Finally got round to making my professional website.
At first I had a lot of trouble as I am pretty useless with computers. However I have found a great website builder called Wix which is great as its easy to use and looks great. Really happy with how it has turned out. Whilst building it I realised that the colour scheme of blue and yellow has been pretty consistent through my work over the last couple of years so decided to use these colours as the background an overall theme to the website.
There is still a little work to do on it like filling in the text and making updates on latest news, but this will develop as I create more work and involved with more exhibitions.
I first started looking at colour pigment in second year and was particularly interested in how the colour of the sky during the day changed due to the light in the sky.
In my first gap crit I then started look at working with light to represent light itself. In stead of painting the effects of light mixing why don’t I just mix light itself.
Videos on how coloured light interacts with objects along side possible exhibition ideas set-ups and prototypes.
My second Gap Crit. Choosing whether large or small scale would be more successful for degree show showing both large and small scale work and trying to make a decision about what would be more successful. Also documentation of coding.
Choosing that simplicity may be the key to represent colours in contrast. The making of the boxes and how they are going to be used in the show.
Chromophobia and David Batchelor. Here I became interested in how colour is secondary to the primary of form and how colour in the west at least is seen as something to either be afraid of or not even considered seriously.
James Turrell. How within his works he manages to fill rooms with colour totally immersing the audience but also creating voids and an illusion of space and movement.
Looking into optical illusions and op-art and how the combination of colour and colours in contrast can create illusion. Also how the eye learns to see colour where there isn’t any.
Beau Lotto. Looking into how the brain and the eye actually sees colour Lotto is a neuro scientist who looks at ideas from Chevrul and ideas on colour constancy and colour correction.
Amalia Pica is a Latin American artist who uses overlapping circles of coloured light. Different to my work hers refers to her childhood in 1970s Argentina. During this time the country’s military forbade the concept of intersection (where elements of B also belong to elements of A), from being taught in elementary classes, concerned that its mathematical representation might ultimately prompt the public to conspire against it. In her work she invites the audience to manipulate the translucent shapes, producing new outcomes. The piece uses abstraction and intersection as an invitation to re-imagine ideas concerning collaboration and community.
The use of colour is similar to my work. I’m interested in looking at how two fields of light interact with each other and what happens to the colours in the space where they mix. There is an element of uncertainty as to what is going to happen when there are may colours that could possibly be layered or combined. This is another example of how complex colour theory and colour mixing can be. An endless array of colours that are possible to be explored.
Here are two of the boxes originally made as shelves to house smaller objects similar to the small prototype in the videos and pictures beforehand. However after playing around with a few light compositions I enjoyed the simplicity of the boxes alongside the bare coloured bulbs.
I took the two boxes down to the 1st floor stair area where the angles of the architecture under the stairs compliment the angles and lines created by the shadows of the edges of the box. I also wanted to see how the objects would look in a semi lit area. It is not totally dark in the stair case but this allows me to play around with possible lighting levels also.
By changing the bulbs around it allows me to see which colours work better with others. the strongest colour is blue with red after green after that and yellow last. The Yellow bulb is more of an orange yellow and doesn’t give as strong a colour as the other three. Also using only the three bulbs red green and blue would make sense due to the primary RGB colour spectrum of light.
The more I look at composition and trialling compositions and ideas out the simpler the ideas and results become.
Another thing I noticed and hoped would happen from the start is that the shadows created by the light tend to be the complementary colour of the original. So from RGB we get CYM Cyan Yellow and Magenta. Going back to my previous point about simplicity, a minimal structure showing this simple effect could show it better than placing objects inside the shelves themselves. Especially if I’m also mentioning and relating my work to colour becoming the primary function over form and the idea that colour is contained by forms. Here colour spills out on to its surroundings giving an interactive platform.
Michel Eugene Chevreul was a chemist who’s work led to early applications in fields of art and science. He was known for having invented a better dye technique which then led to his work The Principals of Harmony and Contrast of Colours.
A contrast effect is the enhancement or diminishment of a colour, relative to the normal perception of it. A colour can be seen as brighter or more vivid with am opposite or contrasting colour next to it.
As part of my documentation throughout the years I have taken a few Videos that have allowed me to show the optical illusions I am interested in. I find that the work I did last year supports the work I do this year very much, however the materials I use has changed dramatically.
I originally worked with oil paint creating colour fades from one colour to another and then on to the next and so on. Video 1 and video 2 are an experiment starting from the centre of the painting then moving outward. The effect of starting with one colour within the field of view and then moving outward introducing other colours surrounding effects the original image dramatically. This optical effect is something that has inspired me through out this year and considered within my most recent light experiments.
Please click video to see in real time how the colour changes within prototype.
Please click video to see time lapse of colour light changing in prototype.
The above two videos are an example of a prototype made with an infinity backing. The curved back gives the illusion of space, the lack of corners gives no reference point allowing to judge sense of depth.
Please click video to see how light in motion reacts with objects.
Please click video to see how light in motion reacts with objects focusing on colour of shadow.
Please click video to see a possible idea for a hanging sculpture.
In the last couple of videos I start to look at how the shapes of the objects create shadows. Its interesting that when using a red light the shadows and the low lights tend to look almost green in colour. This is another interesting optical effect which could be considered for final piece ideas.
Learning how to use electronics has been helpful useful and interesting however it hasn’t come without its difficulties either. I first started coding when attending one of Paul’s electronic workshops.
In this workshop we made a small series of LED RGB lights, learning how to solder each individual component together to create a circuit. The hardest part of all of the process is the coding of each individual LED. I’m familiar with the science and the practical but have never really been that good with computers.
I’m finding it difficult to create such a complex series of lights and it being as successful. Its ok coding up to 5or 6 LEDs but I know I’m going to be roughly using up to 20-25 led to light the boxes and the objects inside sufficiently and to give the desired effect.
After trying out some possible ideas in both a small staged box and on a plinth I thought the composition worked bes within the box setting. I came to this conclusion as it means I can stage the scenario within the box thus creating a more controlled environment for me to create the best results with the light. This also allows me to easily hide wires from the lights and any imperfections that the objects may have picked up in the making of. Only having one viewpoint allows for more control and ease of making.
So from the small found shelf that I used as a trial composition I then needed to make something similar but up scale it. I wanted the structure to sit on the wall like a box shelf at head height so needed to strong enough to hold the weight of the box and the fixtures, lights and objects that would be inside. I also had to take into consideration that I need space to hide wires and enough room to make fixtures without damaging the box also.
This is what I designed and created. Using 12mm MDF I essentially made two boxes which after made one would sit inside the other leaving a 6cm boarder from the outside edge to the inside edge. Between the two shells as I started to call them I placed supporting pillars of MDF to give the box both strength and to wedge the boxes into the right position ready for the front panels to be placed on.
This design created a hollow frame for me to be able to hide wires and allow me to place on the wall easily. The space between the shelves both at the top and the bottom would be slotted on to brackets already placed on the wall. The shelf would sit on these at two points securely.
Mark Rothkos’ work has inspired me a lot and reviewing his work in this late stage has allowed me to make some critical decisions on how my final piece will inevitably look and feel.
With Rothkos’ work the canvases are large filling the whole wall and the whole of the viewers visual field at times. These great expanses of colour have been cut and pulled forward and backward buy the clever use of colours in contrast. Colours seem to float in front of others while others are pushed backward and never ending. The simplicity of the technique used creates such a dramatic effect.With just two colours a void can be created!
This book Pictures of nothing, Abstract Art since Pollock by Kirk Varnedoe is a great insight in to minimalist and abstract artworks. The book proposes questions such as “what is abstract art good for?” questioning what its use is for individuals and for society as a whole. When a lot of minimalist and abstract looks as though its about or of nothing… often just a white canvas or cube, they do not show anything other than themselves.
This elates to my work as I’m particularly interested in how light represents the illusions of light. I’m not interested in it conveying any other message that what it is. I feel that this is important to people and society as it allows people to appreciate the simplicity of things and allows for time to slow down.
I personally enjoy the more minimalist pieces of artwork as they are not trying to allude to anything of the world they merely exist as they are. The white canvas represents a white canvas.