Installations at Cool Change Contemporary exhibition and studio space in Perth, I went to a couple or artist talks about 1. queer identity on social media by Liam Colgan, and 2. pink washing (although this one wasn’t very good) by Brent Harrison [bottom picture]. In between the talks I had a look at the current installations
Top row: Luisa Hansal, Dead Weight [installation and projection of film Larinda], 2018
Middle row: Jesse Bowling & Samuel Jackson, Lightspeed Spirituality, 2018
Photos from the opening night of ‘Magical Woman’ at the Paper Mountain Gallery in Perth. The exhibition examines ideas of gender and queerness
Top row: Natsumi de Dianous, Slime fantasy grrl, 2018
Middle row: Astro Francis, What do you think, 2018
Bottom left: Amy McGivern, Fembedded series [detail], 2018
Bottom right: Madonna figurine by unknown artist (left behind from previous exhibition), the artists elected to keep it as it fit within the concept
My final video for Summer term, entitled ‘Dream of the Rood in the Time of the Anthropocene’
Process of the mask making since coming to Australia. I added feathers to my least favourite bit and after that felt a lot better about the mask as a whole
I ended up deciding against the leafy bits because once I’d added the feathers and faux fur the shape had changed too much so the proportions would have been wrong if I’d carried on
this is the unedited sound I recorded in the Pinnacles. It was slightly creepy, in certain areas we filmed there was a constant and quite loud buzzing. It appeared to come from all directions and it sounded like thousands of bees/flies, but we couldn’t ever see a source of the sound. It’s possibly an underground hive.
After a while the sound made me very disconnected, it added to the already surreal landscape and honestly it felt like we’d stepped onto another planet. I’ve edited the sound and used it as a background for the poem.
Photos I took whilst filming in the Pinnacles (WA), a desert filled with naturally formed sandstone pillars. I believe that they were once larger sections of stone submerged in sand, which at some point was blown/washed away leaving the stone exposed, the wind then did the rest of the erosion.
Like I said in the previous post, it feels strange being there and its a very alien place. Some of the pillars appear so deliberate, looking animalistic (bottom-middle), or like a deliberate circle/cluster (bottom-right).
I set out the shots I wanted and then my dad would film whilst I wore the costume.
After we finished filming and I reviewed the footage. I made the decision to limit the setting of the poem to just the Pinnacles as that seemed to make sense from a narrative perspective. The place is so otherworldly that it felt wrong to me to then teleport the god into Fremantle harbour, or a suburban riverfront. I decided to use other types of footage (including found) in the green screen instead of the setting
Some photos from Cottesloe beach, that I’ve used as base images for the green screen (in between key motifs)
The whole of the beach is on top of a fossilised forest, as the ocean rose it submerged the forest which then became encrusted with centuries worth of corals, until the ocean retreated again. It’s been very stormy recently which has removed a lot of sand, exposing the whole forest floor (top right). You can also see bisections of the ancient trees as you walk along the beach (bottom row)
This is something really interesting to have incorporated into my work, the natural forces of climate change and the layers of history that surround us. I think it’s a good reference in a work that considers the spiritual impact of the anthropocene. A lot of the imagery I’ve used is of natural formations that have echoes of man made religious sites (e.g. standing stones). This to me feels like a beacon from the past offering a glimpse of the future
Second test, a lot more fiddly but i’m still pleased with the result
the first test of the green screen on film, using premier. Pretty happy with it and don’t mind some of the shadow on the legs, although it could do with refining. Will do another test outside to see how well it works with a more complicated background.
Over the past couple of weeks I’ve been learning how to use Processing and the basics of coding. These are the first sketches I coded completely independently of the book. The top sketch correlates to a plan in my sketchbook.
As i’ve now made more complex animations and am learning about colour etc. I hope I can use this software to make animations for the video
LFlynn Research Blog 