Transformations Spaces of transformation Hannah S
My own photos
Capturing the many actions that go into a transformation. Mod rock formed around clay sculpture. Acrylic gold interior.
The half half stage of a transformation. Often hidden from the public view. Actor becoming the roll by putting on stage paint. Working on the idea of moving to a space in which the viewer becomes the actor.
DEGAS - CAPTURING THE BACKSTAGE ACTIONS
A1 Drawing the figure into their surrounding environment exploring their interdependence. The figure dictates the use of the space whilst the place frames the action.
Brushstroke match the dynamic transformation. Contrasting colours are placed next to each over to give the painting luminosity and vibarace matching the exciting positive connotations of a transformation.
Looking at how space can be divided by the 2D canvas to define a 3D area
The average proportions of a person - working out where different heights of a screen would fall
EILEEN GRAY Interested in the figure breaking onto the next panel joining the two. However too solid I am looking to capture a freer suggestion of a figure via loose line so as to invite the viewer round the screen
Final selection from photo shoot. Inspiration for pose of figure on panels. From simple viewing to step into (going behind the screen).
The importance of colour & clothes
FRAMING THE TRANSFORMATION
I feel doing a gold leaf border on the front will be more effective than paint in capturing the viewers attention as it reflects the light and the crumbling nature of the trail would match the inkwork giving a clue as to the nature of the interior and contrasting the greyscale colour palette. I feel doing the same on the back would detract from the beauty inside the border due to overusing the leaf and ruin the elegance and power of the pure black. Having a plane black border allows it to act as a frame capturing the transformation.
Practicing techniques. Observing how ink acts differently on lining paper. It is very absorbent so black ink will split into its coloured components. I can use this to add indication of depth whilst keeping the 2D aspect of the shadow. However it will be harder to control lines. Because of this I prefer the less built up figures as they seem more fluid. The bleeding of the compact lines makes them too solid. The bleach does not bleed in the same way and is to harsh for the composition. Having practiced using imitation gold leaf I have found applying a dark red background emphasis the metallic shin of the leaf. I prefer the more fragmented trailing tendrils as they match the composition of the exterior linking the two together. To help the leaf sit more naturally in the composition i have uses a gold paint to help the transition between the red and the leaf as I found without it the gold looked out of place.
Scaled wooden maquette and foam figure (3:1) Working out shape of curve and height of panels in particular the slightly shorter (but not shortest panel). Which I decide to place at the end to form a more inviting entrance and avoid symmetry.
TRANSFORMATIONS
In relation to the theme of transformations I have been interested in exploring spaces that encourage and shape positive change and growth: spaces of transformation. My initial focus was the cocoon that is woven by a caterpillar to create the protective space in which the chrysalis transforms into a butterfly. For the butterfly to emerge, the cocoon must be vacated. The empty or negative space of the cocoon thus points to the completion of a transformation and to the threshold that connects inside and outside, what is hidden from sight and what emerges with bright colours that attract attention. How can art create cocoon inspired spaces that stage human transformation? Can the piece of art not just depict a scene of transformation that the viewer observes like an entomologist studying the stages of a butterfly but involve the viewer in the process of transformation itself? Taking inspiration from the objets trouvés of Pablo Picasso and Marcel Duchamp, and from Christo and Jeanne Claude’s ‘Wrapping of the Reichstag’, I have sought to create a dynamic piece that questions and provokes reflection upon the notion of art and its relation to everyday life. My goal is to create a piece of art that engages the viewer’s participation in its very production, like the caterpillar weaves its own cocoon. The idea is to create a piece of art that is a space in which the spectator is empowered by being transformed into an actor, that is, someone who can act and make decisions for themselves. To realise this concept I have taken inspiration from the theatrical dressing room which is the intimate space ‘behind the scenes’ where an actor is transformed into the role that they will play on the stage. Focussing on the actor and how, looking in the mirror, they apply their stage paint and put on costumes is to enter a space of thoughtful art not deceit; it is a space for preparing to interact with the wider world, emerging like the butterfly from the cocoon. The artist’s dressing room is, however, a space that can be closed by a door and spatially removed from the stage. In creating a screen, I am seeking to foreground the threshold itself that connects inside with outside spaces. The interest of the screen for me is that it defines private from public space without enclosure. In this respect, the screen functions more like a veil, concealing while also revealing glimpses of something behind. This is an important dimension of my final piece encouraging the spectator ‘in front of’ the screen to look behind by constructing peep holes and lower sections that partially expose the action ‘behind the scenes’ and engage their curiosity and imagination. The screen is in effect a two-dimensional canvas that can only be viewed in its entirely if the spectator moves around it, entering the ‘private’ space and re emerging into the ‘public’ space. The scenes that are painted on the five panels shadow this movement as they are read from left to right, disappearing into the artwork itself in the final panel. At this point, the spectator will see the gilded theatrical space that has been concealed from view and as they walk behind the screen to explore this hidden side, they become part of the installation and it is their face they will see in the mirror. On this side of the screen the spectator will see brightly coloured hats, scarves and wigs hanging alluringly from hooks, with labels inviting them, like Alice in Wonderland, to try them. Will they dare? At this point, they will reflect upon their interaction with ‘art’ and the rules governing its exhibition in public spaces. Only if they stand on the pedestal will they fully participate in the exhibit and be viewed by others as an integral part of it. The screen thus encourages spectators to be transformed into art and perhaps to transform their ideas about the place of art in their life. Which surface of the installation will they see as the more meaningful? Will it be the greyscale public ‘front’ or the highly reflective and more brightly lit reverse side with its playful theatricality.