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<1600 - Artists lived with the aristocracy. The rich & powerful employed artisans to create specific work for them. Art was often used to communicate specific ideas. There wasn't artwork that was meant to be misinterpreted.

1600s - Emergence of the bourgeois art market. With the rise of world trade more people were seeing artwork from other cultures. Similar codes are used but by people other than the aristocracy. Artists were able to work as autonomous producers, they started painting on canvas as it was portable and cheaper than directing onto walls. 'The Dog and the Magpie' was an early painting that didn't have a clear meaning. This was peculiar as neither the church or bourgeois would commission such work. Landscapes became more popular and as a result competition grew between artists. Since more landscapes paintings existed they became cheaper.

1700s - Artwork began to be made just for the fun of it. The enlightenment period, philosophy and industrialisation at the time contributed to the new concepts seen in artwork. Art was meant to be ambiguous, not just descriptive.

1800s - Development of modernist and avant-garde art. Art became a scene and space in itself. The painter has autonomy for the first time, they decide who to paint and how- they decide the narrative.

1945 - Exposure of elitist, classist, patriarchal colonial, euro-centric and white supremacist work with underpinning of modernist and avant-garde autonomy.

1970 - Explosive growth in the number and size of museums and exhibition platform. More gallery spaces, the idea of curators as a social and global practice emerges.

Early 2000s - Surge in the number of commercial art galleries and art fairs. Emergence of art as a financial asset. Art can be used to evade tax.

Late 2000s - Flood of art related degrees, PhD programs and research based practices.

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Most of the photographs taken have a general focus on the bands performing, likely to promot the band's music. There are a few photos of people from the crowd taken presumably before or after the gig, in an isolated and more considered shot compared to the ones taken during the performance which appear more spontaneous. I am interested in seeing the audience in their most raw, authentic state, hiding amongst each other in the dark watching the performing band. As there aren’t many photos that focus on the crowd while they're unaware of the camera I outlined the areas of some photos that show this. This way the view will draw their attention to the crowd and not the band.

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This photography book includes moments from the punk scene at The Roxy club in London from 1976-77. Aside from a few digitally manipulated images with colour most photos in the book are black and white. I believe this contrasts the serious tone associated with B&W film with the loud, energetic content seen in the faces and body language of the crowd and performers. This further exaggerates the energy emanating from each of these powerful photographs.

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Another photographer I looked at was Jim Jocoy and his work in 'We're Desperate' 1978-80. Although his pictures primarily focus on the people usually in the crowds of punk gigs, they are very controlled photos where the subject is clearly given time to compose themselves. Therefore, they're not as raw and authentic as the photos in '100 Nights at the Roxy' where the audience are likely unaware they are being photographed at all.

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Rothko made large scale colour-field canvases in the 1940s. Through his work he aimed to engage viewers on a spiritual and emotional level rather than solely on aesthetics. He focused on fundamental human experiences rather than specific subjects, as a result Rothko's art resonates in a deep and personal way with a wide audience as there is not one clear figure. He gave his work simple numerical titles e.g 'No. 2' as to not impose a preconceived meanings or context which may potentially limit the viewer’s experience and own interpretation.

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I would like to experiment with a similar concept to Rothko's work, but using film as the medium instead. One idea I had was to create a film featuring blocks of colour visually similar to Rothko's work that shift and jitter slightly on screen. Len Lye's video work came to mind while visualising this idea, I would want to try and replicate the way Lye's animations flow between frames.

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He made 'Colour Flight' in 1938 by painting and scratching images directly onto clear film and later projecting it as a film with short dynamic animations that played alongside music. I would like to use a similar analogue method to animate my work inspired by Rothko's concept and colour blocks. I like that with older techniques the viewer can see that a human has touched and made it. The imperfections and individual unique brush strokes or occasional fingerprint makes the work feels more connected humans. I would like to experiment with printing ink on rollers and watercolours to make the colour-fields, then animate them using stop motion and project them onto the wall to present.

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I plan to project the film incredibly large scale on the walls, which can easily be done as I am using an projector unlike Rothko who had to hand paint large pieces. Many people talk about Rothko's large scale work being an immersive experience. Using light I can create an even larger, potentially more immersive work where the shadow of the viewer is cast onto the work. I hope this will make the work even more personal to the individual viewer as a result. The silhouette of the viewer would appear on the work like a finger print.

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Here I drew the scale I want my film to have when projected on the walls. I want the presentation of this piece to be even bigger than Rothko's paintings.

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A lot of social norms go out the window at a gig, you can stare at someone for 40 minuets directly without feeling strange or creepy and you can can take photos without needing specific permission. There are a new set of expectations when you step into a gig, bands perform and are aware of the crowd watching them so act in a different manner as a result. However, the crowd face a different set of expectations. They don't expect to be watched as intently as the band and hidden in the mass of bodies and darkness perhaps act more authentically. By entering a space where photos are taken freely without explicit permission have they consented too? Knowing they may appear in the background of photos, why not intentionally photograph them to begin with? This way the photos would reveal the effect the music has and potentially in a less performative way that exclusively photographing the band members.

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Visiting Studio Voltaire gave me an insight into ways of surviving as a free lance artist. We were shown the gallery space, artist's private and communal studios as well as the artist residence rooms. This particular studio was an artist who's work I had previously seen in a gallery in Peckham so it was an amazing experience to see the behind the scenes compared to the finished final piece in a gallery.

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El Greco created The Adoration of Shepherds 1612-1614, but it's not the first of its particular composition.

There is an earlier work in the mid 1500s that looks remarkably similar, so which is the 'original'?

Do photographs diminish originality- Do not photograph signs.

Painting a copy of a painting creates a strange neutral stance.

Copying is never neutral, you're always filtering something or making some comment simply by creating a copy of the work chosen.

Saturn devouring his son by Goya wasn't painted on canvas. It was ripped from the wall of his house and pinned to a frame to create a fictional canvas painting for viewers to easily understand as an art piece.

Don't feel you have to 'understand' an art piece to make work from it, if you get something from it- make it your own.

I could create a piece of work and include instructions of how to make it, inviting the viewers to copy my work. This would deconstruct idea of originality and venerating technical skill. I could make an Ikea chair and place it in a gallery.

Nothing is original

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German word 'umwelt', an organism's perceptual environment.

I like the sculptural piece 'I've got Rhythm' by Betye Saar 1972. I think the way Saar has adapted and added onto a form that already exists in the world. This changes the way the viewer sees the work, it feels more direct and confrontational because Saar has taken a form already established in society and given it a new meaning. It feels like it's critiquing the users. Kind of like parents evening if you were the parent and the teacher is talking about your child, rather than talking about someone else's child. It feels more personal.

At art university you get insight into the language of the art world, you're given a place in it too. Like an invitation to join the 'club', you're made to feel like you deserve to be in similar spaces.

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Always capture the absence and the presence in a frame, positive and negative. Usually we as viewers are made to focus on the positive.

Read into Jacques Lacan and 'the Real'.

'We have to think about the negative with art, or we’ll just sit in this same-y soup'.

Positive theory of representation:

In order to be a picture a fact must have something in common with what it pictures.

What the picture must have in common with reality in order to be able to represent it after its manner rightly or falsely is its form of representation.

You can’t paint fog, you have to paint what the fog alters to be able to perceive it. You have to paint the change the fog makes to it's surroundings to see it.

Artwork has to be slightly different to reality for it to be a representation. Otherwise it is too similar too not just be the same. The importance of negation.

Rauschenberg- erased de Kooning Drawing.

I want to create a drawing and rub it out, what effect would that give?

Film is all about anticipation, removing the pencil lines would create a moment of infinite anticipation. Frozen wanting.

Taking a photo of negative artwork makes it a positive when photographed.

Read the Four Stages of Public Art: Mark Hutchinson.

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Susan Sontag

Interpretation reduces experience to a single perspective, makes it limiting.

New interpretations can free us from old ones.

The idea that art should be comprehended immediately through the senses is itself an interpretation. Does an artworks title count as an interpretation? Or is it a way of framing the image?

Sometimes an artworks title can be stronger than the piece itself. You can't create a work without an potential artist's interpretation. Even leaving work 'untitled' implies a way of reading it through a more abstract lens, subsequently framing it.

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Before visiting I had no real clue how artist residencies worked but now have a much better understanding. We spoke to one of the artists there who talked about the importance of community in her work and how she missed being in a space with other artists like she was at art university. I think I would also benefit from working alongside people, a communal studio or artist residency may be something I'll consider further in the future.

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I took this when I first came up with the idea to remember the kind of quiet stabilised shots I had in mind.

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Still from video taken on Canon DSLR

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Still from video taken on Canon DSLR

Although I rented out a DSLR so that I could taken videos in darker light and adjust the ISO and aperture these video came out much darker than I'd like. Later on I hope to re-shoot these in daylight or at dusk before it gets too dark for the camera to manage.

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Where I stood while recording outlined in permanent marker.

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Work in progress of 2 projects displayed for the Open studio

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Work in progress of 2 projects displayed for the Open studio

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I wanted to create a film work that showed various stills of a location in an omnipotent, third person view all the while not moving my feet once while recording. I then note down the coordinates of my feet and wrote onto the photo. I plan to make this a series of different stills taken from different coordinates all over.