I accidentally came across the work of Pierre Radisic and immediately fell in love with his work. The mixture of compositions, sexuality and the abstract nature of the work appeal to me massively. There are elements within this work such as the colour and editing of the photographs that I think are very appealing and could be something to try. I’m also considering trying my hand at some photography to either accompany or further influence my work.
I attempted some filming with the new lighting set-up, however I’ve realised now that in order to make the shots look linear I will need to invest in a black backdrob, so each shot has the same depth of brightness and contrast. I created less abstract shots this time in order to be able to tell which shots worked best with the lighting.
I then inverted one of the shots as I had good feedback on the inverted shots in the last tutorial
During my tutorial with Davida on 22/10 we discussed my use of sexuality and voyeurism within my work. She showed me some artists that use their sexuality as a form of empowerment within their work, and artists who use that open sexuality in a claustrophobic way.
Isabella Rossellini – Green Porno
This work explores sexuality in an abstract way, using surreal visuals and characters to show the absurdity of sexuality. The work can often come across as unusual and claustrophobic due to this.
Guy Bourdin’s work uses sexuality and the female body in abstract ways to create very clean visuals of sexuality. Sometimes the lines of sexuality are skewed, such as the combination of childlike imagery and sexuality in his photography work.
Yoshikura’s photography takes the subject of sex and makes it very voyeuristic. He photographs people having sex, and people watching people having sex. Due to the multiple partners involved the subjects become more claustrophobic in this voyeuristic work.
Lili Reynaud Dewar
Dewar’s work uses female sexuality in such a brash manner,opposite of what we are used to in society, in order to make the work very enclosed and voyeuristic. Her flagrant displays of the female body make the work voyeuristic to the viewer.
I’ve decided to order some clamp lighting in order to be able to create some softer lighting within my shots, to be used in conjunction with the current, harsher, lighter I’ve used previously. Whilst I wait for this lighting to arrive, I’ve planned some future shots.
- Circle with ‘X’ = Lighting
- Arrow = Direction of shot
- TR = Top right ect.
The main focus of these shots is to experiment with the lighting I will have acquired by them, as well as trying to play around more with skin texture e.g. scars and goosebumps.
“In the simplest terms Digital Poems are born from the combination of technology and poetry, with writers using all multi-media elements as critical texts. Sounds, images, movement, video, interface/interactivity and words are combined to create new poetic forms and experiences.” – Jason Nelson
Invocations – Richard Kostelanetz
Abstract video, moving digital shapes and colours with poetry narrative overlay
a genre of poetry displayed on a screen, distinguished by its time-based, poetic juxtaposition of images with text and sound. In the measured blending of these three elements, it produces in the viewer the realization of a poetic experience- Tom Konyves
As I’ve blogged about previously, one of my biggest inspirations aesthetically for this project is the work of David Lynch. After reading the book Lynch on Lynch edited by Chris Rodley I found some interested points:
Lynch on ‘the uncanny’ –
‘The mood or feeling that Lynch’s films convey is strongly linked to a form of intellectual uncertainty – what he calls being ‘lost in darkness and confusion’.
‘In Freud’s words: ‘The uncanny is uncanny because it is secretly all too familiar’’
‘The uncanny was renewed as an aesthetic category by the Modernist avant-gardes, who use is as an instrument of ‘defamiliarization’.’
As my work has a lot to good with abstraction and creating an avant-garde aesthetic, the word ‘uncanny is a good way to describe it.
Lynch on abstraction –
‘Abstract things are important to a film, but very few people get to go all out with cinema.’
‘When you only see a part, it’s even stronger than seeing the whole. The whole might have a logic, but out of its context, the fragment takes on a tremendous value of abstraction.’
Lynch on video editing –
‘I like colour, it’s just that if it gets too busy, it holds you on the surface.’
‘But things go in steps. They need to rise up, take place, and go away, and there needs to be some little moment, a little wind, and then another thing comes up. Just like little thoughts.’
As I’m already working in black and white in order to create visual appeal as well as highlight things such as body texture (e.g. hair, skin, scars) the colour quote is very relevant to my current work. The second quote talks about the use of fading to black between shots, which is something to keep in mind when I begin to edit the short film together.
Lynch on film making –
‘Accidents happen and they might also inspire you’
‘There are probably some young film-makers who are just cooking with ideas. The second they get a hold of some money and a camera, they’re going to make something very experimental and take tremendous risks’.
‘I think cinema is like a magnet for people with ideas. I don’t know how they stay away from it so long.’
After my last post discussing the way Man Ray uses negatives/inverted colours within his work, I decided to try it out:
I inverted the footage using Adobe Premiere Pro CC then changed the brightness/contrast and the gamma in order to create a larger feel of contrast within the work, something I’ve already decided I enjoy.
I don’t consider the negative video very effective. The colours don’t seem to pop as much for me and I’m much more into the classic look of the original edited footage. However, there is a very organic look to the footage that reminds me more of cells in motion, which I enjoy, but not necessarily for this project.