"The complexities of experience”. My Research interests focus on the importance of experience in terms of how we view, interact with art and the world around us. It is an entirely subconscious notion that an artist should be fully aware of, however does the onlooker even give a slightest glance at the intentions of the artists and do we see beyond the facade of its material structure to its full relationship within a space. Within my interest I aim to look at just that in a non-biased manner. Through observing and exploring psychological principles around the ideas of how we engage physically with a work we will begin to develop a strong sense of how space, light, position, direction and flow of a gallery or institution can react with how and what sensations we use to be fully engaged with an artistic practice. Throughout the past year and a half, I’ve been discovering a new area within my practice, which was inspired by my involvement in the Hybrid Workshops in Year One. Throughout experimenting and having the opportunity to play around with video cut pro software, I became interested in different ways in which I could take my manipulated imagery created using Photoshop layering and morphing tools to a stage where it becomes almost moving image. The works combine multiple layered imagery placed into an inverted and un inverted state. Where it becomes manipulated using layering, cropping, scaling tools on video cut pro and Premier pro. I became interested in combing sources that where of my own creation and development, but also sources that where cropped, edited or twisted from a secondary source into something new. Which in turn can add to the moving image works. The idea of appropriating an image or document became of great interest to me and was the main conversation that took place within the hybrid workshops. “to what extent can we take an image and make it our own, when does it become acceptable’. Playing with this idea of combining and changing imagery fascinated me. I’ve used it in a completely different manner combining layers upon layers of imagery to the video work, to constantly change the viewer’s perception of what they are observing. I wanted to create a world that doesn’t exist, create an experience of something new all together. To capture moments where two or more images meet. Its that relationship that fascinates me the most. that moment where the video slows down and we can see just for a second the complexity of the layers that lie before it.
Sound has been an ever growing development within my practice starting of almost rudundant to slowly becoming more layered and complex. The greater my confidence, the more experimental I became to explore this notion of how sound can effect experience and how we experience the video itself. choosing the right sound is important and for me it must follow a rhythm to be in sink with the work it sits in-between. Every aspect from the slightest pause to the beat of every frame change must be in sink. This is because I want the work to capture my interests in the psychological principals of experience and how to generate interest for the human eye to observe and to listen to. we as human beings are fascinated by repetition, rhythmn,pattern and order. The sound needs to follow the intentions of the video for the piece to seamlessly function and to add to its almost metamorphic state of change and evolution as it grows, repeats and shifts.
The idea of print screening the video when playing also became something of interest. The idea of capturing the video in an instance, at certain points within its constant change of layering. Every print screen generated a different image, which in turn created strange relationships amongst each other. The images capture that instant which the human eye is not able to process at certain speeds. Time is one of the greatest tools and is believed to be the only true unit of measure. If we speedup a car for instance going down a motor way driving at a speed un- seeable by the human eye, the car know longer exists. Time enables us to observe the wonders of the universe, to look at imagery and to process it. The slower the moving image the more the human brain can take in, can capture. A print screen pauses this moment enabling the viewer to gaze into the image more intently, than just to be taunted by the flash of its imagery within the video. However do i want the observer to look intently at the work, will it loose its meaning. That is something I aim to question this year within my own practical development and ideas.