elenahpowell

Posts Tagged ‘edinburgh college of art’

Hello, final year

In Edinburgh, Edinburgh College of Art on September 24, 2015 at 2:47 pm

Somehow it’s September. Somehow it’s 2015. Which means next May/June it’ll be degree show and in the summer I’ll graduate. I’m decidedly not counting the months – or days. In terms of introductory things it’s probably the least stressful year, because we’re all in denail and avoiding even mentioing the words ‘degree’ and ‘show’ in the same sentence. I’m sure it’ll be fine.

It’s strange to be back in a studio, I’ve been in and out the art school all summer working at degree show/masters festival/open days (last open day of the year on Saturday…), but now I have a space again. A pretty huge space (perks of being a final year). Second years are off doing something else, and I’ve no idea where the third years are. I’ve seen more first years in our studio than anyone else I think. It’s kind of nice, but it’ll be a shock when they all come back in. Because there’s a lot of second and third years (us class of 2016 is a relatively tiny year, which I imagine has a lot to do with the sudden increase in tuition fees – given that probably the majority of students here are not Scottish/European). Anyway. Stuff on a wall, stuff to weave. I don’t have project space/research presentation for another six weeks.

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Our timetables are alarmingly empty, which was terrifying until I realised I much prefer working to my own timetable. So I’m blissfully happy now. And so far this week I’ve done everything on my timetable, more than can be said for any other year. We’ll see how long that lasts. This semester will probably end up being stupidly busy, it’s taken three years but (at the moment) I’m employed thrice by the university. I’m the ECA web writing intern for this semester, events assistant still and until Sunday working at the main library as a general advice point for freshers (favourite, and very common, question: “so are there books in the library?”). Which, very excitingly, means I have a pension – I’ve never felt like such an adult.

In other exciting news – CARGO TRIKE. I cycled the loom in yesterday – terrifying and I got a few odd looks. This morning I cycled in wearing my glorious cape with a rainbow and last bits of sunrise behind me. Yup, I came in early today.

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I’m having a break from reading (it started raining and it looks miserable and I did get quite a bit done this morning) and fiddling about with things to submit for a few bits and pieces. I’m waiting for Groundings Ancients to release their new themes for the year, I’m hoping I can re-use my visual culture from last year that I actually liked. I’m set on the extended/40 credit visual culture option, and I submitted my proposal a lot early. So now I’m twiddling my thumbs really and hoping what I’m doing is alright, we don’t find out our supervising tutors for a few weeks yet. I have been working on that propsal since May, so if it’s not alright I’ve wasted four months.

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Freedom… But not really.

In Edinburgh, Edinburgh College of Art on May 5, 2015 at 2:51 pm

We’re done for the year. That’s very, very scary.

Much has happened. I’ve shown work (in two places simultaneously…), almost caused serious injury weaving a lot in very little time and I don’t know what else.

I finished the work for Stanley Mills the day before, it had to be cut short because I ran out of cotton and time and it was very painful by the end. But it’s about 18 metres long, 2.5″ wide and wove in and out of pillars on the weaving floor. I’m pretty happy really – it looks how I imagined, it supported itself (so I didn’t have to interfere with the fabric of the building – thanks gravity) and it’s not at all separate from the rest of what I’m working on (last time, for Cultybraggan, what I made was so distant from everything else it was awful).

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It now looks like this. If it was comfy I’d use it as a cushion, but it’s pretty dense cotton. So it’s just a thing on the bookshelf of things.

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The other thing was for the first interdisciplinary ECA 3rd year show (bit of a mouthful), in the same place where we had our end of first year interdisciplinary show. Loops and loops.

Fabric from the Dryad loom (I couldn’t save it to continue weaving) and text. I even titled it (rare I know) – Loom of Destiny because I have a terrible sense of humour. I’m going to be a crazy weaving spinster with a lot of cats, and eventually someone will have to cut my last bit of weaving from my loom.

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Theoretically I’m free until September now. Realistically there’s a lot to do. I’ve taken over the living room as a studio (there’s a loom permanently out and three more in the cupboards), it’s quite nice really. Much cosier than the actual studios and I get to look out at trees. I’m catching up on patterns i didn’t get a chance to weave and (once some books arrive) I’m going to attempt to master doubleweave. Which is pretty much two bits of fabric at once. From what I can figure out without having read the books… you can do much more 3D things, and it’s apparently possible to weave something double the width of the loom. Which would be REALLY useful – that’d be about 30″ wide! Assuming that a) I can  understand how to do it and b) somehow translate that into my own patterns. We’ll see.

This is the last thing I did, it’s only small but it’s the most complicated pattern. There’s no repeats in the warp and each weft repeat is 111 threads. So this is one repeat, which with the wool I was using is about 28x13cm.

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The numbers are from when I was weaving the pieces for Stanley, every 10cm I’d write down the length and time. So this is all the data from weaving from 6m piece of fabric. And then when I do a full length bit of this (a couple of metres) I can take the measurements and times from that and make something else and something else and something else… In fact if I can’t figure out how to get doubleweave to work with my patterns, I can do the same thing with that. Weave a beautiful bit of ‘traditional’ fabric and then do the data from the bit of fabric and have them together.

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Post its of data.

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One repeat.

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I got distracted from the ‘everything else I’m meant to be doing’ part. I’ve sorted started dissertation research already, might as well use the next four months… I think I’ve decided to go for the longer, extra credit option (when I get it right, my essay grades are more reliable than studio grades and if I’m planning on applying for the MPhil course – more later – a longer thing will be more useful). I’m going to have to go through my essay from last semester (the object biography that went well) and pick some things from there, but I think it’ll be thread related. I’m looking for a very, very, very small ‘gap in existing’ knowledge that I can dig out. Also applying for things, I sent off an application for Selected 2015 this morning (I’ll be amazed if that ends well, but worth a shot).

I…think I’m going to apply for the art MPhil, to start either the September or January after I graduate. (No, not entirely because I don’t know what I want to do with my life…). In some ways it’s the best time to do it (because I’m here, I’d still have somewhere to live, if I find a nice little gap in my dissertation I can go wild with that), and in some ways not – I’d be going straight from undergrad to postgrad with four months gap in between (hence maybe January). We’ll see how that goes anyway. All the funding application deadlines are early next year, so I’ll have to have applied by the end of December at the latest to be able to apply for those. Advantage of having four months semi-freedom, I can start preparing now… (I’m not kidding, the application guidance notes are printed and stuck to the fridge). So that’s that. Lots of researching to do.

We found time to see some art though… Where Language Ends was really, really, really beautiful.

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Data weaving/why weaving can be art

In Edinburgh, Edinburgh College of Art, Rambling on January 18, 2015 at 6:33 pm

If art school has taught me anything, it’s what I like.

Data, numbers, information
Recording and visualising mundane/useless information
Graph paper
Cats (…nah, I knew that already)
Making things for a very specific audience (usually one or two people)
Making ‘ambient’ work/things not intended for a gallery/white cube – things to be worn/used/lived in and with
India ink pens
Lines.
Threads.
Things that fit together perfectly. More so if they’re not made for each other.
Colour coding
Mindless/mindful pattern making

Weaving is all of those things (except cats) in one way or another. It’s perfect. Too perfect. The best bit is that weaving is a series of numbers that describe the way threads/lines fit together perfectly to become a surface. I MEAN WOW. Lines. Fitting together. Because of numbers! Aaaahhhh!

I use an eight shaft loom (you can get sixteen!). Weaving drafts are just a series of numbers. The threading pattern describes which shaft each warp thread belongs to, the lift plan is which shaft(s) to raise to make a gap in the warp threads to pass the weft thread through. Changing the gap (shed) over and over produces fabric. Lines squished together into something solid.

Any series of numbers can be altered to fit within the 1-8 range (yes, ideally it wouldn’t have to be altered. But I can’t really afford a sixteen shaft loom..). You just use multiple threads to make up the number. So, dates, coordinates, phone numbers, temperature, monetary values, ANYTHING NUMERIC can become a pattern. Anything. Isn’t that amazing? I could weave the fluctuations in the currency markets if I really wanted. And the best part – the fabric doesn’t look like the input.

I can’t reliably draw drafts by hand. It’s complicated and I can’t visualise that sort of thing very well. But there is software. And it’s amazing. I can only get a trial version of the one I love, because it’s a decade or so old and seemingly impossible to get ahold of the full version. Doing the drafts digitally (whilst quite removed from the whole handmade-ness of the rest of it) is really really really useful. Takes no time at all to come up with a useable, stable pattern.

I say stable, until recently I hadn’t figured a way around using drafts that repeat the same number consecutively. Turns out that was already a thing – overshot weaving. Between each line of the pattern you weave plain weave (under/over) so you’re making a piece of fabric and a pattern on top of the fabric. So you have two shuttles going at once, which got a bit tangly. But it means I can do even more things, and more textured things…

This is the draft of what I’m weaving at the moment – it’s mine & Steph’s birthdays 14219942071994 (but then reflected back to make a longer pattern). I tried it with other people and this was the nicest looking, clearly we were meant to be. Each little square is a thread. In the warp that I wound there were just under 200 threads (it was quite thick yarn) in 6″ or so. It’ll be a scarf for me, seeing as I haven’t made one for myself. And I’m using pretty much every colour and type of yarn that I have – so merino wool, wool, wool blends, cotton, recycled cotton, recycled sari silk, recycled linen and mulberry silk. Because the yarn is quite thick the finer details of the draft aren’t quite so visible.

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I got a bobbin winder for Christmas (AMAZING), so it no longer takes half an hour to wind a very loose bobbin. Always a good thing. It came with a load of bobbins and another shuttle (the wooden thing the bobbin sits in), so I can actually do overshot. Which is good. I bought a raddle too – I’d made a really shit one. But it was just too shit. And now the raddle matches the rest of the loom and will be pretty much indestructible.

More weaving…

A scarf for Em made from her date of birth…

 

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That was the longest (and probably the best) thing I’ve done so far. And the most recent finished thing.

Before Christmas I wove this…thing. I’m going to sew it into something eventually. That draft is based on the molecular structure of dopamine (long story, lets not go there…). Things have people have said about it: it looks like a tea towel, it looks unloved. I’m going to come back to the pattern I think. Different yarn.

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And the piece of fabric I made on the course… mindless pattern!

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I started an Etsy shop selling data scarves (you give me numbers, choose your dimensions and yarn and I weave you a scarf), I’m waiting on the yarn to arrive for my first order (eeeeekkkkk!). If I get a spare day at some point I’ll probably do a pre-made one to sell too (either more traditional weaving patterns, because I do love that zig zag, or something I’ve written myself. Or both.).

I got given a lot of merino yarn (factory seconds) and it’s so beautiful and soft. And came in skeins. Approximately 1kg skeins. To be wound by hand. I still haven’t finished winding the last one. I’m using the grey as the warp for my scarf, so far there’s only been one thread that likes breaking (it’s done it twice, the same one!). It doesn’t look too weird either, because it’s space dyed I was a bit worried it’d look odd in something that it wasn’t made for.

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I think that’ll probably do. Once the yarn comes for the next scarf I might do a more detailed ‘here’s how I do a thing’ thing. There’s reading to be done (three quarters through Wolf Hall, started 2015 with a bit of a Tudor theme. Two books into the Shardlake series).

Yup. Still here.

In Edinburgh, Edinburgh College of Art, Interesting things, Weaving on January 17, 2015 at 10:10 pm

I just forget how to write sometimes.

A lot of the time.

Well. The good news is that I didn’t fail last semester. The bad news is this week started with a talk containing the sentence ‘THIS IS YOUR LAST SEMESTER OF FREEDOM’. That was terrifying. (But true, this time next year… let’s not go there).

So. Stuff happened.

I spent one evening a week from September to December learning how to weave. I had to buy a loom because I loved it so much. And now I pretty much just…weave. (Conceptual weaving, it’s a thing now).

Before all that though… Otto.

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The loom came in a very small box. For something that takes up most of a table, it’s a very small box. And even though it folds flat-ish it isn’t exactly small (it does however fit in the flat, there’s a gap between two bookshelves in the living room that is just the right size. Although we probably need to get a new bookshelf to go there).

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It took days and days to build. Because me and instructions that are almost entirely pictures and no text is not a brilliant combination. BUT IT WORKS.

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Although when I say it fits in the flat… it takes up the entirety of the coffee table and/or dining table.

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It’s 16″ wide, so I am quite limited by size. Which I guess is good. Although I’m already going ‘oh the things I could do if I had a 24″ loom…” (blankets! that aren’t patchwork!). The length is less of an issue. The warping frame I had made up goes from about 1.5m to 3.5ishm.

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I’ll save the rambling explanation for another time I think.

New projects and what not

In Camp 21 - Cultybraggan, Edinburgh, Edinburgh College of Art, Interesting things on October 29, 2013 at 5:32 pm

So… There’s two sets of things to do, one is sort of a continuation of the extraordinary object things, the other is…not. But before all that, feedback came out (gotta be the quickest ever that). All niceness and nice things.

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Continuation of stuff, kinda has nothing to do with boots or clay or anything except from throwing stuff about at the moment. But we’re doing fun things still. It’s more a list of things to do than things I can show as having been messed about with. Anyway.

intermedia methodologies:

we would like you to continue working from the point that you are now at. You may still be working in a very direct way with your ‘object’ or your working process may have moved you into working with possibilities other than those with which you started. These differing positions are all fine points to be at. What we will be looking at in the next 5 weeks are the different possibilities that video, light, sound, and performance can introduce to your working processes

These processes are most associated with Intermedia as they directly allow for the blurring of different phenomena with an artistic experience. In the last week of the project, you are asked to exhibit your work as a group in the project spaces; showing work that communicates your thinking over the Semester. Normally artists aren’t there beside their work to explain it. How can you share with a stranger you’ll never meet, an experience that allows them to see the world in a different way?

I’ve been videoing stuff (it is technically video week at the moment…), dropping and throwing things to start with and then going through everything on my desk at home to see what I could throw away. (I separated stuff out but haven’t thrown it away yet). Here’s some shoes falling very slowly.

I’ve put film into my Lomokino so I can do some stuff with that, even if I don’t scan it in (because that was a complete and utter pain) I can film the viewer thingy, or try. Hopefully it’ll work this time… Slightly hit and miss that camera. I’ll do more digital stuff and what not, but something more physical might be nice.

And the other thing is an intermedia off site micro-residency in the middle of nowhere – well, Comrie, which is in Perthshire somewhere. We’re based in Cultybraggan, which is an ex-POW camp which is now being re-used/developed, they have allotments… We’re staying there overnight on Monday and then again next semester before installing stuff.

This is a unique opportunity to take part in an exciting off site project, undertake a residency in a significant historic site and produce work for a public exhibition/ live event.

Background
Cultybraggan Camp is one of the one of the three best preserved purpose-built WWII prisoner of war camps in Britain and lies outside the village of Comrie, in the southern Highlands of Scotland. It is a rural situation yet only an hour’s drive from Glasgow.

Comrie is a historic conservation village recognised for its outstanding beauty and history and is also situated in a National Scenic Area around the river Earn. It is a thriving local community with over 50 local groups covering all ages and many interests. Situated on the Highland Boundary Fault, the village experiences more earthquakes than anywhere else in Britain.

Cultybraggan was originally built as an WWII Prisoner of War camp to house Italian and German prisoners. Subsequently (until 2004) it was used as an army training facility. Comrie Development Trust bought it through a community right-to buy ruling in 2007 and is currently developing it as a sustainable community asset. Allotments and a community orchard are already in place and some of the original 100 Nissen huts (many of which are A and B listed) have been refurbished and let out to local businesses. A Museum about the camp is under construction and there are plans for a cinema in another of the huts. Cycle tracks and play facilities are underway, and the Trust is open to viable suggestions for other usages and amenities for the site.

Cultybraggan was built in 1941 to house around 4000 prisoners. Named PoW Camp 21 it has a fascinating history. It housed many German prisoners classed as ‘black’: committed Nazis and often high ranking SS officers.

In 1944 many of the ringleaders of the Devizes plot (a plan to break as many as 250,000 PoWs out of camps across Great Britain and attack the country from within) were sent to Camp 21. These included a prisoner who was sent by mistake and who was openly anti-Nazi. He was lynched, and five of those responsible were hanged at Pentonville Prison for his murder, the largest multiple hanging in the 20th-century Britain.

Many older residents have memories of German soldiers arriving in Comrie, marching and singing through the streets and thereafter partaking in village life. Nowadays when visiting the camp, it is not difficult to imagine the Nissen Huts surrounded by barbed wire, military trucks and the assault course, all reminders of what man can do to man and the horrors of war. But there are also many examples to hear of the triumph of the human spirit and stories about what man can do for man.

Exciting, no? Like a bit of history every now and then… We had a meeting this afternoon which was largely ‘what food/booze do we need…?’, which is always a good start really. We’re going up Glen Lodnock on the Tuesday, so I’m having a bit of a ‘must by lots of stuff’ moment. Including a stick, because my balance is crap.

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(extra)ordinary objects – final things and so on

In Edinburgh, Edinburgh College of Art, Rambling on October 18, 2013 at 8:10 am

Sort of neglected writing about work a little (alright, maybe a lot), which is inexcusable I know (but it’s been cold and I’ve been trying to cough up part of a lung). Why I decided twenty minutes before leaving to fly south was a good time to write I don’t know.

Maybe we’ll go backwards.

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Yes I do realise the shelf is squint, but then squintness appears to be my superpower. Things that weren’t squint become squint if I go near them, so maybe I’m just a giant…magnet or something. Anyway, squint shelf aside. Ta da… Does that count as making some sort of effort to show things nicely? Possibly not, but we don’t like that bit. Exhibition opening yesterday evening (with hip flask), which wasn’t…awful.

I had a statement to go with the clay things, kind of explaining (but not much) and kind of saying ‘feel free to touch them’, because they were kind of made to be handled. One tutor was against having text with them, the other kind of for having it there. So I got confused and left it out because that was easier. But no one picked them up apart from Steph, so maybe some text would have been useful. Because no one really grabs at stuff if you stick it in a show on a shelf because that’s kind of…weird unless it’s clear that you can.

Bonus pictures of crazy UV paint and Pascal in a bath.

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I was meant to be working backwards from that wasn’t I? Ehm. I ended up with two tutorials on Tuesday, I’d only planned for one, so the extra one was largely incoherent and ended pretty much with ‘articulate better, woman!’ (my only defence was I’d sat down to read my book and not think about clay things anymore and I had to start at the beginning with the boots and I managed to forgot what I did in the last two weeks…oops). So here’s a desk full of clay things, because I’ve got no idea what I did.

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I filmed a little bit more, of making the clay things. I’m kind of (sort of, not really) planning on something else to film, but judging by the timetable the next project might be a good place to do video-y things. Seeing as there’s workshops on video, sound, performance and light things. Looking forward to the sound one, kinda performance except not if we have to…perform.

Anyway, there was going to be more but I’ve got a plane to catch. So here’s the cat.

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Concealed shoes and a return to creepiness

In Edinburgh, Edinburgh College of Art, Rambling on October 1, 2013 at 11:11 am

Somehow, by complete fluke really, I found an article on concealing shoes. Admittedly, it’s largely concealed shoes from the 17th – 19th centuries and they’re largely hidden in more interesting places than an office, but hidden shoes are hidden shoes. So, a few snippets and then rambling – as always. Forgive the lack of page numbers.

‘All that is known for certain on this subject is that a large number of shoes, usually old and damaged, were concealed in various, unconventional locations within buildings’

‘Why were such shoes concealed and what were the concealers hoping to achieve?’

‘…both irrational and non-functional…’

Ritual (one of many definitions) – ‘A repetitive habitual pattern of consciously and deliberating performed symbolic actions employed for a specific function – usually for control, propitiate, protect from or communicate with the supernatural.’

‘The outside world was rife with dangers, populated with malevolent forms that the home required protection from.’

‘…anxiety over disturbing the shoes, ‘it’s a bit like opening a tomb isn’t it?”

(C. Haulbrook, 2013, ‘Ritual, Recycling and Recontextualisation: Putting The Concealed Shoe Into Context’, Cambridge Archeological Journal, 23, pp. 99-112)

In a very abbreviated form – there’s no written evidence from whenever they went about concealing shoes, so there’s some guesswork involved, but the gist of it is that hiding shoes was a way of warding off evil, of protecting a house/building and/or people. It seems to have been fairly secretive (the whole ‘not writing about it’ thing), but then writing about rituals (apparently, supposedly) defeats the point of doing it in the first place. It’s more than a bit ironic that rituals and ritual objects were used to ward off witchcraft – which would have been…rituals. Didn’t quite think that through.

Anyway. There’s been quite a lot of concealed shoes found, most of them have been in the ‘liminal’ spaces of buildings – the chimney, the attic and so on. I’m not quite sure that an unused office can be described as liminal, but then last October anyone could walk down that corridor, and it was kind of a threshold to offices (with locked doors) and doors to studios further down. So I suppose it was a threshold, boundary, of sorts. But leaving them in the middle of the floor isn’t really ‘concealed’, but that corridor was hardly crowded.

liminal

1. of or relating to a transitional or initial stage of a process

2. occupying a position at, or on both sides, a threshold or boundary.

Concealed shoes tend to be old and worn and almost unusable as footwear – so far so good, except my boots are perfectly useable still. But hiding a worm pair of shoes – imbued with their owner’s essence, or going back a bit their ‘soul’ if you will (now would be a great time to correct that to sole) – is supposed to protect. And shoes seem to crop up in folkore – and fairy tales – fairly often.

There’s also an interesting bit near the end of the article, occasionally when someone finds a concealed shoe they refuse to remove it, not wanting to disturb the protection, occasionally it’s replaced with a newer shoe if it is taken away and, in one case, having a taken a shoe away they wanted it back because there was (apparently – I’m sceptical) there was a sudden influx of bad luck.

Now, being…a bit of a worrier – what if I disturbed someone’s concealed shoe ritual thingy?  I was already a tiny bit worried that there’s someone walking round with very bruised toes after dropping something really heavy on them (the boots have got steel toe caps). Worse case scenario it’s like that scene in Amélie when she’s convinced each time she releases the shutter on her camera she causes a disaster…

Now the creepiness again – the walking with thing was kind of a way of keeping an eye on people, protecting them if you like, for the few moments they were within the space I was walking in. So for the very hypothetical proposal I have to write, perhaps I should replace the shoes and protect something with them. Pfft.

But that’s something I can’t do at the moment, at the moment I’m very fixated on the soles of these boots. Pattern! I don’t know why. I don’t like the feel of the leather (because it’s leather and a bit gross), and the soles look nice. The only bit that feels nice is where the leather has ripped and the steel toe bit is exposed, it’s weirdly soft. So the soles. Casts and imprints of soles – made by jumping, kicking, tapping and so on.

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The plaster cast I thought was going to be terrible wasn’t actually that bad, but perhaps not worth a 25kg bag of plaster! And now I don’t feel like plaster anymore…crap. But clay is kinda fun, especially stamping on it/kicking it, also – if you wrap clay in cling film it’s one of the nicest feelings ever. Just…so nice. Which explains the clay in cling film. Out of those I think the little tiny ones are possibly going somewhere, small segments are nice and they’re colourful, which is always good. The yellow is painted clay, the darker blue is dried out play doh with some paint over the top and the other two are uncooked fimo. So they’re might be a fimo cooking day in the near future.

I’ve got the project space booked out this afternoon (so really all of this was filling time/sorting out what on earth I’m doing before a tutorial), I’m gonna try filming some stuff and see what happens. It’s week three, and documentation week. But I’ve been documenting mostly as I go, so yeah. That’s gonna go well. We’re ignoring that next week is week four and that we have a cross-year crit in week four. Week four does not exist.

Morse code day and other things

In Days, Edinburgh, Edinburgh College of Art on April 27, 2013 at 10:07 pm

Annoying that once I don’t need to do anything there’s a sudden flurry of things happening. I was the only one stupid enough (or possibly the only one to remember in time) to go turn on projectors/guard everything today (and tomorrow as well, joy) so I’ve spent most of the day drawing, which was nice. Grand total of thirteen people showed up to look at work, I kept a tally chart. And spoke, horror of horrors. I couldn’t do sense of smell day because I can’t smell anything at all at the moment, tell a story day and morse code day went well though…and kind of merged into one.

I started writing out ‘it was a dark and stormy night and the captain said to the mate…’ for story day and then wrote that as morse code (pattern, yum). And then wrote stories in morse code, trouble is I’ve go no idea what they say because I was doing it straight into dots and dashes and didn’t write it properly, and it’s hard to tell where one letter ends and another begins… I was reading a bit about pattern in Lines: A Brief History (yup, still not finished…), I’ll find the nice bit later and write it out.

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I’ve started writing out texts that make me laugh, got possibly one of the funniest yesterday and Steph is good at funny ones… Might go somewhere, amusing anyway.

Mini folio is even more done, I had a complete mental block on all context-y things but I’ve remembered enough for now I think. I’d missed really obvious things. I just need to add in research/sketchbook things and I can hand it in.

And a very empty gallery.

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North facing windows

In Edinburgh College of Art, Rambling on April 25, 2013 at 1:40 pm

There’s windows that face north, looking out towards where I walked to (just about). So work ended up there. Figured no one would want windows and there actually wasn’t a whole lot of free wall space yesterday (given how big it looked on Monday). It all seemed like a good idea at one point, and at one point there was going to be text on the other side too so it made nice patterns with light coming through but I completely forgot about that until it was up and too late. Decent pictures tomorrow.

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So empty. Nice being able to see what everyone’s been doing though.

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There’s only one thing I can think of that needs doing (putting up a little statement-y thing) and then I’m done as a done thing. It needs the statement to make any sense at all I think, which is annoying in a way because it’d be neat if it didn’t and if it said everything all by itself, but given that it’s nearly impossible to read and the only way for it to make sense is to be read…hm. Although I’m happier with the statement thing than with the bits of canvas, so I wish I’d just written something like that instead. Agghhh.

statement-titleI decided they were drawings, couldn’t think what else to call them. And I know overfoot isn’t really a word, but it fitted. Put that up tomorrow, I’m staying in bed (mostly) feeling ill (like something’s crawled into my head and died and the only way to get it out is to constantly sneeze). Assessment was…not amazing. Less said about it the better. I think I’ve done enough to not fluff it all up now, but who knows.

It’s frustrating how in the studio – or just when it’s in the process of being made – that things look…better, and how I wanted. And then it gets taken somewhere else and put up like it’s a thing that wants to be looked at and it’s nothing at all like how I thought it should be. I know I’m really really terrible at actually showing things – well no, I don’t mind showing things like this – but to only put up one or two things is eugh, because the interesting bit – or what I think is the interesting bit – is more often the research-y bit, the doing, and I can do that. It’s all…one big ‘thing’, and lots of it doesn’t work and some of it does and some of it’s nice, but they’re all linked together and following on from each other. I don’t know, I don’ t know if it’s possible to choose something that sums all that up, and I don’t want to show everything either. Maybe I don’t want to show anything at all, but I can’t see that going down too well. Partly I don’t quite know what I’m doing, partly a lot of it wasn’t meant to be shown and partly a lot of it isn’t right or good enough to be shown. Maybe I’ll figure it out one day. I’m happy writing about it and that’s about it.

I thought the last exhibition thing was kinda bad, but compared to this it looks pretty good – maybe more in a showing things way than a ‘this lead to this to this to this and I ended up here’ way. If that makes sense at all? I’m not sure if I’ll do the Glasshouse Request or not, not really written anything for it. If I can string words together then perhaps. I have a pseudonym now, but if I told you I’d have to kill you. But that’s this year over really…scary. I won’t be an ickle firstie for much longer. Been lovely though, apart from this last week and trying to actually get something up on a wall (well, window).

 

Did I Shave My Legs For This?

In Days, Edinburgh College of Art on March 27, 2013 at 12:47 pm

It’s Quirky Country Music Song Titles Day, I meant it about doing as many days as possible…there was a choice of 3 this morning and this was the only one I felt like doing (it’s also National Joe Day, but I don’t want to be called Joe). I listened to one song and hope to never repeat the experience, but I like the titles… I couldn’t find who wrote many/most of them, so we’ll just trust the internet that they do exist. There’s lots and lots, so some highlights from my extensive research (I have been working all morning, it’s just that working currently involves looking up song titles).

Get Your Tongue Outta My Mouth Cause I’m Kissing You Goodbye

Did I Shave My Legs For This?

If You Ever Get The Feelin’ I Don’t Love You, Feel Again

Get Your Biscuits In The Oven And Your Buns In The Bed

He’s Got A Way With Women And He’s Got Away With Mine

You’re The Reason Our Kids Are So Ugly

I Don’t Know Whether To Kill Myself Or Go Bowling

If I Can’t Be Number One In Your Life Then Number Two On You

Come Out Of The Wheatfield Nellie, You’re Going Against The Grain

I Keep Forgettin’ I Forgot About You

Hand Me The Pool Cue And Call Yourself An Ambulance

If Whisky Were A Woman I’d Be Married By Now

Mess Up In Mexico, Living On Refried Dreams

I Still Miss You Baby, But My Aim’s Getting Better

If I’d Killed You When I Wanted I’d Be Out Of Jail By Now

Velcro Arms, Teflon Heart

My Wife Ran Off With My Best Friend But I Sure Do Miss Him

If You Can’t Live Without Me Why Aren’t You Dead?

Which kind of leads into something else entirely, I thought the other day of only speaking in song lyrics for a set period of time, main problem being I can’t remember lyrics to save my life. Last night I decided I could probably manage talking in song titles, and these have added to my…repertoire I suppose. Something for another time though I think. I’ve made a very long list of as many (inter)national days as I can, some of them I doubt anyone does, but sticking ‘National’ in front of something makes it at least sound official. I was trying to see if there was any real process for making a national day, but it seems slightly random. I did find out that 2013 is the International Year Of Quinoa though. I’m going to graph them all in a sec, but I think March 20th is the most popular day, there’s only a handful of days in December with nothing…

Some vague rules for observing days (that I’m coming up with on the spot so I don’t completely over do it):

-If there are multiple days per date, not all of them have to be observed.
-But if several work well together by all means go ahead and do them all.
-If they involve eating meat/fish/anything yucky, don’t do it.
-If they involve being an arse, think about it first.
-If you say you’re doing it, you’re damn well doing it.
-‘Observing’ can refer to: researching, thinking, doing, making, telling someone, wearing something specific and whatever else. It needn’t be for the full twenty four hours.

That’ll do I think…there’s an awful lot of days. Expect a lot of pointless blogging (well, more than normal). I need to plan Snufkin Day (meaning work out what I need to take with me), get more film developed (I went back to the canal quickly this morning, so there’s one from the Lubitel, one I found in a Holga from I-don’t-know-when and a half done one in the Diana) and finish the very big bit of paper covered in writing. But to do that I need to go back to the canal again, this morning didn’t fill it up at all. Stuff to do…

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