Friday, 31 October 2008

Hieronymus Bosch

Back panels from 'The Garden of Earthly Delights' - recommended to look at by Lucy.

Thursday, 30 October 2008

Study Visits

On Wednesday joined the Book Arts tutor and people from Drawing, Book Arts, Digital Arts and Printmaking on a group visit to the Poetry Library, Somerset House (just a look in), new Atrium Gallery at LSE, The Hunterian and the John Soane Museum. Although nothing directly related to my project - great to discuss my project with people from other pathways.

On Thursday, went to Cambridge with Amanda Fielding and the other Designer Makers. First we went into Primavera which I had heard of but not visited. Huge collection of applied arts for sale over three floors. Must remember to keep an eye on when Chris Keenan has an open studio - in Vanguard Court.

Next to Kettles Yard, saw the current exhibition Conversations which was very good, not great curating but amazing to see Hiroshi Sugimoto's work, this piece by Ceal Floyer was simple, subtle and hinted to an imaginary world beyond the door which I loved!:

more about her from Lisson Gallery. Roger Ackling's work and James Hugonin's painting were meticlous and extremely dedicated. Interesting work by Alexander Gorlizki - combining such a traditional technique into contemporary Indian miniature paintings. Absolutely captivated by this photograph by Francesca Woodman:

Next to the Folk Museum, where I encounted some Victorian bell jars which got me thinking about glass globes with landscapes inside.... and then we looked round Kettle's Yard which was incredible, I just want to live there! Nice to see Paul Coldwell's interventions and I got a great exhibition catalogue Flights of Reality for £1. Lastly I liked the rollercoaster forms created on top of the decanters by Paul and also a piece of sculpture where string was stretched round a frame - like those string pictures from the 70s, but in 3d with an object in the middle, half visible through the string - like seeing through into a different world............

Tuesday, 28 October 2008

Monday & Tuesday

Monday - thinking about the scene being surrounded/encased I threw these not entirely successful or big enough! forms.

When turning the shapes on Tuesday I wanted to make them into globes/domes and by accident went through and made a hole but immediately thought ah! this could be a viewing hole. These are not finished and I want them to be much thinner walled - poss. translucent? porcelain?

Meanwhile I started handbuilding a spiral staircase and as a self indulgence! my old friend the tree.

Monday, 27 October 2008

Scenes - sketches from sound recordings


Went to the V&A on Saturday to see the new Jewelery section with Mum, fantastic.

Lovely miniature ships - beautiful craftsmanship.

Exciting work by Evert Nijland - amazing combinations of materials and flocking, good website. The Sackler centre had Designerama on this weekend and we saw a great selection of animations including Magnetic Movie by Semiconductor films:

Magnetic Movie from Semiconductor on Vimeo.

Sunday went to the Horniman Museum, liked the shape of this room.

and the interesting perspective of this wood carving to depict the environment:

Friday, 24 October 2008

Japanese Ceramics

Link forwarded by Maiko.

Clay Leaves

Started with the jungle/forest section of the ramp piece as the leaves were easiest to model. hum - about the stalks? metal rod - bronze casting the stairs??

Radio 4 - Hearing Colour, Tasting Sound

2002 Radio programmes about Synaesthesia.

Jane Mackay - paints from music.

Thursday, 23 October 2008


Old piece of work:

Critical Framework lectures (5)

Professor Chris Townsend

Lecture about the work 'Dead Troops Talk (A vision after an ambush.....)'. by Jeff Wall.

Theorisation of a photograph, fundamental problem of meaning in the photograph. Punctum e.g. Paul Graham 80s-90s, Nan Goldin.

Time - interesting concept, recording that which has been, can have a photo of a person who is now dead, they were and now will be. Time is like a fourth dimension in the work - I need to think about the audience and duration possibilities - how someone would have a viewing experience of the work.

Universal characteristics of photographs, multiple times - the point at when the image is captured and then the future moments of the image presentation. Roland Barthes (Camera Lucida).

History paintings were sometimes painted over twenty years after the event. The artist was almost never on the battlefield - point is its not meant to be an accurate descriptive piece as in now there have been no images of Allied troops dead/injured allowed in UK/US publications - censored, same in history painting, no realistic depictions of injury dead that are that graphic.

Truth/lies - duality within the world.

Brighton Biennal - war photographs.

Post lecture discussion


Nicolas Bourriard tour of Charles Avery at Parasol Unit

Packed for the tour of the exhibition, raining, arrived just in time :)

William Faulkner - fictitious world - I've written this but not sure how he relates to the work.

Tension between the reality of the world - i.e. the real things exhibited (Marcel Duchamp) and the fictional content.

Transformation of everything into things - Marcel Broodthaers (Exhibition at MK Gallery in 2008). Imaginary museum - very interesting dialogue between object and language.

Nicholas believes that fiction is the new autonomy as the materiality of painting was in the 19th century.

Fiction today plays a similar role, allowing the artist to include formal elements from different periods of history, allows the artist to play with time.

Charles's work includes nostalgic elements belonging clearly to different periods of time. Really all the work is about archeology, collecting proof that these ways of thinking and behaving exist in this fictitious world. This approach insists on the presence of the past, a non-linear vision of history. The illustrations look quite 1930s, elements of British everyday life - pickled eggs! An anchored reality. Possible biographical elements (Charles was born on an island).

In relation to now, we are used to living in a maze and since the economic reality of 1989 (Berlin wall) we have a more global approach. The past plays a different role today - idealism. A reversal about discovering the past not the future.

Every character in the work points to a philosophical statement/postulation or relates to a dialogue. This world is governed by different laws.

In the 1970s following Land Art, there was a trend for archeological based artwork/strategies around collection and museums/prehistoric times/timelessness/Robert Smithson.

Timelessness - the idea that this work could have been done at any point in history - a will to escape the contemporary. To adopt a visual strategy that avoids any trends.

Origin - cartography, creating a territory. Collection of information - Franz Ackermann - fascinating article Artforum about his work 2001. Transforming impressions sensations etc of cities into paintings. Review of the exhibition at Irish Museum of Modern Art.

Nicholas argues that this disconnection from reality is, in fact, a more realistic way to represent the world by creating a fictitious one. Invisible fluxes in the real world. In the social/politicial reality now battle/tension between materialism and idealism. We are all led to believe we need/want all these material possesions but its impossible in this economic climate.

Looking for something you are not sure exists. Duplication/Multipilcity creates illusion/ghosts.

What is invisible in art that the artist is trying to grab (nearly all art is trying to do this). Trying to find/invent forms to describe our experience as people. Long standing philosophical debate between the body and spirit - opposition but also they are completly intertwined.

In Breton's Manifesto of Surrealism, he argues that the reality experienced during dream time is just as valid as being awake. We are still living life in our dreams too.

Possible method for me - producing connections between the dream and real world - diagrams, maps. e.g. from the drawing stage an element/pattern/reality of that world i.e. the pickled eggs creates a chain to the exhibited object of the real pickled eggs.

This work makes us see reality in a different way - its not about an escape from reality. NB - there is a new game being played, signs now are always blurred and you have to indicate the boundaries of your statement.

Audience questions - time traveller, enchanting, opportunity to create your own treasure island as there is no new territory in the real world to discover. Looking at myths as contained entities. Discovering the island for himself at the same time in his mind - narratives. As the hunter he is always one step behind the game. Gullivers Travels.

Wednesday, 22 October 2008

Tuesday, 21 October 2008

Cildo Meireles - TrAin lecture

Duality of aesthetic / scientific qualities. Political and social realities of everyday life. Uses elements - water, fire, earth. At Documenta 11 presented 'Disappearing Element/Disappeared Element', Ice lollies made of plain water that displayed a message on the stick when melted. Profits returned to the suppliers factory workers - subversion of capitalism. Circulation theme. Also a metaphor about the increasing lack of drinking water in the world and the fact that the carts were outside in public spaces, moving between the art institutions, accessible to the public - multi-faceted ideas.

Art 60s - transformation into action. Silent insertions into social systems ('Insertions into Ideaological circuits' 1970s - Banknote, Coca Cola project. Public participation - denying physical objects, construction of a political statement.

In Latin Americian art since the 60s - dynamics of the ghetto. Ethical commitment due to the reformation of the political sphere. Civil power versus public power - complex situation in flux.

Cildo's comments

Find and isolate a question, then fix it. Reversal strategy within the work, find out how something works then go back and change it.

Conceptual art was attractive to him as it was democratic, can use any cheap materials, anyone can take part. Always had a problem with the amount of words attached with it. You have to feel the work directly, art should always have this aspect. Brazilian saying 'The work should kidnap the visitor', if only for a moment. Never give up the seduction of the viewer - don't let this get lost. He considers himself a bad interpreter of his own work, more interested in the work and the power of itself.

Clay sketches

Trying not to be too precious about these - quickly made, have to let go of them being perfect/dead. Elements from the dreams.

Monday, 20 October 2008

Sunday, 19 October 2008

Sleeping Pattern

ok, tonight I'm going to try and catch myself in REM sleep - lets see how it goes.......... so far 3am and 4am haven't worked!

My synesthesic colour chart

Weekend Exhibitions

Went to Origin on Thursday night - rubbish! All the usual suspects, same old. Only found one stand which I liked Moon Young Shin.

Saturday went to Parasol Unit to see the exhibition by Charles Avery - can't remember how I heard about this but liked it so much that I'm going back on Thursday for the exhibition tour with Nicholas Bourriard. Amazing work about an imaginary island - loved it. Nice description by The Guardian.

Then on to Tate Modern to see Cildo Meireles as recommended by Luisa. Wow - amazing interactive installations!!

1983-9, stepping through the installation your feet crack the glass underfoot, avoiding obstacles.

Mission/Missions (How to Build Cathedrals) 1987 ceiling is 2,000 bones, floor 600,000 coins joined by a column of communion wafers.

Pushing though the measuring tapes in Fontes 1992/2008

Babel 2001 - vast tower of radios all playing a different station.

Southern Cross 1969-70 Tiny wooden cube, hints at this cube's ability to engulf the gallery in flames (among other things!)

Last but not least I went to the Rothko - well so did hundreds of other people. Bad hanging, only got absorbed by the black ones.

Friday, 17 October 2008

Critical Framework lectures (4)

Paul Tebbs

Practice based research.

1. Clarification
2. Context
3. Examples of Practice

Research into practice - art history
Research for practice - technologies for making, practice led/driven, e.g glaze testing
Research through practice - making itself, artists (me)

An example methodology - research initiated in practice and carried out through practice.

Action Research

thinking/doing = integrated

Multiple realities exist as personal, social and complex constructs thus art is knowledge.
Many worlds - seen from different points of view relativist ontology.
Method - CYCLE - action/critical reflection.

Such research attempts to acknowledge complexity and the lived experience of practicing (mistakes, serendipity).

Privileges (as an artist) - subjectivity, issue based, complex methodologies.

How can art be knowledge?
The way something is visual - is its own channel of meaning which cannot be seen in any other way. Experiencial thing - progressional knowledge.

Paradigm (concept) - schematic model, flow chart, structure.

Tim Parsons lecture

Writing - Contemporary Approaches to Product Design

  • Perception - preconceived ideas about design (history), value, semantics (study of the language of signs/symbols, study of the meaning of products), politics (captialism - private uk, socialism - allows some private but community can retaliate, communism - no individual rights, greater good, all state owned).
  • Motivation - main part, what drives us apart from money. Good design is research, what can I bring which is new. What are the best designs of today?
  • Process - mind, ideas, project mapping, drawing - the process of drawing/models from mind to hand offers a chance to see the differences between in your head and what you produce - this will throw up new ideas through the process - asks new questions - the making offers back new options for you to explore - DIALOGUE between ideas and practical making.
  • Context - the aesthetics of an object are not driven by the political ideas of the designer e.g the ipod - design relates to bauhaus, geometry, good clean lines/form socialism roots, but become a symbol of captialist culture - expensive.

Wednesday, 15 October 2008

Designart and Frieze

Went to DesignArt on wednesday with Corrie. Wasn't expecting much but really loved the exhibition. Good size, well designed, luxurious and spacious. Inspiring objects (some crap obviously!) with hefty price tags. A lot of furniture and I thought that the most successful work was really statement pieces - whats the point of spending £20,000 on something when it could be mistaken for a sideboard from Habitat? Many French galleries, also Adrian Sassoon.

Favourite piece was like this one by Kristin McKirdy on Galerie Pierre Marie Giraud's stand:

Made me think of my idea - clay conscious and then a pool of subconscious in the middle.

Went to Frieze in the evening for the private view. Wasn't inspired by much but we weren't looking properly - it was more entertaining people watching! Only took a photo of these as they were cool!

Sunday, 12 October 2008

Rice bowl

Bowl at Laurie's house - like the dimples:

Thursday, 9 October 2008

Maiko's presentation


History - where the work you are interested in has come from - why have things changed?
Analysis of design by others
Study of objects
Studio work

Reference sources:
  • conferences/seminars/talks - primary research - Oriana, network?
  • Monographs of designers
  • Exhibitions
  • Online journals
  • Seminar papers, lectures published online
Think about the medium you are using and the benefits/history/mechanics of that. There are different layers between you and the world. Looking through a camera is another way to look at reality.

Wednesday, 8 October 2008

Critical Framework lectures (3)

Writing & Research

James Faure Walker

Worked for Sol Lewitt and on magazines. Went to Australia and didn't do anything for a bit. Discovered computer graphics, initially thought of by people as not art - not painting. He believes there is a continuity between all these art forms - computer graphics, painting, drawing etc.

Published book - The Digital River - about finding ones way - only computer book with pictures!

One painting 20 x 30 a day! way of using up materials. Doing lots of conceptual stuff can be useless, using overly long words just for the sake of it - philosophy in art is a waste of time. Art is just art.
Downside of computer graphics can make things complicated very quickly.

Drawing - old adverts/illustrations/look how much we have forgotten about already - buried in history, was cutting edge at the time now just forgotten.
Lots of research in Oxfam.

phd student - huge drawing/mind map of her thoughts.

Things that are essential:

  • Momentum
  • Rhythm
  • Routine
  • Analogy (?)
  • Dream
  • Thinking
  • Editing
  • Not Thinking
  • Letting Go.
Catherine Elwes

Video, Feminism, Politics, late 70s. Marxist - bypass commercial market by making videos = good.
Performance, sound, freedom was great, no crew, immediate image.
Writing was another way of expressing theory, how video is understood.
Video was good to create debate and arguments within a social system.

Everything onto paper for four days. The personal is political - personal relationships. Physical presence in work if body isn't there, sound/voice, drawing - time-based.

Visibility in the artwork and then in the world. Then trying to exhibit the work.

ICA Exhibitions - Womens images of men 1980, About time, Issue.

With performance based work, recording it is essential otherwise it doesn't exist. In documentation they started writing about each others work - how she became interested in writing critically.

Exercise - write within 200 words, short sentences, precise. Tries to write as an artist in dialogue with the subject artist, not as a critic judging the work as then there is no chance for the artist to respond and discuss back - started interviewing artists directly instead of writing reviews.

Until 1990s avoided using words in her work as would guide the viewers experience too much - limiting but then father died and after 1997 introduced writing.

Remember that autobiographical written work is only poignant to friends and family - think how to make it relevant to the public.

How reliable is memory? Do people lie - people believed they had done an action in a situation even if they hadn't, just told the story so many times they truly believed they had.

She is excited about writing about what is invisible and hasn't been written about before.

Try to write everyday - rhythm, routine - start by typing out the page from a newspaper.

Contextualising your research is always a big problem as fields of inquiry can be very large - you have to learn to defend yourself - clearly - main discussion - stick to your guns. Put other peoples suggestions in the footnotes. Always come back to what you want - what you are interested in - if you don't know look at your work and it will tell you.

Find people how can explain things simply - then decide whether you want to include it.
Go direct to artists you like - primary research ask them what they are thinking about to produce the work you are interested in.

Its nice to find things that no one else knows about - follow your nose.

Essay planning - create a structure - chapters, block things in. in smaller chunks. Put yourself in the position of the reader, create a picture in their mind - visual image. Inject with images all the way through and explain how you feel about them.

Get Dad to understand the concept of my work in one 'elevator sentence'.

Tuesday, 7 October 2008

Pierre Bismuth in Conversation

Went last week to this talk at the BFI. Wanted to go as the idea/concept behind Eternal Sunshine was by Pierre, friends with Michel Gondry. Fascinating - and he was sat about a metre from me! It was like we were having coffee.

Notes - doesn't all make sense!

Alternative way of looking at reality.
He always starts from factual / pragmatic point of view - a mistake or mishap or theres a problem so tries to fix it - start of an idea.

Music/film unfolds in front of you - interested in duration so he work always has a duration then its finished and you can leave.

Prefers sound to video - creation of value, meaning by interfering with a constructed object - that is already full of meaning - that is dynamic, uses commercial films partly to get the interest of the spectator/public (initially).

Postscript - is about, just perceiving something - is a creative act as you can only take in certain things, can't absorb everything all the time. Anyone can create a creative act/moment.

In Neurology they use tricks to activate the brain by playing films, of course it works as light and noise are very effective.

Erasure and perception are themes in his work. It is more important to him the WAY you perceive things - the content is less important. Life is creating meaning for you all the time.

He likes to change or swap your perception with the minimum effort / complications - likes simple ideas (like Maiko).

He believes that sound gives 80% of the cinematic effect in films, without it love scenes aren't romantic etc. - we just don't notice anymore. e.g man lip syncing with films - bad image but the brain still recognises the film - the atmosphere. Sound is emotion.

Ideas - 2nd Oct

Subconscious - Glaze
Conscious - Clay

Two worlds merging.

Do I dream in colour? if so the drawings should be in colour.

Is there somewhere I can get my REM pattern logged?

Critical Framework lectures (1 & 2)

24th Sep
Practice based research

Proposal should include:

should also have a reflective journal which could include: writing, storyboards, diagrams, photos, drawings etc - individual - mine is probably this blog and practical experiments at the moment.

Paul Coldwell
An artist produces work not just text. In the studio he approaches a project, as if it were a proposal as above. Look at how other people work, his process is to immerse himself in the studio, visiting things, sketching, notes. Sporadic studio time.
Liked the 'ghost' of an object in an outline, like it had been there in the past - left a mark.

Anita Taylor - Director for Centre for Drawing at Wimbledon.
Working with things that are seen, felt and also what you expect to see, revealing the mind and interpreting things. Also believes in serendipity - allow the journey to happen.

2nd Oct
Research Methods and Contexts

Malcolm Quinn
What is Research? a SYSTEMATIC investigation that produces NEW KNOWLEDGE.

There is a difference between research and the compilation of information. Gathering information is NOT research, research has to generate new knowledge or discourse.

  • Question or a problem - there are good and bad questions to ask - no point asking Does God exist?, unanswerable, think about taking it towards something answerable.
  • Within a FIELD OF INQUIRY or debate, very important to identify your field of inquiry. Might be a live debate happening now - who are the key members and also might have a long history to look into. e.g. Michael Fried - minimalists debate in the 60s.
  • The relationship between the question and the field of inquiry determines the form of the question e.g a thesis (its the case that...), an antithesis (its not the case that...) or a synthesis (no one has put these two together).
  • Framing the question enable the identification of research aims (global), objectives (steps) and the METHODOLOGY - the design / logical machine of the research. Methods are different and are in the structure of the methodology itself. Could include reading, interviews etc. Example - interviewing is NOT a methodology its a method, a methodology would be Oral History of which interviewing is a method within that.
  • Designing a methodology enables the collection and interpretation of data.
  • Then the new knowledge is disseminated within the field of inquiry for peer review.
Other key terms:

Secondary research - everything that is already out there on the person or subject (literature).
Primary research - creates new knowledge i.e. interviewing someone, experiments (my practice).
Qualitative - anything not stats based
Quantitative - stats based, numbers.
Research Ethics - human subjects have to get through ethics committee. Do no harm, don't ask distructive or difficult questions to intentionally make people uncomfortable.

The differences between MA & Phd:

MA - must systematically understand and evaluate (do secondary research well). Be able to debate.

Phd - design, plan and implement a research project, to do the whole thing, at the cutting edge of debate, create new knowledge.

Phew - good job really, don't think one year is enough to do all the Phd stuff!

Prof. Oriana Baddeley
Look for the problems in your methodology to find gaps - things there you can address.
Look for role models. e.g. Edward W Said - Orientalism - for her.
Always be ready to question the structure underneath methodologies that already exist.

Find the parameters of your field of inquiry - could be authors?

Look at different disciplines have dealt with your question - for me films - ways of interpreting dreams - make a new methodology of your own.

Look at the obvious repeatedly until it becomes strange - new. What would be involved in changing this - what is it built on? made of? what does it do? Look at the platform on which you are standing.

Research using JSTOR - books can take years to be published, will have a much better idea of the thinking going on now by reading journals and articles which can be published much quicker.

Research is an ACTIVITY not a thing.

Post lecture discussions
Think of defining not narrowing for your proposal, think of conclusions you will draw, not end points.

To do now - work on what is my field of inquiry, define primary and secondary methods.


Inspirational that they create products, limited editions and make installations.

Susan Hiller

Must keep an eye on this - new book by Susan Hiller, published by Cornerhouse.

Tord Boontje

Fantastical products - I used to have one of the metal light pieces from Habitat.

Joseph Cornell

Book about his dreams

Link to his work

Sunday, 5 October 2008

Imaginary World (Defn.)

From Wikipedia, the free encyclopedia

An imaginary world is a setting, place or event or scenario at variance with objective reality, ranging from the voluntary suspension of disbelief of fictional universes and the socially constructed consensus reality of the "Social Imaginary", to alternate realities resulting from disinformation, misinformation or imaginative speculation, and the subjective universe of altered states of consciousness, psychosis or dream sleep.

Imaginary worlds have been the subject of cosmological and philosophical speculation since ancient times, as well as being used for entertainment.



Peter Callesen

Impenetrable Castle, 2005

Acid free A4 80 gsm paper and glue

More work

Wellcome Trust

Argh - wish I could have gone to this talk about the Mysteries of Dreaming - further research needed.

I heard that the Sleeping & Dreaming exhibition was back again at the Wellcome Trust but I can't see it on the website.

Misprinted Type

One of my favourite illustrators.

Saturday, 4 October 2008

Dreamtelling by Pierre Sorlin

Notes - conclusions

Updated 7/11/08
- Mere impressions, the consequence of an emotional, euphoric state of mind, and they dissolve when we wake up.
- Kafka (from his diaries) - a simple sentence that starts a tale can conjure up an entire world in our imagination.
- Unrelated details drawn into a series of visual/sensual perceptions that do not follow logical order.

Ancient civilisations gathered information on dreams but only in the 1950s - Professor Kleitman and Dr Aserinsky at the University of Chicago noticed that patients eyes more during sleep - detected different stages.
REM sleep - 'paradoxical' as body most relaxed but brain most active.

Dreams lie partly beyond the boundaries of our experience - as soldiers in wars dreaming same scenarios - connected - but
- Culture e.g. attitudes, behaviour, values, traditions is a relevant aspect of our imagination. Influenced by the context in which the dreamer lives.

Thousands of people over the centuries have recorded their dreams to retain fading memories. Many reports may have been reworked by the dreamer to dress them up or conceal embarassing details.

Always perplexed and fascinated people as they are so mysterious, combining precise images and vague impressions.
'Desire with loathing [is] strangely mixed' - Colerdige (The Pains of Sleep).
Easy to descrive thinking or seeing or hearing - virtually impossible to descrive kinetic sensations or pure thrills.

Writers and artists have always used dreams to create fanciful worlds - unfettered by earthly limitations.

Inadequate to describe dreams to others using words alone – impossible in fact.

‘Dreams, in totality, are beyond words, consisting of much more than we can say about them.’

He discusses how dreams have been recorded through history from shamans to written descriptions to artistic interpretations. Influence of dreams on human imagination.

Exploring systematic relationships between the ways dreams have been told, analysed and explained.

There is always an intermediary between the dreamer and it being real for other people – historically shamans or soothsayer, now:

‘Social communication is concerned with the transmission of messages. In order to make our ideas accessible to others we must arrange them. The intelligibility of what we say relies on the organisation of our speech according to patterns that reduce the danger of misunderstanding but which channel and impoverish our thoughts.’

Any dream report is an exercise in language – unless the listener was with you in the dream! Cannot adequately describe it – could just be emotions and sensations.

Section ‘Beyond words’ how dreams have been represented in the visual arts. Early 20th century poets producing fabricated characters too ‘nice’ (omitting stuff).

‘The difficulty is not limited to written accounts. Although dreams are mostly visual, representing them on canvas or in drawings is almost as problematic as describing them, if the painter wants to make it clear that what is depicted is a person’s internal, evanescent sensations.’

Due to the Bible, Western artists have often attempted to sketch God’s dream messages. Also na├»ve dream depiction – Marc Chagall – showing a narrative – ‘witting avoid the dream’s lability and emotional unsteadiness.’

‘Such works have been criticized not for their unquestionable artistic value but for their arguable reading of dreams. A forged vision allows no room for imagination, while inconsistency is what makes a dream delightful or worrying.’

Whats the difference between telling a narrative and relating your dream?

Cesare Pavese - in dreams we are the narrator of the vision but unlike the novelist we cannot know what will happen next, it is our tale but it is beyond our control.

Long been attempts to manifest dreams basic inconclusiveness - people real then blurred, sillohettes, haziness, fogginess.

1920 - German expressionist films, optical effects, fog, scenery to represent the transcence of dreams. Eternal sunshine - peoples features erased so hard to identify them - friend / stranger?
RESEARCH - Bergman, Luis Bunuel.


'Initially their aim was to free human imagination from the burden of civic, social and family duties. They celebrated our mind's mobility and inventiveness, urged their contemporaries to enter the realm of the unimagined, the reversible, the indeterminate.'

Of course inspired by Freud, but:

'[The Surrealists] rejected the opposition conscious/unconscious and every other dichotomy, such as real versus illusory or reason versus imagination. For them dreams were not the manifest but the distorted aspect of a concealed desire; they were one of the human species' fundamental aspects. More precisely, they were desire itself in its most radical form.'

The arts were could provide a means to represent the impressive power of a dream, provided they did not tell a story but went straight into the mind's eye by transcribing an effect produced on the sleeper.

Friday, 3 October 2008

Letterpress fun

Lovely day in the letterpress department today, messing about creating some type. The first one really doesn't show up well on the scan - its really faint, much more embossed. The second one is much bigger - spent ages choosing fonts. Just a bit of fun, chance to get my hands dirty!