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Artistic documentation to Norwegian Artistic Research Fellowship Programme application. Kunstakademiet, KHiO Eline McGeorge


This documentation shows works from three different projects: Page 2-9 Documentation of some of the works in the project ‘As Spaces Fold, Companions Meet’, 2016 Page 10-12 Documentation of some works from the project ‘ With the Free Rider into the Oil Age and Beyond’, 2014 Page 13-18 Documentation of some works from the project ‘A World of Our Own’ 2012

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1) Documentation of some of the works in the project ‘As Spaces Fold, Companions Meet’, 2016

‘Companion Species, Emergency Weave’, 2015. Emergency blankets/Space blankets cut in strips and woven on canvas stretchers, various prints on paper. 180x175 cm As explained in the project description, I have also previously used methods of combining various digital and off-set dot matrix patterns with the manual pixelating effect of weaving. This work is inspired by Donna Haraway’s critic of the term "Anthropocene", mentioned in the project description and her focus on symbiosis, networks and coexistence. Art critic and art historian Marit Paasche writes about this work: ‘The precarious state of our planet is also addressed in the artist’s use of ‘space blankets’ as an artistic medium since 2011. The lightweight blankets, made of a reflective, heat-insulating material, were developed in connection with space travel but have since been used in emergency service work. Eline McGeorge cuts them up and uses the same weaving technique applied in the collages. […] the artist has used emergency blankets for the warp, yet combined them with a weft consisting of other strips of visual material. Between the silver shimmering, scenes of endangered animal species such as the maned wolf, UFOs and vegetation can be glimpsed. The past, present and future are perceptible, side by side. The maned wolf has characteristically long limbs and is ascribed magical powers. The animal is not easy to spot in McGeorge’s weaving; one has to find the precise angle of view where it emerges from the light-reflective material.’

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Close-up of some of the various pixilation patterns in ‘Companion Species, Emergency Weave’. (various dot matrix patterns of digital pixilation, analogue off-set pixilation and ‘manual’ woven pixilation)

‘Companion Species, Emergency Weave’ in installation with the floor piece ‘2000 seed capsules’ 2015.

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Close-up of ‘2000 seed capsules’ 2015. Seeds, clay, earth, sea concentrate, fermented comfrey. This work touches upon some of the ideas of pixilation, cross-fertilisation and collaborative development of works expanded on in the project proposal. This is an example of collaboration and exchange with people outside the ‘art context’ (emphasized in the project description) to develop a piece of work. The seed capsules were developed specially for the Norwegian ecosystem in collaboration with a plant sociologist from Efferus Veksthus based on a recipe by Masanobu Fukuoka, - the permaculture pioneer who developed a regenerating form of agriculture and replanted manmade deserts by the use of seed capsules in 1960-70s. It is an example of a three-dimensional exploration of pixilation effects and a cross-over idea between the pixel and the seed which I have previously explored. The floor piece forms a pixelated pattern stretching out on the floor through out the exhibition space.

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Installation shot: Biomatic Encounters, 2015. 28 pencil drawings on paper. This group of drawings is an example of how I explore characters and visual and thematic motifs in my practice with the help of drawing. Drawing is an important generator in the process of my visual investigations both in the initial parts of a project, as final results and as raw materials to be translated into digital works, three dimensional work and printmaking. I have worked with pixilation in drawing to explore the ‘biomatic’ character central to this project and initiated the idea of the crossover between seeds and pixel within the themes of robotics and digital spaces. Marit Paasche writes: ‘In Biomatic Encounters (Horizontal pixel figure) the outline of a torso is still present, but short, horizontal lines run over the figure with varying intensity. The impression of movement is so strong that one cannot determine whether the contour is dissolving or coalescing. The short rhythmic strokes make the figure seem more like a digital construction – a biomat. Biomat is a term McGeorge has taken from the 1978 Norwegian science-fiction series Blindpassasjer in which it was the designation for a biological robot made of programmable organic molecules, and which bore neither male nor female features.’ Close-ups of some of the drawings follow on the next pages.

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‘When Species Meet, Biomatic Hand and Seeds’ 2015. Digitalised drawing, photo montage, ink jet print on Hahnemuhle PHOTO RAG paper, 707 x 500 cm, unframed ‘poster’. I have worked with pixilation in drawing to suggest the crossover between seeds and pixel within the themes of robotics and digital spaces. Drawing is an important generator in the process of my visual investigations both in the initial parts of a project, as final results and as raw materials to be translated into digital works and printmaking.

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2) Works from the project ‘With the Free Rider into the Oil Age and Beyond’, 2014

Four still images from ‘With the Free Rider into the Oil Age and Beyond’, 2014. Video montage and animation, 12mins, sound. (page spread from the exhibition catalogue for We Are Living On A Star, HOK, 2014) This is an example of collaboration and exchange with people outside the ‘art context’ to develop a piece of work and the kind of assembling of references emphasized in the project description. In the project ‘With the Free Rider into the Oil Age and Beyond’, environmental activists shared with me documentary video material from the tar sand extraction in Canada. The video is based on parts of the Norwegian TV series "Blindpassasjer" from 1978 and discusses the paradox between the social democratic ideas Statoil was built on and the international competition for resources the company is part of. One of the characters in "Blindpassasjer" is called a Biomat, a figure built up by programmable molecules who appears like a gathering of pixels to take the shape of a person. Invented before the digital age, the film uses analogue effects to make a visual representation of the future digital character. The character is reproduced as digital pixilation effects in my video work. In the TV series, the Biomat is portrayed as a protector of nature but an enemy of people, which is itself a paradox leading to its destruction by the human characters in the series. My recent work continues the Biomat-character from "With the Free Rider into the Oil Age and Beyond" to the present in the meeting between species, seeds, pixels and machine. An ‘artist-book’ was printed with this project containing a drawn sequence from an animated part of the video and a narrative transcript of the video mapping references and sources. Some stills on the following pages show the digital pixilation effects worked with as part of exploring themes and characters in this video.

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With the Free Rider into the Oil Age and Beyond, 2014 Artist book, 72 pages, 21 x17 cm

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3) Works from the project ‘A World of Our Own’, 2012.

Close-up of the work in the middle: ‘Cosmonaut-Woolf portait weave (A World of Our Own)’ 2012, manually intervened with digital prints on paper, montage, 53.3 x 48.3 cm As referred to in the project description, is work is a good example of the method to collage visually and thematically sometimes quite unrelated events, characters and topics in an associative network. A portrait of the feminist pioneer Virginia Woolf is woven into a portrait of Valentina Tereshkova from 1963, the first female cosmonaut. There is an obvious references in the title of the project this work is part of to Woolf’s essay ‘A Room by One’s Own’. The Woolf-Tereshkova character, as one of a number of montaged characters in this project. She emerges here as a space explorer, exploring the space available to her as a woman and looking into a future of freedom and equality. This is also an example of a work employing a ‘collaborative’ method with the machines and technology of printing and digitalization I used intervention with the analogue printing processes of the digital images, manipulation of the printer settings and the ink levels, interfering manually with the feeding of the printer paper and the ink cartridges, cut the prints in strips and interwove them. (The work on the right on the installation picture is an example of a visualization method to represent folded space elaborated on on the next page.)

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One of the large-scale prints in the triptych: ‘Folded Space Scan (A World of Our Own)’ 2012. Digital print on paper, 112 x 151 cm This is an example of a work employing a ‘collaborative’ method with the machines and technology of printing and digitalization. I used the method explained in the project description to visually appropriate the concept of the folded space in the project ‘A World of Our Own’, 2012. I manually folded a mirror card and scanned it, refolded it and scanned it again. In the attempt to render the threedimensional (manually) folded card on the scanner surface, the scanner ‘blinded’ itself in the reflections from the parts that were folded close to the scanner surface, while parts folded away from the scanner surface became under-exposed and dark. The rendering of the ‘folded space’ on the scanner surface, the loss and transformation of the visual information in the translation process into a digital image, created a recognisable yet removed representation of the manually folded object. I repeated the process, refolded and rescanned the card, and animated the scanned sequence of images into the video montage work that is part of this project as a representation of ‘folding space’. This print is one of three individual scans I made into large-scale prints representing the folded space in the installations of this project. The manually folded object was taken through a digital space, an analogue printing process translated the image back into a ‘manual’ object to become a manifestation of the idea of the folded space, - an attempt to visualise the ‘ungraspable’ theory the folding of space.

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‘Not Yet Titled (A World of Our Own)’ 2012 emergency blankets with screen-print, found concrete rubble, 121 x 200 x 96 cm The sculpture is made up of found concrete from a demolition site in the gentrifying areas just outside the financial district in London and emergency blankets used during the Occupy movement demonstrations in the area, screen-printed with the image of a sign from the first day of Occupy Wall St. Art crtitic and art historian Marcus Verhagen writes about this piece: ‘Her doubts are more explicitly expressed in another piece from the same constellation of works, Not Yet Titled (2012), which consists of a concrete block that was found on an East London building site and an emergency blanket emblazoned with the words “Tired of Capitalism”, a slogan that was used by Occupy Wall Street activists. The work speaks to the regeneration of inner-city neighbourhoods, which tends to dislocate and (occasionally) to mobilise communities, while also pointing to the conditions under which protestors in encampments live. But the “Tired” of the slogan can also be read as drawing a parallel with an ordinary blanket and so suggesting a more passive reaction to gentrification or, more generally, to social inequity. Certainly, the piece, which underlines the hardships that protestors have to face, is not a sunny exercise in utopian imagining.’

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A-W-O-R-L-D-O-F-O-U-R-O-W-N, 2012, ISBN 978-1-907908-05-7, Soft-cover, 32 pages, 21.6 x 29.7 cm. The text in this artist-book is based on the video A World Of Our Own that is part of the same project. It contains a narrative transcript to expand on the references of the video, inciting the visual elements of the abstract animated parts. The book contains collages that draw and expand on these references. It is printed on paper made from recycled GBP notes, and the incompatibility between different paper formats (A4 and US letter) gives the book its shape. Examples of book spreads on the following pages.

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