The above was one of my collaborative pieces, which consisted of moving around a massive piece of paper, trying to mirror the way that we had moved across the dance-room floor in the original McLane performance. While doing this we had smeared out hands and feet in blue and black acrylic paint, both Amy and I had our respective individual colors.
The outcome was a highly dynamic expression of the overlapping of motion and paths (mapping opportunity here!) within the space, and the denser packed an area was, the more physical weight it carried in regards to how often our bodies had spent there. Uniform or repeated paths were emphasized by the darkness of their lines, whereas some places hadn’t been touched even once, which are additionally emphasized by the emptiness of the pure white.
I’m very happy with this piece, as the motion can be seen and interpreted however the image itself is a still moment; it almost mirrors a photograph in the sense that it captures an event and freezes it in time to be displayed. The eye will follow the recognizable forms of hands and feet to create its own paths if motion.
This piece came about as a result of me needing a piece that included found objects, but I didn’t want to be as straightforward as to take something from McLane itself and incorporate it into a piece or draw it as a still life. In that case, I went to our ex-installion and took the paper that had represented the racquet room walls and decided to use those metaphors as my found objects and materials to create a scene from our performance.
The outcome was actually really successful in my eyes, especially when I sped it up, as the performance was also sped up in video. The rapid nature and lack of speaking further emulated the feeling of the performance itself, in addition to the straightforward representation of our figures by the dolls (the paper went from a symbol for the walls of the structure, to a symbol of our bodies within the structure, kind of interesting!)
In regards to evaluation I accidentally may have touched on that slightly in my last paragraph. In addition to those points made, however, I did find this process very very calming and focused, as there was no one else in the studio with me, no talking and no distraction of sound. It was incredibly fun as well to reminisce the construction of my voodoo doll in the memory project we had done with Sophia, as these paper dolls emulated the structure of that process very closely.
As a section of our performance revolved around our group members playing “Ninja,” I found that it would be interesting to express those violent yet elegant movements in a minimalistic way. I ended up suspending a sheet of paper in the courtyard and using various objects as an extension of myself (sticks, paintbrushes, my vest, a sponge) to create strong linear splats against the paper with india ink.
I wanted the viewer to focus on the forms created by my movements so I decided not to add any color to draw the attention away from the rhythm of the work. The splatters are very energetic but also very divicive to the composition, making harsh sharp cuts across the page.
I did greatly enjoy this piece, however I felt as though it was ever so slightly too generic for me to use as my best work within this set. I greatly enjoy the piece aesthetically, and the story is there, however I feel as though it isn’t as concise/specific as my other works in this set.
This piece came about in a very intriguing way, as I heard someone say the word “flashlight” and instantly became inspired. I went to McLane and set up my camera on one side of the room, and on the other, places my flashlight behind my vest and spread the red light onto the adjacent wall. My partner and I then moved across the field of light so that the camera would capture out silhouettes moving but not give the details of a full figure (giving it a slight level of abstraction). This process was done before an audience, as several athletes crossed above us and looked down with very confused expressions.
I find this piece to be incredibly mysterious as the mind and eye constantly search for a fully recognizable figure and form but they simply cannot find it within the infinite blackness of the shadows. The movement is definitely shown, as it is within a video format, and the filtering of light from the vest add an ominous and energetic light to the composition.
I feel as though the video would have been much more powerful had the sound been removed, but some of the footstep sounds also intrigued me, so it was a very difficult call to make. I feel as though using the vest in this way to diffuse and change the tone of the light was very successful in setting a different mood, and the implication of outline/contour by the use of shadow was also an interesting means of abstraction that I had never experimented with before
My final piece was inspired by the very descriptive line in the script, which explains how everyone’s hands were arranged before playing “Down by the banks” the folding of hands over and over each other inspired me to make this piece. There is one piece of cardboard for each individual involved in the performance at this moment, and they are colored with acrylic paint which had a base hue that matched the color of the vests.
The piece ended up pretty interesting as the excess areas that were folded created the sense of a circular and cyclical wave going around the circle (just as the action does). The strands of thread spanning around and throughout the piece almost tracked the eye contact between members of the group, as they would look into the circle as well as around to see when the next hand would get to them.
I found this piece to be successful in capturing the very specific action at that time yet still remaining in a style that wasn’t exactly straightforward. The only complaint I had about this piece was the fact of the frame being made from raw cardboard. I hadn’t had access to much else but I’m almost curious to see what it would’ve been like with illustration board or maybe even plywood.