goals before the semester

The purpose of this assignment was to imagine future worlds for a better future. An important aspect of this semester was to successfully complete all personal goals as I wanted to focus on my development of skills and learning experience.

 Personal goals at the beginning of this semester included: 

Successfully complete my first solo project to a professional standard within the scope  of a potential future career. The main goal was to complete a sculpture or installation that could be pitched to event or festival organizers in the industry.

Develop tactile knowledge, learn more practical skills related to sculptural installation design and textile manipulation processes. This is the area I would like to specialize in after completing my degree. Use of elective     papers to guide my studio project. I have always been a tactile, hands-on     learner so I wanted the techniques displayed within my project to reflect     my identity as a creative technologist.    

Creative experimentation and complete freedom as the central element of my finished outcome. Most of the time I am too focused on achieving perfection which tends to hinder progress. Embracing mistakes and allowing the process to dictate the final outcome held importance and relevance for my personal development.

Aim of project

The aim of my project was to employ explorative methods, techniques and approaches to create an immersive installation. Through research and from personal experience at festivals, ‘chill zones’ are places designed for festival-goers to wind down and relax. As my previous studio project was projection-related, I wanted to expand on the initial concept to communicate levels of deeper engagement.

 Meaning behind physical concept

 The concept behind the design of the installation investigates ideas around permeance in a physical and metaphysical space. Fuller argues that each experience begins and ends, therefore, is finite (Fuller, 1968). Therefore, the “universe as experientially defined, including both the physical and metaphysical, is finite” (Fuller, 1968, pp. 19, 20). Through asking questions such as what kind of immersive experience might the future offer? and brainstorming potential future worlds, I moved on to immersive environments within the physical domain, as opposed to virtual. In an interview with Hyun Jean Lee, the artist gives insights into “the screen, as a boundary object, is a conceptual realm. It simultaneously contains diverse times and spaces in it. Therefore, the screen becomes a psychological and philosophical domain” (Generactive, 2017). Virtual reality will play an important role in the future world of emerging technologies. Through the construction of my sculpture, I wanted to place importance on staying grounded and having a ‘synergetic’ balance between both physical and metaphysical realities.

The final outcome is an immersive video installation projected onto transparent screen-printed fabrics with matching audio (Video edited using Premiere Pro and After Effects). A play on light, shadows, repetition and layers for a ‘3D surreal dream trip’ quality. The organic wave pattern displayed as the main feature is an important motif about the healing properties of nature.  The film also re-iterates these values - a tribute to the important role nature has to play in our daily lives.

Meaning behind video content

Utilizing technology and experimental textiles, I wanted to enhance the immersive nature of these spaces for a heightened experience. After speculating upon multiple possible futures, I chose to focus on re-creating a narrative centered on earth’s creation that unfolds in phases. The interpretation of this dialogue will vary depending on the viewer’s personal experience. Each person will have their own memories associated with nature. Through the scale of the work, I wanted the viewer to feel insignificant in comparison and create a sense of awe. De Botton (2005) adds that landscapes reduce anxiety as they represent infinite space and time to make individuals feel small in comparison (De Botton, 2005).

 Liminal Spaces

 Victor Turner defines liminality as a transitional stage of ‘inbetween’ normal conditions present in many cultural or sacred traditions and rituals throughout human history (Andrews & Roberts, 2012). It is the place where all transformation takes place, as liminality has an ambiguous nature and could represent a period or space. Liminal Spaces represents thresholds of a place that enters or begins (Andrews & Roberts, 2012). Audio has been selected and carefully arranged to portray such transitional periods. The final effect is a mixture of physical processes to create a liminal, metaphysical realm. The multiple layers are not only physical filters but reflects how a change in one aspect of life will always intersect and intertwine with all other areas one way or another. Belonging, according to Maslow (1954) is a primal need, so natural instincts will lead you to create another life for yourself. If our liminal spaces are approached boldly with intentionality and with community, there is a better and more confident future to come.

Fig 1: Martin, D and Joomis, K. Building Teachers: A Constructivist Approach to Introducing Education, (Belmont, CA: Wadsworth, 2007), pp. 72–75.

 Developments to concept

Initial inspirations stemmed from research on sensory deprivation tanks and anxious millennials. The original idea was to create an ‘escape pod’ or private place for festival goers to relax. However, I struggled with understanding the concept of ‘future worlds’ – millennials will not even exist 50 years from now. After a few collaborative Skype sessions with Joe from the University of Southern California and feedback discussions with Pete, I was challenged to think more critically. After some deliberation, I redirected my research and envisioned possible future world scenarios. After researching the effects of global warming, I chose to create a public installation space based on liminal space and shared experience.

Process & techniques used

In terms of construction, I wanted to question current methods of conceptual design within the context of projection mapping. Each week I completed a workshop in the printmaking facility to push my personal boundaries as a creative technologist and enhance my skill set. Fabric finishing was surprisingly the most difficult element of this project due to the precision needed and the unstable nature of fabrics. Instead of utilizing traditional digital methods, I wanted to challenge myself to incorporate unusual or organic forms such as textiles and surface manipulation techniques to physically distort perspectives, scale, and alter the image in a tangible way. I wanted to create a relationship between the digital image and physical screen to embrace social inclusion which corresponds with Spaceship Fuller 2050’s ideas on connected systems.

 Personal Reflection

Sculptural installation is the field I enjoy working in most and is the truest reflection of myself as a creative technologist. Due to the solo nature of my project, limiting the technical scope was crucial in defining time constraints. If I were to collaborate in the future, I would assign the technical functionality role to another person whilst personally taking responsibility for construction design and the project management role. However, attempting a solo project challenged me to take complete responsibility for time management and complete creative direction. I am confident to have successfully achieved all three personal goals this semester. These include designing and constructing a completed sculpture, mastering six different practical skills related to experimental surfaces and textile manipulation (Mono-print, Collagraph, Screen-printing, Clay and Procast, Latex, Foiling, Marbling, Transfer inks and combinations of processes). This explorative approach helped me embrace mistakes and incorporate this process into the final outcome. Prototyping and researching for the first half of the project were useful as it allowed time to retain information and skills learned.

 References:

 Andrews, H., & Roberts, L. (2012). Liminal landscapes: travel, experience and spaces

in-between. Routledge. Retrieved from: https://books.google.co.nz/books/about/Liminal_Landscapes.html?id=Su44F1hWMSoC&redir_esc=y

 Bongaarts, J. (2009). Human population growth and the demographic transition. Philosophical

Transactions of the Royal Society of London. Series B, Biological Sciences, 364(1532), 2985–90. Retrieved from: https://doi.org/10.1098/rstb.2009.0137

 De Botton, A. (2005). Status anxiety. Vintage International.

 Dunne, A., & Raby, F. (2013). Speculative everything : design, fiction, and social dreaming.

Retrieved from https://mitpress.mit.edu/books/speculative-everything

 Everfest. (2017). A (Brief) 1,000 Year History of Music Festivals. Retrieved October 28, 2017,

from https://www.everfest.com/magazine/a-brief-1000-year-history-of-music-festivals

 Fuller, R. B. (1968). Operating Manual For Spaceship Earth Operating Manual For Spaceship

Earth Operating Manual For Spaceship Earth. Retrieved from http://designsciencelab.com/resources/OperatingManual_BF.pdf

 Generactive. (2017). Interview with Hyun Jean Lee. Retrieved October 28, 2017, from

http://generactive.net/interview-hyun-jean-lee/

 Kleijnen, M., De Ruyter, K., & Wetzels, M. (2007). An assessment of value creation in mobile          

service delivery and the moderating role of time consciousness. Journal of Retailing, 83(1), 33–46.Retrieved from: https://doi.org/10.1016/j.jretai.2006.10.004

 Mehmetoglu, M. & Engen, M. (2011). Pine and Gilmore’s concept of experience economy and

Its dimensions: An empirical examination in tourism. Journal of Quality Assurance in Hospitality & Tourism, 12(4), 237-255. Retrieved from: www.tandfonline.com/doi/abs/10.1080/1528008X.2011.541847

 Robertson, M., Yeoman, I., Smith, K. A., & Beattie-McMahon, U. (2015). Technology, Society,

And Visioning The Future of Music Festivals. Event Management, 19, 567–587. https://doi.org/10.3727/152599515X14465748774001

 Rohr, R. (2003). Everything belongs : the gift of contemplative prayer. Crossroad Pub.

 University of Southern California. (2017). Spaceship Earth 2050. Retrieved October 28, 2017,

from http://worldbuilding.usc.edu/projects/spaceship-earth-2050/

 Yeoman, I. (2008). Tomorrow’s tourist: Scenarios & Trends. Elsevier. Retrieved from

https://books.google.co.nz/books/about/Tomorrow_s_Tourist.html?id=rBoODHyzTZQC&redir_esc=y

Contextual Research  Speculative Design

Week 4

Dreams are powerful. They are repositories of our desire. They animate the entertainment industry and drive consumption. They can blind people to reality and provide cover for political horror. But they can also inspire us to imagine that things could be radically different than they are today, and then believe we can progress toward that imaginary world.1

Design speculations can act as a catalyst for collectively redefining our relationship to reality.

For us futures are not a destination or something to be strived for but a medium to aid imaginative thought—to speculate with.

This space lies somewhere between reality and the impossible and to operate in it effectively, as a designer, requires new design roles, contexts, and methods.

We believe that by speculating more, at all levels of society, and exploring alternative scenarios, reality will become more malleable and, although the future cannot be predicted, we can help set in place today factors that will increase the probability of more desirable futures happening.

We are more interested in designing for how things could be. Conceptual design provides a space for doing this. It deals, by definition, with unreality. Conceptual designs are not conceptual because they haven’t yet been realized or are waiting to be realized but out of choice. They celebrate their unreality and take full advantage of being made from ideas.

Conceptual designs are not only ideas but also ideals, and as the moral philosopher Susan Neiman has pointed out, we should measure reality against ideals, not the other way around: “Ideals are not measured by whether they conform to reality; reality is judged by whether it lives up to ideals.

we have become a society of individuals. People work where work is available, travel to study, move about more, and live away from their families.

As we channel energy into making new friends around the world we no longer need to care about our immediate neighbors.

Fourth, the downgrading of dreams to hopes once it became clear that the dreams of the twentieth century were unsustainable, as the world’s population has more than doubled in the last forty-five years to seven billion.

Now, a younger generation doesn’t dream, it hopes; it hopes that we will survive, that there will be water for all, that we will be able to feed everyone, that we will not destroy ourselves.

But we are optimistic.

We live in a very different world now but we can reconnect with that spirit and develop new methods appropriate for today’s world and once again begin to dream.

Experimenting with different methods of textile manipulation

Latex, Clay Sampler, Procast. 

Week 11, 12, 13 - Watching tutorials, Editing the video and matching to audio

Editing the video was a time consuming but rewarding process as I developed my basic video editing skills on Premiere Pro. I used inspirations from travels vlogs from youtube, basing my ideas around time fast forwarding and pausing to create a ‘timeless’ sense when watching the film. 

I downloaded stock videos from online and cut up and remixed the clips to create my own narrative about earth’s creation. I really wanted the visuals to be striking and appealing when projected onto the installation. The reason I used stock videos was due to the fact that I wanted to feature animals and a variety of different places to send the viewer on an immersive journey. 

The audio was chosen from a playlist I created over the past few weeks as I travelled from place to place - After researching liminal spaces, I wanted to create a kind of soothing playlist that feels transitional yet still permeable. I also wanted the music to be fitting with a festival landscape which tends to need some music with a basic beat and rhythm. I wanted it to feel very primal but calming at the same time. I have decided to use 4 tracks that transition between different stages - physical places, earth, animals, water, life / transitional periods - sun setting, moon rising etc. I have chosen to make the video about 10 minutes in length as I don’t want it to be repetitive and actually have the callming effect it is meant to.

Video Reference Links

https://docs.google.com/document/d/1QY-a1UaEjRrwpW-2W_RpQ756pOa-3O7VDLqJFGMO8_Y/edit?usp=sharing

APA Video References: 

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A Quick Trip To Space. (2014). YouTube. Retrieved 20 October 2017, from https://www.youtube.com/watch?v=IQ0lT3CJEzc

AQUARIUM - ROYALTY FREE Stock Footage HD 1080p. (2013). YouTube. Retrieved 17 October 2017, from https://www.youtube.com/watch?v=dnYz2f-Lf7g

Big Waves Hitting Shore and Sea Lions. (2017). Videos.pexels.com. Retrieved 19 October 2017, from https://videos.pexels.com/videos/big-waves-hitting-shore-and-sea-lions-1006

Creatures Underwater - Free stock video of water, animals, fish. (2017). Videos.pexels.com. Retrieved 2 November 2017, from https://videos.pexels.com/videos/creatures-underwater-2185

Deep Sea - Underwater 2- Stock Footage HD Background Video 1080p. (2016). YouTube. Retrieved 24 October 2017, from https://www.youtube.com/watch?v=PLXBQ78jFJ0&t=12s

Fish Tank Nemo and Nem Coral Aquarium | FREE HD Stock Video Footage. (2017). YouTube. Retrieved 16 October 2017, from https://www.youtube.com/watch?v=h-NaGt3Fh9w

Free HD Stock Video Footage - Blowing Underwater Bubbles. (2016). YouTube. Retrieved 16 October 2017, from https://www.youtube.com/watch?v=2VIvBIc5zeY

Free Slow Motion Footage: Rising Air Bubble. (2013). YouTube. Retrieved 13 October 2017, from https://www.youtube.com/watch?v=zXlAbuV-ago

Free Stock Footage: Sea Creatures. (2017). YouTube. Retrieved 18 October 2017, from https://www.youtube.com/watch?v=3bDufjZ3NvM

Free stock video of water, nature, waterfall. (2017). Videos.pexels.com. Retrieved 21 October 2017, from https://videos.pexels.com/videos/nature-s-waterfall-footage-2442

GoPro Underwater Bubbles. (2013). YouTube. Retrieved 20 October 2017, from https://www.youtube.com/watch?v=q2ZgPVPgp5E

MediaSpark Underwater Bubbles 720p. (2012). YouTube. Retrieved 14 October 2017, from https://www.youtube.com/watch?v=8atREVnb2g8

Polar bear swimming underwater. (2014). YouTube. Retrieved 17 October 2017, from https://www.youtube.com/watch?v=0AQCUpjz8Ok

Stones, Waves, Water - Free stock video of water, nature, river. (2017). Videos.pexels.com. Retrieved 18 October 2017, from https://videos.pexels.com/videos/stones-waves-water-490

Time lapse of Waves - Free stock video of water, sea, ocean. Videos.pexels.com. Retrieved 19 October 2017, from https://videos.pexels.com/videos/time-lapse-video-of-sea-waves-1391

Underwater Video of Sea Turtle. (2017). Videos.pexels.com. Retrieved 17 October 2017, from https://videos.pexels.com/videos/underwater-video-of-sea-turtle-1013

Waitomo's Lights - Avatar in Real Life - 4k. (2016). YouTube. Retrieved 19 October 2017, from https://www.youtube.com/watch?v=AlLKjKgV5So&t=32s

Water Flowing From Creek - Free stock video of water, river, creek. (2017). Videos.pexels.com. Retrieved 17 October 2017, from https://videos.pexels.com/videos/water-flowing-from-creek-1630

山口でダイビングを楽しんでダイバーが吐く泡ってキレイ. (2014). YouTube. Retrieved 19 October 2017, from https://www.youtube.com/watch?v=P6SHCtADD7s

Beautiful Moon Rises through Night Clouds. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/beautiful-moon-rises-through-night-clouds-1477

Beautiful Moon Rises through Night Clouds. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/beautiful-moon-rises-through-night-clouds-1477

Bird's Eye View of a Cliff. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/bird-s-eye-view-of-a-cliff-1416

Footage Of Nature Waterfalls. (n.d.). Retrieved October 20, 2017, from https://videos.pexels.com/videos/footage-of-nature-waterfalls-2465

Free video - Sea, Waves, Splashed, Splashing. (n.d.). Retrieved October 02, 2017, from https://pixabay.com/en/videos/sea-waves-splashed-splashing-foam-4007/

Lightning Bolt At Night. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/lightning-bolt-at-night-1258

Milky Way Glowing At Night. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/milky-way-glowing-at-night-1174

Rising Full Moon Timelapse. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/rising-full-moon-timelapse-1696

Three Swans By The Lake. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/three-swans-by-the-lake-1339

Time Lapse Video Of Aurora Borealis. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/time-lapse-video-of-aurora-borealis-720

Time Lapse Video Of Black And White River. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/time-lapse-video-of-black-and-white-river-1396

Time Lapse Video Of Night Sky. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/time-lapse-video-of-night-sky-1274'

Video Of Bokeh Lights. (n.d.). Retrieved October 02, 2017, from https://videos.pexels.com/videos/video-of-bokeh-lights-1306

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YouTube. (2011). A Space Journey (HD). [online] Available at: https://www.youtube.com/watch?v=Un5SEJ8MyPc&t=59s [Accessed 13 Oct. 2017].

YouTube. (2011). Kee waves slow motion 2. [online] Available at: https://www.youtube.com/watch?v=K9Lk2_3kf8Y&t=89s [Accessed 13 Oct. 2017].

YouTube. (2012). Waves of Water - HD Footage. [online] Available at: https://www.youtube.com/watch?v=bbnn1GYxFRY [Accessed 18 Oct. 2017].

YouTube. (2013). CG Creations. Nebula Space Trip, HD. [online] Available at: https://www.youtube.com/watch?v=SD2QPardt4c [Accessed 18 Oct. 2017].

YouTube. (2013). Flowing Water - HD Stock Footage Background Loop. [online] Available at: https://www.youtube.com/watch?v=a0Qk-tsGY5Q [Accessed 20 Oct. 2017].

YouTube. (2013). Free Slow Motion Footage: Big Splash of Water. [online] Available at: https://www.youtube.com/watch?v=pwA_VW6s-ns [Accessed 20 Oct. 2017].

YouTube. (2013). Free Stock Footage: Fish Swimming in Ocean Kelp Bed. [online] Available at: https://www.youtube.com/watch?v=R3aA6TqvNg0 [Accessed 21 Oct. 2017].

YouTube. (2013). Salt - Episode 3 - Moments. [online] Available at: https://www.youtube.com/watch?v=E3ILeaLA0SU&t=66s [Accessed 19 Oct. 2017].

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Studio Final A3 Poster, Video Showreel and Youtube Link

Video showreel link: https://www.youtube.com/watch?time_continue=18&v=QvGSIYlEnzA

Youtube link: https://youtu.be/QvGSIYlEnzA

Week 12 - Experimental Surfaces

 Final Collage Series  ‘Rising sea levels’

Personal Reflection Statement

This paper has really added a practical element to my overall practice, and also directed the studio project in my major that has greatly impacted my working style and aesthetic. Incorporating my studio themes with this elective has been extremely useful to help motivate me, make deeper connections and experiment further. The weekly classes were also quick paced so that I could cycle through a variety of processes, explorative methods and gave me enough samples/ideas before jumping into my final collection. An important theme from the beginning in my works is ocean conversation, addressing the impact and consequences of global warming through a visual and tactile way.

My main motifs have been ‘sky meets the sea’. In the beginning of my research, I stayed in my comfort zone and chose an artist that was very similar to my usual geometric/minimalist visual aesthetic - Joanie La Mercier, however I felt that I didn’t have enough process/ imagery inspiration so delved deeper and chose another artist - DAIN. His incorporation of subject matter, expressive  imperfections, paint techniques and multimedia style of collage was a major inspiration.

I decided to use water and the ocean as my theme, with blue, pink and green as my colour palette. As subject matter imagery, I chose body parts submerged in water as I wanted my final piece to have a lot of dynamic colour and movement like DAIN. The experimental element of this paper has also helped me embrace imperfections and allow the process to impact the final outcomes as I tend to focus on making things perfect. As a practitioner, it has allowed me to broaden my skills and push myself further creatively to be open, expressive and add identity to my works. The technique I was most drawn to was screen printing, gel transfer and foiling so I have incorporated samples from throughout the past few weeks into a final collage series.

Week 12 - Testing final screen arrangements

(Using test video from youtube) 

I’m really happy with how this turned out as it created the dream-like effect like I had hoped, with each layer being affected differently. I have begun to start collating videos to remix into a brand new narrative of my own. 

Week 12- Studio Final Project:  Final Installation Screen arrangement

Have finally tested multiple different arrangements, switching over which fabrics work in front or in the back etc. Have a backup plan in case I don’t get a wall. Frame angle is also adjustable so I can alter perspective depending on projector height and location.

Week 12- Heat Setting Fabrics using the heat gun

(Visual Diary)

Week 11 

Week 9- Prototype 1 onto screen-printed mini-screens

Week 10 - Prototyping different fabrics 

Week 12- (Day 5) Foiling onto Screen 1 using press-roller instead of etching press