Issuu on Google+

Becoming Fischli&Weiss

Helen Penfold Becoming Fischli&Weiss

Group Work &Individual Work


Helen Penfold Becoming Fischli&Weiss: Group Work

Visible World

Natural Grace

Projection 1 (Herbst, Fall)

Im Teppichladen-At the Carpet Shop (Wursterie)

Questions

Fischi&Weiss Work Examples In the group we researched Fischli and Weiss, and individually we took different aspects to research so that we could cover more information. I researched into their work, and found that they worked in a variety of mediums, from making sculptures out of sausages, to using everyday objects to balance on one another. Fischli and Weiss’s work has a playful theme to it, and this allowed them to experiment with the effects their work had on the audience, and at times they were unexpected, and their work evoked laughter and intrigue. The work they produced takes something used every day and changes the context in which it is found, and so gets the viewer to see it in a different perspective, and so altering what the work means. One of their most well-known pieces is ‘The way things go’ from 1983. This is using the idea Rube Goldberg machine, and, later this idea become to be an advert for Honda called the ‘The Cog’ which saw car parts being used to make a chain reaction with each other.

Mausi Hat Hoch

Still from‘The Cog’ Honda


Helen Penfold Becoming Fischli&Weiss: Group Work

Project by Candy Chang

I Wish... From researching the ways that Fischli and Weiss work, we discovered that they use another arttists work and change the medium to create something new, for example with the Rube Goldberg machine the idea was taken from the illustrations that Rube Goldberg created, and they changed the medium to use physical objects and perform the chain reaction and record it on film. Taking this approach to working, we used the idea from a project called ‘Before I die...’ by Candy Chang, whereby it was this statement written on a chalkboard and people came up to complete it. This produced interesting answers because it allowed people to be annoymous, and add to the project. Our idea with this was to make an audio piece, where we ask people to complete the statement I wish... For the visual for this video, we had ‘I wish...’ wrote on paper, and got someone in the group to hold it in the street, and we filmed this. The setting for this was important because it portrayed a natural scene for where the audio recordings took place. As a final piece, this was effective and with the audio playing one after the other in the video, it made people wonder who was behind the voice, and kept the annoymous sense to the answers like the project y Candy Chang.

Project by Candy Chang


Helen Penfold Becoming Fischli&Weiss: Individual Work

Untitled (Flowers), 1997–98

Untitled (Flowers), 1997–98

Fischli & Weiss Influence and Other Inspirations After looking at Fischli and Weiss during my group work, an aspect of their work I liked was the double exposure photographs. This is a way of working that they do separately, whereby one takes the photographs and fills the whole film, and then rewinds it, and hands it to the other who goes and takes photographs at a different place. Doing the double exposure this way allows their compositions to be random, and neither of them knows what will come out together so there is a sense of surprise. I looked at other artists who had produced double exposures to get ideas about what worked as a composition. I looked at Tierney Gearon, whose work mainly features people, especially young children, and this has the effect of showing the passing of time and creating a sense of nostalgia. There is always a dominate image, with the second having been placed at a good distance to create one image that fits in well with each other. The other artist I looked at was Dan Mountford, and the subjects that feature in his double exposures are not necessarily related, for example the portrait of the girl, with Brighton west pier landscape over her forehead. However it is clear to see that these have been placed purposefully and they surprising do work well together, I do like the man-made structure of the bridge, with the natural patterns of the leaves and trees over the top.

Dan Mountford, Untitled, 2011

Tierney Gearon, Untitled, 2008

Dan Mountford, Untitled, 2011

Tierney Gearon, Untitled, 2008


Helen Penfold Becoming Fischli&Weiss: Individual Work

Double Exposures This is a technique that I have not tried before, and I was eager to try this out for myself. This became my individual work for this brief, and I enjoyed trying something new and learning from my mistakes to then further my practise and improve upon my work. As I was trying this method out, the films from the beginning were test runs, and so the subject of the photograph was not distinguished beforehand. However I chose to photograph things that interested me, and tried to combine two subjects together to create one composition. The colours in some on these photographs I altered myself to enhance the subject, as once I got the film developed it was then that I noticed the exposure was sometimes a bit low in some of them. I think this technique create a unique image, and reflects Fischli and Weiss’s working methods whereby they have one shot at something and you cannot recreate it (like the Rube Goldberg machine setting things alight).


Helen Penfold Becoming Fischli&Weiss: Individual Work

Artefact To display my photographs for this project, I made a photo book and put a series of them in. The selection shows the ways in which I explored double exposure photography using different techniques. This was a challenging project to do because it was new to me, and I was constantly learning each time I got further, and I have some really unique images to come out of this, and this shows that I can express my ideas in different and creative ways that I have not tried before.


Brief 2 (Becoming Fischli&Weiss) Folio Sheets