SUMMATIVE ASSESSMENT

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WORKING WITH THE FOUND OBJECT

 

POPPERS

 

INITIAL PIECES

 

ILLUSTRATION

ILLUSTRATION

GIF

 

DEVELOPMENT INTO RESOLVED PIECE

 

RHINO MODELING

IKEA POSTER – SPRÄNGA

                               

RHINO MODEL OF IKEA SPRÄNGA PACKAGING

SPRÄNGA MODEL

 

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RESOLVED WORK – PARTY POPPER

 

FINAL POPPER MANUAL

PDF BOOKLET INSPIRED BY IKEA – SPRÄNGA

VERBS

PDF BOOKLET INSPIRED BY THE WORK OF RICHARD SERRA

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OTHER WORK FROM WORKING WITH THE FOUND OBJECT

 

LAMPSHADE

INITIAL

         

GIFS DEPICTING ALTERATION

NEWLEY FASHIONED LAMPSHADE

 

TRASH

CASTING OF SINGLE-USE PLASTICS INSPIRED BY RACHEL WHITEREAD

 

ASSEMBLAGE OF TRASH INSPIRED BY CORNELIA PARKER

REFLECTIVE STATEMENT – WORKING WITH THE FOUND OBJECT

Over this course, I’ve aimed to explore a number of topics that I believe are important and relevant, whilst keeping a common thread running throughout. One such topic reflects upon single-use plastics and other materials that contribute to the vast quantities of waste that the planet has to deal with. This I do through my projects Party Poppers and Trash. Using repetitive imagery, I allude to the impacts and consequences of mass production, and the never-ending consumption cycle which supports and drives it. Through my plaster-casting, I aim to demonstrate the permanency of the impacts of our throw-away culture, whilst working with items that often have a useful lifespan of just a few seconds (e.g. a popper). Whilst many organisations and people are focused on the environment, the continued growth in consumerism remains a recurring and growing predicament. And through my lampshade, I could, metaphorically, be redirecting/ highlighting new paths that we could/ should take.

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MAKING AND BREAKING NARRATIVE

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ISLAMIC GEOMETRIC PATTERNS

 

INITIAL PIECES

LINE DRAWING OF PATTERNS

 

 

ILLUSTRATION OF STUDIES

MEDIUMS OF ISLAMIC GEOMETRIC PATTERNS

 

STAR STUDY

 

SUB-PROJECT: CHAOS

EXTRACTED SHAPES FROM PATTERN NO.1

EXTRACTED SHAPES FROM PATTERN NO.2

EXTRACTED SHAPES FROM PATTERN NO.3

EXTRACTED SHAPES FROM PATTERNS

NEW PATTERN FORMATION NO.1

NEW PATTERN FORMATION NO.2

 

SUB-PROJECT: MASHRABIYA

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RESOLVED WORK – MASHRABIYA

 

MODEL OF MASHRABIYA

CLAY MASHRABIYA

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REFLECTIVE STATEMENT – MAKING AND BREAKING NARRATIVE

The thread which runs through almost all of my sub-projects in this course, is the use of shapes. This project, in which I’ve focused on Islamic geometric patterns, fully exemplifies this. I have really enjoyed studying their formation and construction as well as their use in many practical ways – transcending boundaries of art, and all the while retaining beauty and dignity. Rich in history, their significance runs through many (mainly middle Eastern) cultures and civilisations. In my art, I have sought to document, explore and adapt these patterns in a number of ways. My studies have not only enabled me to grasp a better understanding of the construction of different patterns, but to realise the respect due to those craftsmen and engineers who apply these to the production of practical and often very beautiful works.

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MAPPING THE SOUNDSCAPE

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MEADOWS

 

ILLUSTRATION OF THE MEADOWS W/ GOOGLE EARTH MAPPING

GIF (ACCOMPANIES VIDEO – RESOLVED PIECE)

 

FLAT

MODEL DETAILING VOLUME OF NOISE

ILLUSTRATION IN RESPONSE TO MODEL

PATTERN FORMED FROM ILLUSTRATION (ABOVE)

 

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RESOLVED WORK

SOUNDS OF A CITY MAPPING

 

SOUNDS OF THE MEADOWS

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REFLECTIVE STATEMENT – MAPPING THE SOUNDSCAPE

My work on this was very different to anything I have done before. Here, where sound was the subject of focus, I initially found it difficult to find ways to visually present this. Whilst those who suffer from synesthesia can have a very different perspective to most, and I am not acquainted with synesthesia, I sought to represent sound in an abstraction, where I resorted to using shapes to represent sound. Thus, I differentiated between different sounds through shapes (again), with different sizing and shading representing different volumes and types of noise. This is particularly the case with respect to Sounds of the City and My Flat. In my piece, Sounds of the Meadows, rather than resorting to visually present sounds, I was able to string together a video, presenting the sounds that each blocked area of the meadows created. 

Sounds are a part of everyday life for everyone – though typically nowhere as much noticed, thought about or commented on compared to images. In my work I sought to highlight and compose sounds that represent enclosed places, highlighting the elements of sound which surrounds everyone all the time.

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MAPPING THE SOUNDSCAPE – SOUNDS OF THE CITY

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In this piece, I’ve further developed ideas explored in my earlier work. Here, inspired by my video, Sounds of The Meadows, which focused on the sounds themselves, I too have done that. This time though, it’s in the form of a list. And, with respect to my earlier work on mapping the sounds of My Flat, I’ve again created illustrations based on my interpretation of the volume of those sounds. In this piece, Sounds of the City, I, like in Sounds of The Meadows, went out into Edinburgh for a walk. Instead of recording the sounds themselves, I noted down the sounds I could hear, as well as where those sounds were coming from. From that list I created circles, with each representing something different, making the noise. The size, colouring and detailing of each circle were all variables that altered according to what I heard. Darker circles represent sharper noises. Wider bands represent sounds that are more present. Dotted and striped bands are there attempting to highlight the nature of the sounds themselves. 

In terms of presentation, I’ve included a list of all the sounds, numbered. Then there’s a key page where one can see which circles represent which sounds. And finally, I’ve layered the shapes together, presenting my interpretation for what are, the sounds of the city.

MAPPING THE SOUNDSCAPE – MY FLAT PT.2

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Using the models created in the last post as reference, I created an illustration of my flat’s floorplan, and coloured each room in different shades according to sound volumes. Darker shades represent louder spaces, and lighter represents quieter.

I replicated this in an attempt to illustrate the sounds of many rows of flats, or a little neighbourhood. The pattern created draws links to earlier projects, especially my work on Islamic geometric patterns.

MAPPING THE SOUNDSCAPE – MY FLAT PT.1

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After finishing my work on the meadows I couldn’t see how I could further develop it. Therefore, I decided to move my focus onto another place, this time on a far smaller scale, and a place more personal. My flat.

Instead of recording sounds, I returned to Rhino, and began by creating a model of my flat, excluding the rooms and any doors. Following this, I did the opposite, creating a model of my flat, extruding volumes representing the rooms from within the walls. In order to tackle the topic of measuring sound, when extruding the volumes, with each representing a room, I did so in a way where each volume is comparable to each other, with respect to sound. Rooms that made the most noise had the largest volume, and so on. In doing so, I created a model which represents the sounds of my flat.

MAPPING THE SOUNDSCAPE – THE MEADOWS

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When approaching this project initially, I found it particularly challenging to come up with a way of presenting sounds without creating abstractions. Also, I struggled in finding the focus of the project, which had not been the case with earlier elements.

For the first week of work, I knew I wanted to include actual sound – something I hadn’t done before. When it came to focusing on one clear aim, inspired by walks around Edinburgh, I was drawn to The Meadows. A place where people meet, a place people travel through, but also a place central to the city. Consisting largely of open parkland, The Meadows includes tree lined walkways, areas for sports, and wonderful views across to Arthur’s Seat.

When looking from an aerial perspective, what became immediately clear to me, was the triangular shaped sections created by pathways across its surface. The shapes, enclosed in by roads and pathways, could be a field layout in the middle of the countryside, but it sits less than 1km from Edinburgh Old Town.

Working with sound, I used my mapping of the meadows to separate the ‘shapes’ into sections. Using these sections, I walked around each one, recorded – using Voice Memos – a minute’s worth of audio. In the editing process I found that a minute was too long, and scaled them down to around 10 seconds each. In some, all you hear is the wind and weather, and in others cars and other transport. I tried to include those with people to make it more interesting, but, for me, staying true to what was recorded was important. The final video file came to life, playing back areas where most people were circulating, which was often near big roads or where big paths intersect.