Thursday, 18 February 2010

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I transferred the blog to Wordpress - CLICK HERE.

Tuesday, 9 February 2010

Dress turning


Thought this might work, but I think a dress made of fabric swirling and projected onto the object might look better...

Thinking about the video projections

So, following transcribing all the dreams yesterday, I really needed to knuckle down and think about the content of the videos themselves. I have been thinking that the objects are sort of relics or hard evidence of things from the dream, then the projections onto the objects would be the narrative content, but told through a mixture of film clips, as even to myself I seem to describe and reference scenes to films.

So far, the videos have been tests, either from a still image of an ajoining scene - the news studio - projected at the bottom of the staircase - but then this got confused and I made the image into a narrative by making it a clip with visual effects and adding a soundtrack, footsteps on the stairs to tell a story.

Here is the studio clip (without sound - that one was too big) and then it was projected onto the staircase:


Other 'tests' have been smoke, ink or simple moving visuals. (see projection tests post).

Thinking about the video projections 2

The idea with the glossy black objects was for the video projections onto them to be the narrative of the dream, i.e. with the cat/carriage dream - this had similarities that I was having memories of / or from several films. A carriage scene in Black Beauty and the Amalfi coast in The Talented Mr Ripley.

So, I've been finding these clips today, importing them into Final Cut. Editing them, by trimming out scenes and audio I don't want, overlaying additional sound (heavier rain). Exporting to imovie to add further effects to distort the clip, make it look less definite, more dream like. Exporting to itunes, onto the iphone and streaming it to the portable projector.

Here is the clip I've hashed together this morning:


now god knows I've done this really badly! and just learnt how myself, but thats not really the point. The problem is a) I am just messing around and this is not my work (in its original format) and b) I think the tests from the still image were better.

The shapes of the objects already distort the video - I'm just making it indecipherable and you end up just concentrating on trying to watch the video. This isn't working.

Maybe the visuals need to just go back to something more abstract - but then how is this telling a story - is this necessary?

Try overlaying my sound recording of the dream - thats the story covered. I know I shy away from this as its my voice - ukk, but really, this is the raw material and you can hear the emotions more in my voice and hear the muffledness of some parts.

Maybe the projection needs to be more dynamic - moving, directed? over the piece.

Try a swivelling office chair over the office chair - or the horse legs galloping over the legs.

This has led to a bit of a breakthrough, as when I'm describing my project - the exciting bit to me is the video projections onto the objects. The objects are just static, definite, formed and this is what I'm trying to disrupt.

Prodigy > Sound

Prodigy – Intro (Remastered)

Monday, 8 February 2010

Sound > Words

Transcribed the dream sound recordings by hand. Stage two. Next, sketches...

 







Horse Ships

Have now bisque fired. Ordered black glossy glazes have arrived but the firing range is lower than I thought - grrrr (1200-1250). I have put in 2 test bowls and one sample ship with the bought black glaze on. I had quite a 'debate' with Dennis to get these fired, which left me feeling shaken. I understand the rules but aren't I allowed to at least try things out? So eventually he relented and let me fire this one, surrounded by bricks, as it is a possibility for the legs to collapse as it fires up to temperature. More and more I want to buy another kiln and fire at home, then I don't have to have unnecessary battles about these things... couldn't fire the mast and sail at all, have to get kiln stilts from home, as these cannot be provided by the ceramics department, double grrrrr.

Glaze Tests

When I did these, I was still thinking of white at the time and just did a few old stoneware ones for fun. 8 new recipes in total, some turned out lovely. For future reference I have this recipe box with a card for each glaze, recipe on one side and source of it on the back - sometimes with photo from the book. Then when I've done a test I print a photo of the result on the back so I remember how it came out - super anality!.
 
 

Friday, 5 February 2010

Interim Show planning

Procession of objects on the floor, plus hopefully maybe the large cupboard one, dream inside a dream inside a dream, down the rabbit hole.

and maybe a video of a projection onto the objects...maybe.

Glaze tests will be out Monday, but I'm thinking of glossy black. Quite hard at stoneware without reduction firings available, only options to overload the recipe with oxides really, but finish becomes quite metallic. Hence ordered some ready mixed blacks from Potterycrafts - oh you cheater!

Other things from previous scribbles: think about making my own compartment that can be installed anywhere for the show as the space is not fixed yet, likely to be NO installation time after BAs.

Dreams hiding in dark corners, empty dresses, industrious workers.

Try and draw the most poignant transcribed dream. Continue much larger differentiations of scale to emphasise importance of elements.

Wax, what happened to that? combination? colour of objects?

Stuff assembling for the Interim Show

Re-organised the desk and put all the bits on a shelf, most of these are material experiments so not usable in the show.

The cat / carriage, and crate / stairs. Both good for the show I hope, if they glaze ok. Thinking of glossy black, then video projection onto the objects looks good, plus they will be on the floor, tucked into the black space of the skirting board...

The Fleet

This one is much smaller than the large one, I wanted to have a little herd of them following the big one, and the legs on the large one turned out to be quite static, mainly due to the weight of the hull.

So I wanted the smaller ones to be more playful, with more impulsion. But this one doesn't stand up...its a learning curve. and the sail is rubbish, but this is just an experiment anyway, because I expect it to bend under the weight of the sail so I can always snap it off easily after the bisque firing and make the mast/sails separately, like the mother ship.
This one is the best so far, because the legs are really galloping and the sail billowing out behind, again, oh actually the mast came off before I put it in the kiln so its firing separately already.

Wednesday, 3 February 2010

Back to the Future - Projection & Music

Went to this on Wednesday. Curious to see how the projection / music combo would work. I took a video on my phone but its not worth posting. Incidentally some of the films were by George Melies, who I referenced in my research paper as the pioneer of dream-like worlds in film from the early 19th century.

I didn't really rate the musical improvisation, as I couldn't see any correlation to the films at all, but occasionally there was a more atmospheric moment. I guess I was encouraged by the number of people who wanted to see this kind of thing, made me think there would be an audience for my work - some sort of projection onto objects / sound installation thing.

Glad I went.

Monday, 1 February 2010

Time and the Moon @ Dana Centre

Went to this on Monday night with B. Quite apt since I bought this little piece of joy on Sunday:

THE most beautiful 60s Japanese made flip clock, pristine for £7 at the amazing Battersea boot sale.


As we were expecting it was for a bit more of a 'general' audience that the Wellcome ones, so therefore most of it was a bit boring / obvious. But this chappy, David Rooney made it all worth it. What a great speaker and enthusiast on everything about time. Learnt some interesting stuff about how ships used to navigate by the moon.


Oh and I snapped a pic of this model ship, for the little horse ships :)



Friday, 29 January 2010

The Mothership

Following a bit of a crazy dream about these ships, propelled by horse legs, I have been building this one, probably one of the largest things I've made in a while, but although I kept it damp for a week, then I was ill, hence no more detail than the balconies at the back, no canon holes :(. Masts have been made separately, otherwise they would warp too much attached to the deck. They are already bisqued flat for adding after the glost firing.

and it stands up! *high five

Monday, 18 January 2010

Wax over porcelain


This is a porcelain dress with wax dripped over, made an interesting contrast to the bronze dress.


Porcelain dipped repeatedly in wax. Nice soft finish but obviously not durable. I can probably get this effect with a thick smooth matt glaze.

Projection tests


Thursday, 14 January 2010

If You Could Collaborate


Went to the PV. Packed with all the right people. My favourite piece was this system of currency by BCMH & SmithWightman - mainly for the exquisite presentation of the work, lovely text on the glass, added amazing value to the objects. If your going to be a designer, people expect, and rightly so, for you to design the whole shebang.


Also there was an interesting sculpture, that played sounds only when you were further away, the closer you tried to get to it, it doesn't play. Intriguing, and inspiring to see so many people were interested in seeing, perhaps wacky and off the wall collaborations.

Wednesday, 6 January 2010

Tamiko tutorial

Presented: video projection onto globe, photos of work made so far, photos of work from before Masters.

We spoke about my proposal and how it was very heavy and serious and pulling down any of the practical work that I was making as it was impossible for the real work to live up to the ideas expressed in my proposal.

Tamiko's advice was to put the proposal to one side for the moment and concentrate on expanding some of the ideas I have started with my practical work. Take the most promising experiments and really push them in all directions to explore and develop making ideas.

Coming from a design background I have launched myself straight into a philosophical and scientific debate and although my ideas are interesting, it has the hallmarks of someone who has recently begun thinking as a fine artist. I need to acknowledge and appreciate my background and the fact that the work is still reflecting this more playful side and somehow merge this work with the key points in my theoretical debate to create a cohesive whole.

Maybe, after I have made some more pieces (that are photographed properly - valued by me - and in a way that the magical elements and qualities that can start to be seen in the flesh, are represented in the presentation of the work) I need to change the objectives of my proposal - perhaps to have the core idea to 'enrich my work through a study / exploration of fantasy and dreams'. Also writing about desirability of the objects and materials. Explained that confidence in my work had disappeared, I need to not be negative and see that I have made quite a lot of work and it is not all 'not working'.

Recommended book: On Longing by Susan Stewart.

Tuesday, 5 January 2010

End of Unit 1 Assessment

what can I say? this was a bit of a shock. I felt that for many reasons things have not been handled that well about this, from both sides of the fence and I could list here loads of excuses as to why my practical work was not at the level I would have liked but its pointless now. I can only move forward and try to improve it.

I suppose it is easy for me to forget that people can't see into my head and understand what and why I have been researching what I have, and so here is what I wrote down:

Should have presented the sound recording work (which I did not) the voice recording library of the dreams and other sound experiments: the day recording, everyday activities. I also didn't show them the video tests I've done of miniature installations.

So I guess the main criticism was my lack of experimentation with installation environments - although Mike liked the glass globes and could see progression starting from this point.

Perhaps the drawings /text could be combined into the installation? I spoke about experiments with glaze, making it thick like snow to cover the objects and was also asked whether the objects would be coloured.

Most of the recent things I have made are too controlled again, they need to be more unreal, this is something I need to overcome.

I should have 100 versions of things, experiment, production etc etc etc.

I guess I knew from the start that this subject / my proposal is not easy at all and I think many people might not understand it. Also I think that this is has turned into a very personal project which is dear to my heart and I don't think that designers 'get' it, its bordering on a philosophical contribution and its hard for me to pull it back into 'objects'. I hope that tutorials in the new year will be more productive.

Immediate things to do:

  • Properly document all sound recordings
    - transcribe
    - drawings
  • Find a corner in the flat, install objects, lighting, sound - video and evaluate
  • Take one dream and with the drawing, map, narrative text and objects play around with making this into something.
  • Make 5 ambient sounds - and / or my voice sound tracks.
  • Unreal objects:
    - shrinking
    - clay patchy making technique
    - dipping porcelain in wax
    - smoke?
    - video - ink in water

Wednesday, 23 December 2009

Day in the studio...finally

Started to transcribe the dreams onto tissue, then the table underneath had been marked by the letters. Like the pattern.

Wrapped the dress in the dream.

Started to glaze the dresses. Solid white glaze - lets see.


Porcelain with wax dips.

Projection onto table

Tuesday, 22 December 2009

Dissatisfaction quote

Dissatisfaction is a significant key to quality. “Art,” said the American sculptor John Chamberlain, “is basically made by dissatisfied people who are willing to find some means to relieve the dissatisfaction.” In the midst of dissatisfaction ways are found. Without dissatisfaction it is swiftly possible to fall in love with your own mediocrity. Utter dissatisfaction can be liberating. “If the wine is not good,” said Michelangelo, “then throw it out.

Dissatisfaction (Robert Genn) - via Communicatrix on Twitter

Quote tagged as: note_to_self

Posted via web from Julia's posterous

The Known Universe

American Museum of Natural History



Like the zooming back in best.

Monday, 21 December 2009

Late Bloomers

Article from the New Yorker

20th October 2008, Full Article

But late bloomers, Galenson says, tend to work the other way around. Their approach is experimental. "Their goals are imprecise, so their procedure is tentative and incremental," Galenson writes in "Old Masters and Young Geniuses," and he goes on:

The imprecision of their goals means that these artists rarely feel they have succeeded, and their careers are consequently often dominated by the pursuit of a single objective. These artists repeat themselves, painting the same subject many times, and gradually changing its treatment in an experimental process of trial and error. Each work leads to the next, and none is generally privileged over others, so experimental painters rarely make specific preparatory sketches or plans for a painting. They consider the production of a painting as a process of searching, in which they aim to discover the image in the course of making it; they typically believe that learning is a more important goal than making finished paintings. Experimental artists build their skills gradually over the course of their careers, improving their work slowly over long periods. These artists are perfectionists and are typically plagued by frustration at their inability to achieve their goal.

Justification?

Get Cezanne's biography.

Benjamin Ducroz

booutiful!

Posted via web from Julia's posterous

Thursday, 17 December 2009

Tuesday, 15 December 2009

Messiah @ English National Opera


My first opera. My flatmate was in it, so I had incentive! but the stage sets were fantastic. This is the only picture I can find which sort of shows the glass coffin shaped boxes, but the set in Act 1 was also amazing, with hundreds of bulbs descending from above, and a glossy black floor, which sitting so high up in the cheap seats, was really reflective. More of a moving installation of sculpture, singing, projections and dance. All the old buffers in the audience did not seem to like this very contemporary interpretation, but for me it was a piece of 3 hour magic.

Sunday, 13 December 2009

Monday, 7 December 2009

Repulsion by Roman Polanski



Watched this week. Cool illusionary scenes where all the furniture is too big or too small when shes losing it. I did scream a little bit.

How Science Rediscovered the Mystery of Ourselves - additional quotes

pg. 22

The confidence generated by this remorseless expansion in scientific knowledge fostered the belief in its intrinsic superiority over the philosophic view, with the expectation that the universe and everything within it would ultimately be explicable in terms of its material properties alone. Science would become the 'only begetter of truth', its forms of knowledge not only more reliable but more valuable than those of the humanities. (Materialism).

pg.20

There is a powerful impression that science has been looking in the wrong place, seeking to resolve questions whose answers lie somehow outside its domain. This is not just a matter of science not yet knowing all the facts; rather that there is the sense that something of immense importance is 'missing' that might transform the bare bones of genes into the wondrous diversity of the living world, and the monotonous electrical firing of the neurons of the brain into the vast spectrum of sensations and ideas of the human mind.

pg.222

Michael Posner
The most striking feature of the neurosciences, 'unparalleled' in any other field of scientific enquiry, is how each of the phases of the progressive unravelling of the secrets of the brain has been marked by a further deepening of the perplexity of its links with the spiritual mind.

pg.224

Once again the seemingly irresoluble conundrum of the relationship of the physical brain to the spiritual mind has resurfaced, escaping the confines of science to become, as philosopher John Searle describes it, 'the most important problem: how do neurological processes of the brain cause those inner-first-person qualitative phenomena [of the mind]?'

Thomas Kuhn - paradigm shift

Thursday, 26 November 2009

Arthur Tress


He decided to do a series of photographs exploring the dreams of children. He interviewed a number of children about their most memorable dreams and nightmares. Using the children as subjects, he tried to visualize their dreams. The result…a peculiar melange of semi-surreal imagery depicted in a rather documentary fashion…was a book entitled The Dream Collector, published in 1972. The singular genius of the series is that Tress approaches the fantastical notions of dreams through a straightforward documentary style. He treats dreams almost as another form of ethnography, as if examining dreams were no different than examining the circumcision rituals of the Dahomey tribe or the practices of Hindu ascetics.

tress3

The dreams explored by Tress are diverse, but common. Being buried alive. Flying. The humiliation of failure in the classroom. Monsters looking in the bedroom window. Being lost or separated from everybody you know through a natural disaster.

Tress described The Dream Collector like this: "The purpose of these dream photographs is to show how the child's creative imagination is constantly transforming his existence into magical symbols for unexpressed states of feeling or being." I have absolutely no idea what that means. It sounds suspiciously like the typical artist's meaningless blather. I don't think it tells us much about his work, but I do think it offers us some insight into Tress himself.

Tress seems to perceive the world through the eyes of a mystic. He apparently sees still photography as almost an arcane act. He has written that a photographer is "…a kind of magician, a being possessed of very special powers that enable him to control mysterious forces and energies outside himself….[who can] can foretell the potential movements of his subjects and perhaps even by mental intimidation and expansion actually causes them to happen." Although I'm personally inclined to see this as somewhat delusional, the fact remains that this view of the world has given Tress's work a sort of internal consistency. Even though his subjects and themes may range widely, there remains a stable, congruous emotion through it all. That emotion is a sort of familiar reverence, a sort of comfortable awe.

tress8

Tress has stated that for five thousand years art was created with the intent to inspire awe. That intent, he suggests, has been diluted. "Where are the photographs we can pray to, that will make us well again, or scare the hell out of us?" he asks. Tress has attempted to make that sort of photograph.

With the exception of his nudes, all of Tress's disparate work seems to retain a consistent subcontext: the world is awful and full of awe, life is temporary and beyond our understanding, so we must bring our own meaning to it. That meaning can be found in anything from sports to prayer to science.

In a very real way, Tress's inarticulate mysticism is imbued in his photographs, and one can see evidence of it throughout his work. He believe in the child as a sort of privileged witness. He believes in oppression as a constant condition against which everybody must struggle. He believes in the release from oppression, and that death is always the final resolution.

Via:http://www.utata.org/salon/20499.php Wiki:http://en.wikipedia.org/wiki/Arthur_Tress

Richard Launder - tutorial

Talked through proposal objectives:

RL comments in itals.

1. 1. Record dreams. Rhythm, system. Voice recordings. Transcribing not good enough so have diagrams, maps, drawings but even those don’t get emotions. Sound is best.

Transcriptions from voice as unedited, not made into literary content or more flowing words. Not rewritten. Direct is best to the memory of the experience of it.

Objects deal with the landscape and the situation – excited by the stream of them – but not getting across emotion – sound must be in final show. Neutrality of an unknown audience, maybe an actor to do the voice.

2.2. Encompassment and transportation to imaginary places – how I came to be doing this project in the first place – fascinated by the places (fictional) I was dreaming about – where do they come from etc.

Encompassment – related to research paper, illusion in an art installation and film – location.

Installation – either room size or mentally (because all my work is quite small). Small worlds – that you have to imagine being inside.

Wax scene – he interpreted waking life in the office then sucked off into the dream life in the jungle.

Increasing the oddity – what will give it this dream like state? If there is something wrong about the dimension. Its almost right but then a bit off. Weirdness is not everyday – play with it.


JB – I started to do that with the porcelain pieces. If sitting in the chair can’t get in the tent.

Alice in Wonderland – scale.

JB – stream 2 or 3 metres.

Work is kind of baroque. Getting nicely overloaded on the jungle side. The dream state is more confused. Have the chair positioned so you would fall directly through the computer.

Porcelain re-shrinking. Intensely detailed but tiny.

3. 3. Link the emotion based associations. If I make this big scene I want to link these scenes together based on the central emotion I have of each one. Na├»ve way – from angry dreams to calmer? Mimic the way you file things in your brain in an emotion based way – based on the way you might have felt an experience in the past rather than in any logical based reasoning behind that. Thought could achieve by listening to the voice recordings.

Yes, I support that because our intellect kicks in so rapidly upon waking. That’s what makes sense for you. EQ, Use it, look at systems of conveying EQ. Fascinating contra world, and its being given more recognition that it used to.

In terms of context. Find an equally tight and concise quote as that for the emotional side to counter that. Argue double case – both sides but then clarify and choose one.

General comments from RL.

Nice terminology, landscape of dreams. Capturing (active word not passive), bridge from the subconscious to the physical.

Must model the real world as well. Animated objects – the chairs. I felt the power in the wax scene centred around the chair. Desolate, like the person was just there, mark of a person. Abandonment.

Technical things – molocite might work better to stop warping and cracking and shrinking to stabilise. Can buy it down to dust size so can add to small porcelain pieces, not as rough texture as the paper clay method.

In industry if there is a nightmare shapes – will plate on a plate and have clay supports – then remove after. Or fire lying down – think about sagging.

The wax has a delicious quality. Try mixing wax and porcelain – either direct mix or dip things (both ways round to try). Then some will be permanent some transient material and set in a room. Film melting, show will be in summer… use a window? Then that’s another piece of work. Getting as many works out of a piece as possible.

IDEAS

Dipping either way round porcelain / wax.

Model real life – sucking into dream world (intense)

The flat? Bedrooms in the past?

Sound is real important for emotions.

Molocite – multiple shrinking. Make better support for structures – they are not throw away or tests now, try to treat better like final pieces.

Wednesday, 25 November 2009

Carriage-half and kiln


The carriage has moved a bit now - maybe I need to make a few different ones. Wheels and axle stuff to be added on after (somehow) maybe glued but it could look crap!
Unfortunately this firing aborted so now its in again, fingers crossed for some (fairly) translucent objects on Friday.

Mia Fernandes

BA 3d lecture

Drawing doesn’t need language. Its about communication, experience and memories. Solidifying these things.

Travelling lifestyle all her life – stimulating and comfortable for her.

Makes a visual diary.

Had a show with Anthony Gormley – that’s how abroad stuff came about.

Check out Bermonsey Gallery.

Collaborations with dance, sound, performance. A bridge to forming understanding.

Mistakes are an opportunity. Have a look / work then to unravel.

Repetition / series – what if I make 10 carriages??

Rosseau / Steiner – working from the heart.

Brain mapping. Expensive – have to do a phd at Royal College. Networks.

Tuesday, 24 November 2009

Anthropologie store on Regent Street

New shop on Regent Street - Anthropologie.

Loved this grass/forest wall, its BIG:


CERN's first particle collisions

First images of particle collisions at Cern’s £6bn atom smasher. Two protons collide inside the giant Atlas detector at Cern’s Large Hadron Collider near Geneva. The image was recorded on 23rd November 2009 and shows the first low energy event recorded by the detector. Photograph: Cern.

Aaaand BOOM. That was fast. Even if it’s still low-impact stuff. We’ll have to wait a while for anything more big-bangy. Still, pretty cool, no?

No?

— In The Guardian, from London.

Posted via web from Julia's posterous

Thursday, 19 November 2009

Critique Presentation

The Dark Pool (1996) is a multimedia installation piece by Canadian artists Janet Cardiff and George Bures Miller. As described in the exhibition catalogue for A House of Books has no Windows, which was presented jointly by Fruitmarket Gallery and Modern Art Oxford in 2008, this room full of objects; ‘books, record players, speakers, models, notes, drawings and peculiar mechanical devices’, are seemingly abandoned. ‘Opening an old door, we feel we are trespassing on the workspace of some kind of mad scientist or investigative writer. As we move round, we trigger sounds – stories, conversations, music – that speak of the ‘dark pool’, a mysterious place where people disappear’.


I’ve always loved to escape, whether it was through walks, books, films or dreams, and it’s only now that I realise what I’ve been doing this past decade. I’ve been creating portholes into my other worlds.

(citied in Cardiff, Bures Miller, 2008, p11)

This sense of displacement from reality, by stepping into another world is exploited by their choice of objects and paraphernalia within the room. Many things are old or at least appear to be, perhaps Edwardian or Victorian – yet they are mixed with strange devices which seem to use modern technology. This sense of timelessness helps us to forget the here and now, as within this room, it is not possible to know where, precisely, we are in time.

Sound is also a key component to The Dark Pool. They were drawn to using this medium as it allows the possibility to mix up time and space. By layering sounds, they create different layers of reality as some of the recordings they use are from the ‘present’ i.e. Cardiff’s voice, but some (as described in an interview for the catalogue) are old recordings, hence they are layering together different periods in time. Enabling us to imagine ourselves in a third place – somewhere between the present and past.

Cardiff has been working with sound for many years. One of her most famous pieces is the ‘audio walk’ Her Long Black Hair (2004), in which we listen to her voice whilst on a walking tour of Central Park in New York. This complex work explores our notions of time as we are guided through the pathways, listening to the narrative, imagining what she sees in the past – following a mysterious woman with long black hair, whilst observing for ourselves what is happening in the present. Also, at points during the tour we are prompted to look at photographs, introducing another observable element to the work.

8. Cardiff (2005) Her Long Black Hair Central Park, New York

‘Many critics have observed that Cardiff’s audio-walks are cinematic, transforming the world into a film set with the viewer as its central protagonist’ (Bishop, 2005, p99).

Within The Dark Pool, our location is fixed but the layered soundtracks invoke an illusion of past and present. One of the most engaging parts of the installation is where, sitting in a chair placed between two speakers, we listen to Cardiff and Bures Miller discussing an imaginary scene taking place across the room: with a couple dancing in the shadows.


9.
Cardiff, Bures Miller, (1995) The Dark Pool

As the observer / listener the conversation is hypothetical, we are listening to a dialogue that is purely fictional, and yet we can imagine the couple dancing, allowing a space to exist in our imagination where we can invent the scene.

The use of sound in the installation helps us to expand and enrich upon the story presented to us, attempting to displace our sense of reality, by confusing our sense of chronology and distorting our sense of location. Ultimately, this work immerses us as viewers and for a short space of time at least, presenting to us as described by Cardiff ‘parallel’ world, free from the constraints of reality.