My third and final resolved piece is a plaster cast sculpture piece. In a gallery setting, I would play the sound of crinkling bags in the same space. This creates an interplay between the pure form of the plastic through the sculpture, and the softer, malleable and motion-full sounds of the plastic.
Plastic bags are often found at the bins outside of my flat. These will rustle in the wind or crinkle when placed down. I decided to take one of these bags and create a plaster cast with it. The intention is to create a solid, hard-looking mass which captures the folds of the bag and by extension the sounds we associate with this material. To further pin the experiences of sound and vision against each other. I took some audio recordings of the crinkling of the bag.
Trisha Donelly, Untitled Diptych, 2004. Pencil and Coloured Pencil. 92 x 61mm
Trisha Donelly, Title Unknown
Richard Wilson, Butterfly, 2003. 5 works on paper, photographs, black and white and colour, printed paper, metal foil, crayon, graphite and ink, mounted onto paper. 592 x 480 mm
To move forwards with this project, I decided to scan three positive slides I found at an antique shop in Glasgow. This process in itself I felt was creating a narrative, as I was moving across a transitional stage in film-making and photographic image production.
These initial experiments have been made using a scanner. By blurring and warping the photographs, the narratives created within the photographs, and the stories associated with these, become distorted and altered into a more visual experience. The breaking up of the image into individual colours I found particularly effective and is something I think would be worth expanding on in the future. This effect adds an interesting layer of photography into the work as it points towards the role of the scanner as its own, modern photography tool.
Irene Fenara
Michael Swann
Photography is a subject that particularly interests me when it comes to the idea of Making and Breaking Narrative. A medium once seen as purely analytical or journalistic is now considered an artistic discipline of its own.
In my work for this project, I want to explore the dichotomy between the analytical and the expressive. Looking at old family portraiture and exploring how these photographs can be pulled apart into fundamental photographic components, including the pixel and warped colour. Through this project, I hope to make a comment on the role of photography in creating narrative and how the manipulation of these old photographs build on, or perhaps break up these existing narratives.
I decided to elaborate on my previous photoshop work. My collage pieces’ highly contrasted feel makes lino printing an appropriate medium to develop my ideas visually. Working from these highly angular collages, I created prints that explore the fundamental forms of the chair and blur the boundary between context and object, creating one homogenous image. I found that the marks from the cutting process left on the print, as well as the texture created by ‘ghost prints’ have a certain wooden visual quality to them, which links back to the chair as the found object, and creates a disconnected experience between texture and form.
