Jacques Rancière at the University of Reading!!

WHAT AN AMAZING MAN, WITH SO MUCH THEORY!

It was a privilege being in the presence of such a great writer and theorist, having studied many of his essays for Contemporary Art theory in my Fine Art part of my degree I found it very intriguing and surreal meeting the man behind it all. Here is a video of the session I attended.

Jacques Rancière Lecture at CFAC, University of Reading

 

Jacques Rancière Q&A at CFAC, University of Reading

“EMPTIED GESTURES” LIGHT INSTALLATION & PERFORMANCE PIECE INSTALLED!!

http://niquelle-latouche.tumblr.com/post/87904662372/www-niquellelatouche-wordpress-com-part-2-summer

Part 2 summer assessment for full info.

Half of my presentation for my Part2 2013-14 academic year.

This work was rewarded a 2:1 grade.

Niquelle LaTouche Artists statement -Summer term

My work this term explores the transitory nature of dance and its relation to contemporary art through the illumination of the positive impacts that mechanical intervention can have on the perceptions of ordinary structures that exist in our everyday living. This project will highlight and elongate temporal structures that exist within a single moment through its investigation into the kinetic and processed based works. Through digital documentation and manipulation, I aim to expose the beauty of ‘the process’ as the final attributed piece by extending and focusing upon the fragility of human memory being used the element needed to continue a single moment. I will expose the temporary fundamentals which most exhibited pieces are founded upon and show that its presence in time and space is a unique existence at the place where it happens to be. This existence can be enriched by mechanical intervention.

Using a mixed media approach my “Still Life” (video animation/installation) and “Emptied Gestures” (performance/light installation) pieces will unveil the smokescreen of hierarchised art and gain appreciation of the naturally occurring ‘happenings’ and visual stimuli of daily routine. Van Gelder’s meat portraits explore the limitations of genre and I will too question ‘what is a still life?’ ‘What must an installation conform to?’

Through my research on Tino Sehgal’s ‘constructed happenings’ I realised the delicacy of the human memory through performance. My performance will convey, initial stimuli Heather Hansen’s “emptying [of] gestures from one form to another”. My work initially developed to be drawing from movement alone which raised questions of aesthetics, but it was not the process of “downloading movement” but the elongation of a temporary moment that my intentions are focalised. After attending the Interactive Sculpture workshops and researching BBKP I began collaborating Systems Engineering to explore the temporary nature of performance and found developed technologies that can elongate that moment in time. I will “download” the spontaneity of freestyle dance, using digital LED reinforcement. The fragility of the immateriality of performance artists such as Sehgal, encapsulate a pureness of the moment, my works will extend that purity through the mechanical means of reproduction.

Maria Zahle’s doubling of architectural structures, brings our attention to the existence of the intricacies of the space and ordinary items. The projected moving images of “Still life”embrace Kentridge’s thematic exploration of animation and its exempt drawing classification and question the limitations of conforming to traditional still life paintings or drawings, I found captured one moment of the drawing process. I will show the changes of a drawing as the exhibited piece and demonstrate how digital manipulation can help illuminate the beauty of that practice. The installation, through the power of the aesthetic of a natural space (the kitchen sink) will reinforce ideas of temporality and memory. Domesticated materials have closeness with the body and trigger memory; this potential will bring fourth appreciation and illumination of the naturally existing spaces surrounding us. There is a relationship between the space, the viewer interaction and the works. The work is live and not static like the constraints of the art fair and will extend the moment using time manipulation, colour and form.

Wednesday Artist Talks – Maria Zahle 26/02/14

Maria Zahle came to the University and spoke to us about the inventions of using the natural space as a preexisting piece of art. She described her way of working as:

“A process of not being anything to something”  and she finds herself often with an attachment to the space as a preexisting image.Her practice is a doubling of the architectural structures of a space and uses this as stimuli to make direct copies (if you can call them copies) of the space. Zahle translates the architecture into an image of piece of colour which focuses our eye for detail upon its vast size, interesting shape or just brings our attention to the existence of the intricacies of the space and ordinary items alone.  The ordinary is activated by her engagement with it . She went through the makings of some of her recent works.

Zahle also spoke about the temporary works which she has made and explained how there is something nice about having a piece of art which is temporary and only exists for a show then either must be torn down. stripped off a wall or removed. It is the autonomy of a space which is interesting as it is the space which dictates to her work and not the other way around and then she lets the process take over because that is where she finds pleasure. If work isn’t pleasurable she doesn’t see why you should do it.

Another interesting relation to her works is one with the human body. Zahle concentrates on how a human interacts to the piece there is a relationship between the space, the viewer and the art as she wants to attain human dimensions. Some of her works she adapts live during the show such as “Gardener’s Eye Stripe” (Below) she likes works that are “live not static” and sit outside of the constraints of the “art fair”. Zahle hand paints some of the shapes during the exhibition and focused on the ever changing and temporary state in which the exhibited art existed. She wants you to be aware of your surroundings and what is going on with surfaces you would normally walk past.

Figurative sculpture is also part of Zahle’s practice and she makes works that represent or you can identify with being a human which to her is fascinating. The pieces she makes “feel” somewhat human and become companions to her when she works in the studio as the “studios can become a lonely place”. Only when she is finished making them does she add colour, she will not do it until the end.

Fabric is a key element in Zahle’s works and she uses fabric as it is a pleasurable material to work with and she “doesn’t want to work in a way that isn’t pleasurable”. She is a mother and whilst pregnant with a child during this talk Zahle discusses the idea of using domesticated materials to work with , as domesticated materials have a relationship and closeness with the body, you “feel” the material against your skin and that feeling is a relationship worth thinking about as it reminds you of touch and the desire and memory of touch.

A lot of Zahle’s works are relevant to my current project as my work explores the potential of the temporary and the ideas of pleasure and work as well as the appreciation and illumination of the naturally existing spaces around us.

Image info: Tree Stripe 2012, Parallel Play 2012, Akhnaton Stripes 2011, And Annika 2012.

http://www.arcadefinearts.com/artists%27%20pages/mariazahle.html

 

 

 

TreeStripeii

ParallelPlay

 

 

AkhnatonStripes

item2

 

Stop Motion Animation- Start project final development.

Continuing on my thematic extension of the temporary moment and time, I developed the idea of a still life. The titling itself is an oxymoron of sorts as something to me that is still seems very lifeless, nonetheless we use the term for the capturing of that still moment in living time. Traditional still life paintings or drawings I found only captured one moment of that process and since my work is very process based this year I wanted to venture into the constructs of how a drawing is developed and how digital manipulation can help illuminate the beauty of  everyday compositions such as the one I found in the kitchen of my student house. I chose to extend the week 9 tests at the internal part 2 exhibition by using animation to show the change in a drawing and the motions we got through as artists to get a final product. This process is rarely seen in the final product and what better way yet extremely tedious than animation!

2014-03-20 11.38.34 2014-03-20 12.18.43I set up in the studio space with lighting , a projector, A3 and A2 paper and a biro pen and of course a Canon to capture every little mark made on the page. I chose to make the changes in the drawing a lot more subtle than that of my week 9 experiment which was exhibited to extend and emphasise the temporal elements of a drawing. As it was only my second time doing an animation in this technique I struggled with concentration as it was such a tedious task and I knew that if I didn’t do many photos the video would not last very long so I grit my teeth and stuck with it. I began working at 10am and completed the animation at 4.39 pm. I then took it to the digital workshop with Angus and put it all together for my test video 20March2014. I then took the test home with the 450 odd photographs taken and began experimenting with brightness and filters. b17 DSC_0353 (2) DSC_0590 DSC_0684

When I was pleased with the state of the photographs from my drawings I then began to digitally manipulate the images on paint. But instead of zooming in closely to fill within the lines neatly etc I used the mouse in the same way in which I did the pen I drew with: very rough and quick lines in between frames and instead of pressing the button on my camera I clicked and ‘saved as’ between several frames as I began playing with colour and small elements of detail.E6 E20 E31

It was an intentional decision not to colour in the whole image as I still wanted the drawing organic line to remain the prominent focus of the drawing, but instead to be enhanced by the digital manipulation and reinforce that both can work in a harmonious relaton to one and other and convey a similar language and stylistic approach to drawing. Here is the (2minute 50 second) final video for the installation: http://niquelle-latouche.tumblr.com/post/83960948181/my-stop-motion-animation-start-project-final

 

2014-04-21 11.51.56As this project in its earliest stages focused on the everyday item and placements and compositions focused around the household I only thought it was suitable to use this video to do with an item in or around the kitchen. I got an old sink from my dad back home in London and began painting it white as that would be more suitable to project onto.

 

2014-04-21 12.55.32 2014-04-21 13.57.21 2014-04-21 12.55.24

As discussed earlier in the year with my tutor it was an option to use a smaller projector as the larger ones need a laptop and their size obscure the experience somewhat , I wanted a more discreet and subtle digital output and this little gem is great for exactly what I want to do. I tested it during my time in the Introduction to Interactive Sculpture  workshops and it will be what I show my animation through in the final installation.OLYMPUS DIGITAL CAMERA