#meda201

A) Depth and breadth of research and analysis by telling us:

Your research into the concepts, artworks, artists or the mediums/media explored. 

The context of the works and ideas. 

How your concept or proposal engages with these. 

I was inspired by the works of Oskar Fischinger, which was researched in the previous assessment. The three I focused on - “Komposition in Blau”, “An Optical Poem” and “Motion Painting No. 1″ - all have a common theme of being in sync with music. I drew my idea for the major assessement from Fischinger’s methodology, which focused on animations that are created without the aid of computers. Fischinger used mediums of acrylic paint and cut-out pieces paper to create the aforementioned works. 

My concept engages with these ideas by featuring rhymic, visually pleasing elements, that will be captured on video but the visuals themselves provided by active participation from people. 

B) Then talk about how you plan to respond these aspects in your proposed project and support this with slides of any sketches or plans you have made.

https://www.youtube.com/watch?v=they7m6YePo

https://vk.com/video2804234_168196055

https://vimeo.com/89193540

The above links are the visual pieces by Fischinger that I researched for the second assessment task, which provided the inspiration and basis for the concept behind my work. 

C) Execution of concept by telling us: 

In what ways are you responding to the work/the practice of the artist/filmmaker?

Incorporating the idea of non-computerised animation, and using artistic materials to compose the work, however in my chosen piece, I will use computer animation, and the analogue materials. This idea links back to Fischinger (as an artist/filmmaker), although he did not use any form of computerised assistance, the visual elements in his works are paints and other art forms. 

How you are developing this concept towards the execution of the final work? Is there relevance to your own practice/discipline/interest? 

There is relevance to my personal practice/disciplne/interest as animation is a strong feature in both, my studies and prefential form of media. This work incorportates elements of creativity in the mediums used, and the details involved in using cameras, post-production editing and effectviely animating that into a comprehensive visual work. 

What is it that you are trying to achieve? 

In this chosen work I am trying to achieve a balance between the respective art worlds: The computerised artforms and the more traditional aspects which focus on the use of physcial, tangible materials. 

D)  Tell us how you will be using the screen or the image in this proposed work. You can support this by showing slides of tests or experiments already conducted (for example if what you did in the video installation or expanded cinema workshops is relevant, show slides of the aspects you are exploring).

E)  Exploration of medium by telling us: 

What medium/ media are you exploring in relation to your conceptual development?

I will exploring the creative mediums involving paint, paper, food colouring, glitter, and other visual components. This will combined with aural and visual elements from the camerawork and post-production editing process, evident in the selected form of presentation. 

How does this experimentation help you develop your ideas in material form? 

This work will take experimentation into a literal sense as it involves the use of various materials with an unknown outcome, therefore developing a sense of experiementation within my chosen work. I will also experiment with how the final work (filmed and edited) correlates to the painting and other activities showcased. 

What kind of formal experimentation with the medium and exploration are you conducting?

F)  Tell us whether the proposed work will it be an installation/performance/single channel work? What is the ideal viewing conditions/how would you like your audience to experience the work? Why have you chosen this final presentation format for the work?

The final presentation will take the format of a multi-screen installation as it is the most effective medium to communicate the end product. This is because a performance or installation would not adequately reflect the components within the work. 

G)  Exhibition and presentation by telling us: 

What format will the work take? Single screen (from beginning to end), projection, installation, performance. 

Why is this form of ‘delivery’ chosen for executing your ideas?

‘Growing’: 

An experimentation of manipulation with an unfamiliar medium to myself. Through exploring the different methods to edit or change original film footage, I discovered that is was hard to predict how it would look once projected. I relied on the unintended patterns and shapes that emerged from my personal research to inspiration ideas for my final piece.  

In the attempt to capture the notion of ‘rhythm’ I began to draw intricate patterns on clear film and in hope it would create a sense of movement and interest. Once slowed, the drawings detail became noticeable and created further interest. The pattern became clearer and often looked like small flowers once projected. I began to expand this concept of a flower; growing and moving. The free flowing movement reflecting the natural movement of the plants. These repetitive patterns are deliberately contrasted with harsh and intense blocks of black, stripes, ink blotches and dots to draw on the battles of the other elements and the constant shift in environment.

- Meghan Hardie 

When starting my cameraless film project, I was inspired by two of Norman McLaren’s works - A Phantasy in Colors (1949) and Spheres (1969). By means of scratching and drawing directly onto film leaders, I was able to create a mixture of shapes, lines and colors. The primary concept I had in mind, being inspired by McLaren, was the blending of those elements, causing one to gradually turn into another as time progresses, even dominate others. The film was edited into what can be seemed as a loop to further indicate this concept. In such a project without an audio, rhythm can be created by repeating certain images throughout the whole video and manipulating their duration (long or short), their speed (fast or slow) or overlapping different footage.

References

Spheres (1969)

A Phantasy in Colors (1949) 

PROJECT STATEMENT

Impulse (16mm celluloid and nail polish) 2016

Jasmine Ryan

Impulse is a short film that experiments with the qualities of 16mm celluloid and film’s ability to depict visual rhythm by manipulating time. Originally I experimented with negative space in forms of scratching and sanding. However, after being exposed to Stan Brakhage’s work I became inspired by his use of bold colours and abstract rhythm.

The nail polish technique called ‘marbling’ intrigued me because of the possibilities in magnifying it’s qualities and it’s interaction with light. To darken areas and create depth I layered some sections of my celluloid and in post-production I added more, changing their direction and speed to emphasise movement.

When approaching the edit I focused my concept around a beating rhythm and fluid movement. My edit was influenced by the relationship I had with Brakhage’s work, Stellar (1993) and also incorporated his use of speed variation seen in his film Love Song (2001). These editing techniques allowed me to create tension and replicate the sudden desire to take action in a rhythmic manner.

REFERENCES: 

Stan Brakhage - Stellar (1993)

Stan Brakhage - Love Song (2001)

Stan Brakhage - The Dante Quartet (1987)

Jennifer West - One Mile Film (2012)