Griffiths seeks to transform mundane objects. He asks the viewer to make the leap that transforms the cardboard box into the spaceship. He turns disused tube station into an obstacle course – including heaps of sand, ladders and petrol barrels.
With his sculptural installation called ‘Life is a Laugh’ (2007) that only passengers on passing trains could see, he sought to tap into the character of his fleeting audience.
He is conscious of the transitional nature of the site and its occupants.
A piece I recently created was concerned, too, with the transitional nature of the space. I proposed a site-specific piece in which a group outlined all the objects placed in a particular room with black electrical tape to lend the objects permanence. It seemed that the whole function of the room was to remain ‘functionless’… (it is an exhibition room).
The humour of his work also stems from his construction of magical looking conceptual architecture using cumbersome, earthbound objects.
To contrast this with my own work, I sought to construct a light bulb using household objects… his ramshackle constructions from cardboard are familiar to my masking tape secured pieces.
Before (azure/turquoise hue)
After (blackened hue)
Reflection of sodium bicarbonate captured in mirror positioned under oil.
The positioning of the mirror allowed for a greater impression of depth, and a greater ambiguity as to what the viewer would perceive.
An observation was made only after footage was reviewed.
The images captured by the microscope camera are subject to automatic contrast correction.
Before the very ‘white’ sodium bicarbonate was added to the image, the overall impression was azure/turquoise.
The contrast is supremely powerful.
I will explore this videographic phenomenon further.
SEEING SOUND BATH SPA UNIVERSITY 23RD NOVEMBER 2013
Ireti Olowe – REAL-TIME GRAPHIC VISUALIZATION OF MULTI-TRACK SOUND
An electronic sound piece that is at once ordered and dissonant
Sounds 80’s, electro-pop
He attempts to find new ways of visualising sound. He combines different streams of audio to create an interestingly layered field.
He believes that the ‘accents that litter our everyday experiences become an afterthought’
KEYNOTE for my Mac
I have previously displayed waveforms that correspond to sounds so find Ireti’s new way of visualising sound stimulating.
the colour of silence
WHAT IS the colour of silence?
photo-chemical film and digital technology
16mm and HD digital transfers, modern HD technology
One of the pleasures of watching the John and James Whitney Programme’s earlier work (1944 – 1974) was the photo-chemical look – the crackles, the spots, the distortion and grain. All of the image, from the top to the bottom of the frame, had a softness and a unity that contrasted the jagged edges and inconsistent resolutions of the modern HD digital pieces.
Even though Whitney is sometimes considered the father of computer graphics, his pieces, especially ‘Permutations’ (1966) occupy an interesting space where he hadn’t yet accomplished the ‘sharper than eyesight’ resolutions of today but it is perfectly apparent that a computer has rendered the images. It looks strangely organic. The computer isn’t struggling to render the images, so there is a smoothness
to the image that the ‘Fixed Media Works’ can’t match.
Looking at ‘Permutations’, it perhaps looks closer to hand-animated title sequences produced with cels.
This ‘Catalogue of London Underground Maps’ – maps combined and reconstructed – seems to have a connection with Ryan Gander’s ‘Your life in four acts- Forward’ (2008) in that both works take a wider view of these diagrammatical representations. Ryan Gander’s piece points to socio-economic changes, where town planners have replaced the more organic structures (The Custard Factory) with more economically viable enterprises.
My work, ‘Catalogue of London Underground Maps’ attempts to provide an expansive visual encapsulation of the look of London Underground Maps. It could point to how ubiquitous the imagery has become, how easily the maps have been reproduced, and how we repeatedly use the transit system.