Questions
Why did you choose the direction you took?
Was it influenced by research? - if so which?
How did the idea develop and why?
What approach did you take? Drawing? Straight to computer? How did this work for you and what did you learn?
What challenges did you face in realising the idea? (ie how to visualise it, any technical issues etc?) and how did you overcome them?
What materials techniques did you decide on for the outcome and why?
How did you present it?
Looking back what worked/didn't work about your approach? What did you learn that might help you in future projects?
Project 2: GUILTY PLEASURES
The Guilty pleasures project was primarily concerned with creating a relationship with another student in order to explore their guilty pleasure, which resulted in my partner explaining the pleasure he gains from dropping litter; I directed my project into excess waste and the relationships objects have together. I explored the metaphor for relieving stress through throwing or dropping objects, in technology terms, buffering or the slow connection due to the sheer amount of material the computer stores, this led me to Hito Steyerl’s essay In Defense of the Poor Image (published in E-Flux Journal) which explores quality in resolution terms and the general acceleration which measures value and excess. I intended to draw on our consumer identities without verbal communication, rather through creating a virtual language using Sketchup programming to create a new landscape. Following on from the idea of viewing a guilty pleasure as something that relieves stress, I had the concept of creating an entirely new visual language that communicated site-specific simulations which engage with the idea of physical and material authenticity/reality. Thus, I directed this project to maintain a collaborative and collective relationship I gained from the previous Interact project, in terms of creating from authentic and socially engaged ideas. Keeping in par with Hito Steyerl’s essay, I began making connections between pixels and the piles of digital folders we keep in relation to physical landfills; I previously saw the German artist Thomas Ruff’s project JPEGS at the Whitechapel Gallery, which follows Steyerl’s dialogue of authenticity and file sharing, with Ruff using large-format photography to explore this. In responding to the guilty pleasure, there was a metaphysical sense of piling which has such frequent ties to technology and our digital identity. This research led to Robert Rauschenberg’s Glut series, which as found compositions created thought-provoking sculptures; this resulted in exploring the work of contemporary artists using different mediums to explore excess and waste including Mika Rottenberg, Ester Partegas and Chris Doyle’s Waste Generation. Furthermore, I found HA Schult particularly engaging due to his site-specific installations one being the Piazza San Marco in 1976 which consisted of covering the entirety of the square with newspapers, similarly to Christo and Jeanne Claude, the piece questions environment which challenge conventional art through the use of everyday objects; in response to these findings it was key that the simulation I created was authentic in location, whilst drawing on the metaphorical understanding of excess and quality of object.
Consequently, it was crucial my simulation responded to authorship in a virtual environment which engaged both with physical materiality of objects and virtual material, hence my decision to create a visual language using the programme SketchUp. Thus, I researched the work of Ed Atkins and Jon Rafman who explore the conventional qualities of objects through redesigning space virtually. I approached the project by using the association of waste with a fly, which I created a 3D model of, as part of my simulation; through the insect I draw on interaction and using the virtual space to redesign the built-in environment. In light of Jon Rafman’s piece Seventeen, Venice Biennale, I used the insect to move around the game-like video I created from initially building a 3D insect; this way the audience is given a sense of autonomy whilst still experiencing the work individually. Thus, scanning my partners hand and throwing waste onto the scanner resulted in creating a virtual environment of dropped objects, created a fluid dialogue between my process and the final outcome. Through experimenting with symbols of dirt and waste, I was able to reintroduce the notion of quantifying files and seeing pixelated images as ‘by products’ or meer waste, (which Steyerl discusses) this is introduced through constructing and meshing 3D models to create ‘Trash Island’ a virtual landfill full of rejected objects.
Furthermore, I found that my final outcome mapped my intended concept well, however the use of virtual design leaves space for some ambiguity of how to present the work in terms of its set up but also how the viewer engages with the work; whether the outcome is a video where the user is walking around the space or simply a passive viewer. In light of this, the project moved through a clear thread in terms of responding to Steyerl’s essay and using conversations to initiate the process, however, if repeated I would have taken more time to consider the role the viewer plays and reposition them in the virtual space. Through the use of the island set-up, the individual objects take up new space in response to the environment; this is due to my exploration of scale and using the visual of piling and layering to create a surreal landscape. Through this bricolage I explored excess and quality through models made up entirely of pixelated forms.
Artwork links:
https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/
https://davidcampany.com/thomas-ruff-the-aesthetics-of-the-pixel/
https://www.hauserwirth.com/artists/23390-mika-rottenberg
Project 3: MADE TO PERSUADE
The Made to Persuade project was initiated through conversations I had discussing how far we should accept the sharing of personal data as the new social norm; I explored how I could negotiate our digital citizenship through this project. Thus, due to the fact our final outcome would be presented at an open day, it was crucial to create appropriate content for my given audience. Prior to beginning the project, I attended a talk by Sabrina Rau (researched into data harvesting at the University of Exeter) who talked about the effects of the collection of Big Data, mining and data lakes used to catalogue our digital presence; I found her research surprising in terms of the general ignorance of data being used as commerce but similarly how internet culture has turned habitable and familiar in par with the reactionary and commercial cyberspace. The function of ‘click happy culture’ (titled in response to my aim to promote a more meditative approach to using the internet and accepting terms and conditions of data sharing), functioned as an informative outcome that promoted the importance of reestablishing peoples relationship with accepting T&Cs online. In response to T&C’s and consent online, I began researching manifestos, in particular Gilbert and George’s Ten Commandments which included the more recent work entitled New Democratic Pictures which becomes a type of ‘post news’ metaphor. Thus, I read Byung Chul-Han’s ‘Psycho-politics’ which explores consent online in relation to neoliberalism and digital culture; similarly I analysed ‘Thinking Big Data in Geography’ which discusses program sharing and the future of both data lakes and harvesting. In summary, Chul-Han argues that contemporary capitalism no longer holds any physical form which has resulted in misinformed digital users, meaning ‘frenzied’ use of the internet, results in our democratic trends being jeopardized rather than being meditative with sharing. Due to this new definition of neoliberalism, we have become individual entrepreneurs meaning our interests and searches are the most valuable commodity.
Through this project I created a brochure questioning specifically TFL’s public Wifi T&Cs which holds the legal rights to carry and obtain public members data for up to two years. My interaction with prospectus students was to engage the future implications of data being stored as a result of connecting to the servers Wifi during a commute; I manipulated the traditional TFL map to visually communicate through mapping a breach of privacy caused by public servers. Prior to designing the final hand out I documented how TFL use adverts and posters to communicate and promote; this resulted in experiments with GIFS and creating a game in response to how TFL promote and authorises information. I expanded on the title ‘Click Happy Culture’ to promote a questioning of individual digital citizenship, which, through the design expressed concern of the sheer amount of data collected by TFL; I aimed to express potential risks and highlight if an individual's data has been compromised. I found Byung Chul-Hans analysis of data harvesting greatly influential in my decision to use informative handouts in order to engage my audience. Reflecting critically on the outcome, if I was to extend the project I would create a site-specific installation or use the hand outs to the wider public to inform of the current issue of data lakes and harvesting.
Artwork links:
https://frieze.com/article/gilbert-george
https://dangerousminds.net/comments/the_ten_commandments_according_to_gilbert_george
Project 1: Interact
The Interact project started off with conversations between my partner and me on how we could express our concerns through collaboration and engagement with the public; our final outcome was shaped by our research into interactive work and exploring public space in a creative manner. Therefore our initial concept to create an interactive piece exploring user generating took the direction of informing and connecting with our audience; our purpose being primarily to highlight people's data sharing through creating a unique QR code which led the public to our website and using sandwich boards to communicate our ongoing concerns with data sharing. The performative action of giving and receiving QR codes was key to the project and a reflection of the research into public installations which were drawn from researching the artist Thomas Hirschhorn, specifically the publication Katalogo which expresses social concerns through constructing public installations. The use of the QR code physically expressed our concerns with our personal information being used as a commodity. In terms fo the sandwich board, I researched the artist Jeremy Deller who has previously used banners in the gallery space to question and communicate through crafted methods; this led me to collect a series of protests that used sandwich boards to communicate. Due to the fact, our given phrase was a proverb, it was important to use a method that was familiar and audience conscious, instead of using the audience as a passive observer; this reiterated the significance of highlighting a global issue that, due to the fact our data is virtual and being sold online, was a key observation to discuss with the public.
Furthermore, using specific visual language to communicate our concerns with our information being used as a commodity drew on dehumanising motifs such as the continual use of barcodes, QR codes, facial recognition and footprints to profit off of our data. Drawing on from installation secondary research into the work of Judith Barry and Brad Miske, Teji Furuhashi, and Christelle Familiari, specifically Judith Barry's Untitled: (Global Displacement) which acts as both a questioning and protest against displacement in an effective manner; similarly, Jeremy Deller's Strong and stable my arse poster campaign for the 2017 general election supported the development of our project questioning authorship and individuality in the public realm. Initially, our concept was to communicate through inserting our QR codes into newspapers, however, it was important to not create a passive audience which would be difficult to document, instead, I would physically be a salesman and hand out ‘datasheets’. Again, our interest in questioning individuality was challenging to document in an interactive setting, this was further challenged when the public viewed us as giving out hand-outs, which naturally people would rather ignore. Thus, due to our decision to explore our concept in Soho along with documenting during lunchtime, a majority of people walked past intentionally. In terms of collaborative working as a pair, we were able to visualise and establish several different concepts as a reaction to our proverb which questioned authorship and individuality along with a clear timeline of actions in order to realise our concept fully; however, the nature of hand-outs and asking the public to follow steps in order to view information meant the audience didn’t gauge fully our initial purpose. Therefore, the public played a passive role in our attempt to shed light on an ongoing issue, which if I completed an interactive project again I would rethink my planning to establish a clearer relationship with my given audience. The research I carried out into Thomas Hirschhorn communicates instantaneously due to his understanding of the built-in environment, which I think was lost due to the lack of participation we encouraged in our interaction.
Initially, our idea was far too abstract and I think our approach to establishing an interactive relationship with the public was furthered by readdressing our purpose and developing our idea through using advertising techniques like ‘Data Sale’ and using QR codes to communicate in a simple and effective manner. Thus, my visit to the Somerset House exhibition ‘24/7’ readdressed my technique of interacting with the public and sharing our concerns in a thorough and engaging manner. Thus, attending a talk given by Lawrence Lek during the process of this project vocalised concerns with technology in aesthetic terms but also the artist’s consciousness of creating ‘site-specific simulations which can be achieved both through dialogue and communication as well as visually.
Similarly, our decision to catalogue and source our material by collecting data on our phones over the course of a week was an interesting way of engaging with the projects creative process. Researching ‘Advertising is dead, long live advertising’, by Thames and Hudson supported our hand-out presentation and design for the sandwich board, whilst it questioned how we would engage in public space in relation to our intended outcome.
Furthermore, during a contextual practice session, I was shown the work of Olia Lialina (whom I have some previous knowledge of), in particular, the piece My Boyfriend Came back From the War (1996) which supported my discovery about the potential for the use of interaction in design in terms of redefining public and private space through both performative and digital means. Furthermore, using a QR code to direct a user to our website attempted to engage with a new form of material whilst questioning authorship in relation to our digital identity. In terms of a final outcome, the documentation was successful, however, if completed again I would have pushed the outcome further and explore possibly the users that visited the website or move around London to see how location changed our interaction with the public. I found working collaboratively extremely profitable and engaging in relation to sharing concerns and materialising a realisation in a social environment.
Artwork links:
https://www.artworksforchange.org/portfolio/thomas-hirschhorn/
https://anthology.rhizome.org/my-boyfriend-came-back-from-the-war
Project 5: Building blocks
The Building Blocks project was a pivotal project in my creative practice due to the sheer amount of various processes I undertook to create work. The project resulted in several different outcomes from two initial typefaces I designed with type specimens, vinyl cuts, poster designs and canvas prints; I found the process of using vinyl for my object type encouraging as I was able to experiment with the quality of vinyl and move each letter in a varying manner. Thus, the process I took to create a modular object typeface encouraged by an old bottle opener significantly challenged familiar methods I usually undertake during a project. I found Fraser Muggerudge’s letter faces into the pavement of London a compelling way of approaching language and material in an alternative manner. Thus, I began the process of developing an object modular font through scanning a bottle opener and separating parts in order to create a key within the font; the elongated metal structures were curved to exemplify the material quality of metal, this was reflected back in the vinyl compositions which drooped and sagged against glass. Furthermore, through the dense layering of the processes I undertook during this project, I gained a greater understanding of the design process through exploring several different creative outputs including vinyl cutting, poster designs, creating modular fonts and designing font specimens.
Artwork links: