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Margarita Ieva Loze and Sarah-Athina Nahas (P2 & P3) - In Limbo

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Margarita Ieva Loze and Sarah-Athina Nahas (P2 & P3) - In Limbo

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Introduction
Hello, our names are Margarita Ieva Loze and Sarah-Athina Nahas. We are both fine art painting students from second and third years.

Research / forming the project

Our initial intention was to create a joint drawing although each in a different country and separated by 2800 kilometres.
Both our practice are very centred around drawing, and this project was a way to combine both of our universes.

Process
The first idea was to work through a printer, where one person would place an element, and send the drawing to the other person who would then place another one until creating a drawing. But we had technical issues as none of us did have a printer.
This limitation lead us to find an even more creative approach, where we tried to use the technological tools that we all handle in our daily lives (smartphones and FaceTime).
Each of us being in either their room or living room, had to create a crazy set up in order to be able to shoot what we were drawing.
After a long tower of books with an approximate balance, a good amount of tape, and a bedside lamp we managed to build an “at home studio” with successful results.
We had a lot of fun navigating through this virtual project, even when having some difficulties, and ended up making around 12 drawings.
During our sessions, we would call each other on FaceTime and point the camera on our respective paper. When one would draw, the other would observe and then draw simultaneously in response to it.
At the end, we would layer both of our drawings and it is only then that magic would happen, and that the combined drawing would come to life, merging two separate pieces of paper into (a virtual) one.

Reflection / future

Although this project was completely and entirely inspired by the limits imposed by quarantine and that such ideas would’ve maybe never came to our minds in normal times, we still would like to expand and take this project even further, as distance is something present is life outside times of crises.

Contact Sara here:
sarathina.n@gmail.com

Find Margarita on Instagram at:
instagram: @margarita.i.loze

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Film and Video at Wimbledon College of Art

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Nicole Brady (PTBM 2) - Yokomania (2020)

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Nicole Brady (PTBM 2) - Yokomania (2020)

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Introduction

My name is Nicole, I’m a second year Fine Art (PTBM) student working across multiple disciplines. Primarily, my work centres around Pop Culture and Music.

What genre and format is it?

A short film clip comprised of archival video footage.

I started playing around with ideas before lockdown started, but finished the piece in lockdown.

How did you find inspiration and motivation to create during this time?

I found it really hard and it was a slow process. Working a little bit at a time helped me to gain motivation, along with continuing to read, watch and listen for inspiration.

Research / forming the project

I’m really interested in the representation of Yoko Ono throughout her life, both as an artist and as a human being within the media and music industry. This project was a way for me to express that interest and translate it into something that challenges expectations based on fact. I looked at a lot of archival footage, in particular old TV broadcasts on ‘Beatlemania’.

Process

I initially produced some work in Photoshop that tied in with my video concept. This developed into coming up with a more concrete idea for my film piece, and having a clearer vision. I didn’t really plan the piece in detail or storyboard, but fleshed out ideas during editing, exporting clips and comparing them to see what worked and what didn’t.

I had a very clear idea of what I wanted for the audio in my film. I spent a lot of time searching Youtube and sound effect websites for ‘Beatlemania’ level fans screaming, and a lot of the clips were unusable due to background music or narration over the top. In the end I had to compromise and use a stock audio of a crowd at a concert, but I managed to change the pitch so that it sounded closer to what I originally had in mind.

I think matching the archival clips together worked well; I did some tonal colour correction to make them look as though they were filmed with the same camera, at the same time. I would like to work more on audio, and perhaps learn to isolate sound elements (i.e. separating vocals from music/background noise) so that I can carry out ideas more effectively.

Reflection / future

I gained some skills in Premiere Pro, which I hadn’t worked with much before. I’d like to use this in future work!

Besides this online showcase, how would you like it to be presented?

It would be interesting to see how this looked on different screens, perhaps old television sets. And to see how it worked being presented with audio in a ’screening’ style versus being presented silently on a loop.

Lockdown

I have been using my practice as escapism and distraction from the uncertainty of the lockdown and worldwide situation.

I think I’ve realised how much working on my practice can benefit my wellbeing. So I’d like to try and keep this in mind throughout my life.

Find Nicole on Instagram at:
@wannabeyoko

Want to see more or Nicole's work? Click here:
https://www.wannabeyoko.com

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Film and Video at Wimbledon College of Art

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Yasmine Aminanda (PTBM 2) - Hahaha Hello There (2019)

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Yasmine Aminanda (PTBM 2) - Hahaha Hello There (2019)

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Introduction
Im a 2nd year ptbm student and I mainly work around the theme of passing time, staying still and the in-between.
This piece was made before the lockdown, in 2019.
Since everything in this pandemic is online based, I wanted to show a work I made for a pre-covid online show, this was up for 3 days online in collaboration with Kuala Lumpur Gallery Weekend.

Research / forming the project
This was an extension of my project, looking into lenses. this project is site specific, I had screens all over Wimbledon, I stared into the reception’s cctv in student accommodations, I stare into you through my MacBook.  I feel like the mundanity in life are like collections of work and that our daily life is performative, every little things matter and it makes us us, even if we don’t realise it.
This was my own work but it was made for the collaboration under my collective, Unamed Collective (instagram.com/unamedcollective. The two people in my videos are my friends from this collective. I just told them, ‘will u join me and look into the camera, and they did.

Reflection / future
This Moving Image showcase made me look back into older works and made me think deeper about myself and the internet based works precoivd and pastcovid, it made me look back into how important net art movement was.
I think for this work, I’d like it to just be here on the internet. And to let people just come across it in this vast web.

Lockdown
Funny thing is, as much as I hate staying in my room being left alone with my thoughts, this lockdown enhances my skills and does a favour for my personal practice. I have always had a love hate relationship with my bedroom, a lot of my previous works are monologues of my thoughts in the bedroom, to be forced to be inside like this really has put me in challenging situations but I am at this point where nothing can turn into something. Like my empty post its on my wall serves as a work.
I will definitely incorporate my newer habits of writing in time blocks into my future practice, something i’ve been trying to be consistent in.

Collaboration
Im always up for any sort of collaboration!
Especially if someone does costume, id love to have a conversation about project possibilities.

Interested to collaborate? Contact Yasmine here:
y.aminanda072018@arts.ac.uk
yasmineaminanda8@gmail.com

Find Yasmine and the Unamed Collective on Instagram at:
@ayasminea
@unamedcollective

If you want to see more of Yasmine's work:
yasmineaminanda.com

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Pauline Rossignol (PTBM3) - live projection screening at Chez Maddalena (2020)

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Pauline Rossignol (PTBM3) - live projection screening at Chez Maddalena (2020)

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Introduction

My name is Pauline Rossignol, I am a third-year student in Print and Time-Based Media at Wimbledon College of arts.

This work is a projection resulting from the collaboration between the Italian performer artist Romina de Novellis and I. This piece is a video projection made in Paris in the context of the lockdown and probably would not have come to life outside of the context.

Research/ forming the project

It all started with the project of Romina de Novellis ‘Chez Maddalena’ in Paris. Romina as most of the world was in quarantine. Frustrated by the situation she decided to focus her creativity to create this project which would be accessible to all. Every night during the quarantine in Paris, Romina invited one person (artist, curator, searcher, writer, scientist…) to curate a projection of works. The projection was done from her daughter’s room onto the building in front of their windows. This project was first created for Romina as a need to interact with an audience which as a performer was a real need and became an act of resistance against the confinement in general and the enclosure of culture. Every night we were meeting online to assist to this moving moment of a shared passion. It was a way to show that even in small places art cannot be contained and need to be shared with an audience.

When Romina created this project I chose to send her this specific selection of work which I felt like the audience could interact the most in this context. I had 20 minutes to show my work. I decided to show three different pieces which for me was the best way to present myself to the audience as an artist.

Process

The projection was composed of 4 videos, including 3 of my works:

- Ne pas oublier Chernobyl, 1986

A tribute to the Chernobyl events which took place the day of the projection

- Pauline Rossignol, Dancing Memories.

An animation project realised in 2019. Referring to personal archive revolving with family and friends, reworking this archive through the practice of drawing and then turning these drawing into moving image sketches that explore intimacy and gesture in my relationship to the subject. The moving image reveals more about the subjects psychologically and emotionally creating a sense of pathos. The drawings are made on tracing paper and then cut out so they became fragile throughout the process. When filmed and photographed with projected light they create negatives and positives qualities of line and degrees of sharpness and blurry.

- Pauline Rossignol, Paris ma Chérie, 2019

Hymn to my idealized vision of Paris, after 15 years of childhood in the city of light, and now a student in London I decided to create a dreamlike visual representation of this vision that I cherish, an image to which I cling and which flies away once it arrives, this vision evaporates. An invitation to dream and to collective utopia which in this context of global pandemic felt particularly relevant.

- Pauline Rossignol, La complainte d'un corps

This video was realised in 2018. ‘la complainte d’un crops’ is an ode to the quest of identity through the body. Exploring the dynamics that one can have with its own body and reflecting on the idea of obsolescence. Even if this project was made before the pandemic we are more than ever trap in our bodies. Being able to share that work and see these images of bodies dancing on the building was somehow really therapeutic and even if I can’t escape my thoughts, my body was dancing on the building of Paris.

The interaction between the windows full of life of the building and the different videos worked well for me and made the projection even more interesting. It became a dialogue between their world and mine which was very moving to see. The idea of presenting work interacting with a private space was really interesting to me and I will explore more this dynamic.

Reflection / future

Being able to share my work to an audience, friends, and family in this context of lockdown was incredibly moving and being a part of this project with so many other fantastic people was really exciting and created a sense of community. It also created a new way to share art and culture which should definitely be explored and grow with time.

Lockdown

The lockdown ‘created’ this project which I had the chance to be a part of and which would have probably never happened in another context which I think is really motivating and quite surprising.

Collaboration

Would you be interested in future online collaborations with other students from Wimbledon?

Yes, definitely it would be really exciting !

If you want to see some more work of Romina de Novellis:
https://www.romina-denovellis.com/

If you want to see more of Pauline's work:
https://www.paulinerossignol.com/

Find Paulina and Romina on Instagram at:
@paurossignol
@romina_de_novellis

Interested to collaborate? Contact here:
p.rossignol0320171@arts.ac.uk

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Film and Video at Wimbledon College of Art

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Paulina (PTBM 3) - live screening at Chez Maddalena

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Introduction

I am Karsten, the digital fiend, the maverick, the artist.

I’m on the course Fine Art: Print and Time-based Media and I’m a third year.

My artwork functions as a form of digital anthropology and techno-animism. From vlogging rabbits and instagram famous Norse gods to cults that worship broken and malfunctioning technology. I aim to immerse the viewer in utterly absurd and expansive universes. Simultaneously celebrating, critiquing and dissecting online culture.

I am a multimedia, multidisciplinary artist working with video, performance, text and installation both in the digital realm and the physical one.

Currently, I am producing an ARG (alternative reality game) which spans across a website, an Instagram and YouTube account. The volume of content reflecting the boundless, open source nature of the majority of the internet.

Was the piece made during lockdown?

Yes.

The push to try something new and learn a new skill is what caused this piece to be created. I’ve been meaning to learn how to use Blender for a long time, and now I have no excuse. Which is what gave rise to this piece.

Research / forming the project

I wanted to start a cult.

When I started this project I was researching cults around the world and the online community. Drawing comparisons between the cult-like behaviour of certain online groups, such as incels, and actual cults like Heaven’s Gate. Identifying the language that is used by these groups and incorporating that into my writing.

Throughout this project I have predominantly worked on my own. However, I have collaborated with my brother twice as he is a very good writer and actor. He’s a very busy person and was studying for his GCSEs at the time. So I’ve literally been able to work with him twice throughout this entire project. The times that he has helped out, the assistance has been invaluable. He wrote a piece for the SUBMIT website and acted in one of the videos I’ve recently produced.

Process

My process starts at 4am discovering some sort of quirk or finding odd connections between seemingly unrelated topics. Then I will write long and rambling notes describing what I’ve discovered. In that sleep deprived haze, I will think that I’m a genius. Whether I am or not is still up for debate.

My biggest technical challenge has been rendering huge files on my laptop which is dodgy at the best of times. Ideally, I would be doing this 3D animation on the beefy computers that we have at university. Although, there’s not a lot that anyone can do to solve that issue.

At the moment, my laptop starts overheating when I try to render anything. The solution to this has been as dodgy as my laptop. I’ll put my laptop on top of frozen foods that I’m defrosting for dinner whenever I’m rendering large files. It’s a great way to stop my laptop from overheating and semi-cooking my dinner simultaneously. I’m truly living in the year 2120.

Discovering ARGs (alternative reality games) has been amazing, and I would like to continue producing them in the future. Maybe even after I graduate. The great thing about them is that they are completely digital and suit the extensive world building and writing I incorporate into all of my work.

I really wish I had more time at university, so that I would be able to get around to doing all of the things that I was planning to learn in this final term. For example, I only taught myself how to use Blender because I was planning on doing a 3D print. I was also planning to learn how to do laser cutting.

Since my artwork is predominately digital and I was beginning to learn how to use Blender before university closed meant that I was actually in a really good place. I’m very aware of how lucky I am.

Reflection / future

I discovered that my artistic practice is actually very well suited to producing ARGs (alternative reality games). I think that this immersive, interdisciplinary and expansive format suits the sort of worldbuilding I like adding to my artwork. The SUBMIT project has caused me to push myself to see how much I can achieve, and it’s much more than I thought.

I have also gained an extensive knowledge of cults, current and historic. I don’t really know how helpful that will be towards anything that I do in the future, but there we are.

Currently, the SUBMIT project is purely digital and online, and is best experienced when people have some time to investigate the work that I’ve produced. Therefore in its current state I would love it to gather some online clout. Ideally, I would like it to be presented by NightMind on YouTube, as that YouTuber is the maker/breaker of ARGs (alternative reality games). Allowing me to establish myself within the community, which would be fun.

After university finishes, I would like to think that I keep on developing this project. As I would like to produce an installation displaying this work in the physical realm. Possibly working with some projection mapping and coming up with a way to make it interactive.

Lockdown

Lockdown has forced me to take the leap into purely producing digital works. Previously, I had been doing performance pieces and focusing on producing an installation as my final piece. Now that everything has to be digital or digitised it’s caused me to focus on the material that I was producing online. Actually, in a lot of ways I think this has aided my practice as everything has become more streamlined. It has also caused me to produce more written works that I wouldn’t have produced otherwise.

Do you think you will incorporate these changes in methodology in your future practice?

As I’ve mentioned before, I would definitely like to produce more ARGs in the future. This expansive form of working suits my artistic practice.

Collaboration

Would you be interested in future online collaborations with other students from Wimbledon?

Absolutely, I’m always up for collaborations.

Do you have a specific project in mind or are you up for experimenting?

Anyone can take part with the SUBMIT project. Feel free to contact me.

If you want to collaborate, are you looking for particular skillset or would you like to be contacted by anyone interested?

Anyone can contact me whenever.

You can find the SUBMIT project here:

http://k4rsten.wixsite.com/submit
https://www.youtube.com/user/UnOthodoxFruit/

Instagram:
@11submit11

You can find Alice here:

https://k4rsten.wixsite.com/alicekarsten

Interested to collaborate? Contact here:
karstenartist@gmail.com

Find Alice on Instagram at:
@karsten_the_artist/

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Claire Michel (MFA2) - Nine Brains in Murky Water (2020)

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Claire Michel (MFA2) - Nine Brains in Murky Water (2020)

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Introduction

My name is Claire Michel and I am currently undertaking the MFA Fine Art course at Wimbledon College of Arts.

Nine Brains in Murky Water is a  digital video which depicts a morbid satire.

Was the piece made during lockdown?

Filming a dead octopus during a therapy session was an idea that originated before lockdown, and I was thinking of filming in Bali during the Easter break (mid March). But because of Covid, I had to postpone my trip. So in the end, the piece was made during lockdown in my London flat.

How did you find inspiration and motivation to create during this time?

The first two weeks of lockdown resulted in a lot of anxiety and I couldn’t really think creatively. However, I had gone to a fish market before the lockdown to make sure that I could have the main character of my video at my disposal. I stuck it in the freezer.

After these first two weeks, I rewrote the entire script, as I had to adapt the scenes with what I had in hands: some props in my flat and my boyfriend. Also, because the deadline for our final piece for our final show remained the same (the 5th of June), it kept me motivated. When I realised I was more resourceful than I thought I could ever be, I kept going. Overall, it was a good experience to create without stress since I had more time on my hands!

Research / forming the project

I am interested in how psychoanalysis understands trauma and I also explore the absurd, the grotesque and the notion of the uncanny in my work. In this new video, the psychiatrist couch is central and I explore the benefits of psychoanalysis.

I wanted to create a morbid satire where animal cruelty and human violence would be at the heart of the story. Yet, the dancing scene is quite romantic, contrasting with the narration. I wanted to reinforce a sensation of unease and of displacement.

I worked on my own, but my boyfriend kindly accepted to appear in one of the scenes. I also asked some friends to record their voices for the narration. They then sent me their recording online.

Process

I used both still and moving image together for the first time and I also used some found footage from Youtube. I shot the scenes based on the script I wrote. Because the octopus would get smelly really quickly, I couldn’t shoot the whole video in one day. I had to refreeze it and defrost it several times.

For an entire day I struggled with the progressive zoom technique, I just couldn’t get it right, even after watching a few online tutorials. I gave it a break and tried again the next day, and it worked! I also played with the crossfade technique for the first time.

I think the narration works well, the voice of the therapist is exactly what I had in mind. I also think that the white crossfades work well when the octopus recalls her traumas, as it gives the video a dreamlike aspect. I would like to work more on the progressive zoom to make sure that I won’t struggle as much next time I have to use it!

Reflection / future

I realised that I was more resilient that I thought I was and that the medium of video gives you the opportunity to express so many feelings. I was amazed to be able to achieve my original idea even during lockdown. I am glad that I already had a camera as well as a tripod and that the university let us access the Adobe suite for free.

I am definitely up for exploring the uncanny territory more as well as shooting more animals (in previous videos, I used a cat and some squids).

Besides this online showcase, how would you like it to be presented?

Ideally, I would like to show it on a TV monitor and stick some 2x2 meters wallpaper of a close-up ocean behind it. I would also like to lay some Persian carpets on the floor to make it more inviting for the viewers.

Lockdown

I guess lockdown forced me to search for the answers by myself rather than getting help form the technicians, which is not a bad thing since I am going to graduate soon. It also taught me that one doesn’t need much to create a piece of work. Keep it simple!

Do you think you will incorporate these changes in methodology in your future practice?

I think I will use online tutorials a lot more.

Collaboration

Would you be interested in future online collaborations with other students from Wimbledon?

Yes I would be interested to share skills with different students.

Do you have a specific project in mind or are you up for experimenting?

I don’t really have a specific project in mind, but I am interested in storytelling and I would like to gather some interesting stories around. I am currently developing a project where I ask people what’s missing in their lives, so that could be a good starting point for a new video project.

If you want to collaborate, are you looking for particular skillset or would you like to be contacted by anyone interested?

I’d like to be contacted by people who are willing to share an interesting story that happened to them, such as a trauma and how they overcame it, and also by anyone who would be keen to tell me what’s missing in their lives.

Find Claire on Instagram at:
@water_couleur

Interested to collaborate? Contact here:

c.michel0820181@arts.ac.uk

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Film and Video at Wimbledon College of Art

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Iman Osman (PTBM 3) - Rift (in development, 2020)

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Iman Osman (PTBM 3) - Rift (in development, 2020)

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Introduction

I make experimental, moving image film. The films tend to be video, with analogue influences.

Was the piece made during lockdown?
No, I had started it already but am continuing it in lockdown. What’s keeping me motivated is the fact that I want to finish it, so I am working on it in whatever capacity possible at the moment. The process is very solitary and insular anyway so it’s not a massive change but definitely difficult when there are physical restrictions on you.

Research / forming the project

The project is centred around a concept called “individuation”. This is a term coined by Jung as a way to describe what we would understand as self-actualisation. It is the unionising of the conscious and unconscious spaces within the mind.

I had always been interested in the self, the individual and the way one experiences themselves as they navigate the world in space and across time. With this, I wanted to explore an experience of the self that I had had, one that was very specific to me. I knew that film as a medium would grant me the most control in expressing this. There has been a great catharsis in taking a very insular, individualist experience and blowing it up on the screen. I suppose my films have always been shot from the perspective of a person. I never want to see the person, as I would like the audience to act as a stand-in for that position when they view the film, but I certainly want to recreate the notion that we are watching someone’s perspective. Seeing what is within their mind’s eye, if you will.

The title comes from a phrase I found whilst reading around Jung, ‘healing the rift’, meaning to ‘transcend the gulf’ between the conscious and unconscious realms within our minds. The film acts as the space in which these two types of material begin to interact and collide with each other as they attempt synthesis.

My films are typically a solitary work. However, I have been known to collaborate with sound artists before, and this version of the film is one of those times. Ellis Berwick composed the sound under my direction. I gave him a structure to follow and guided what kind of sounds he used, and he composed a 3 minute track for me to edit to. However, in wanting to learn about sound myself, I will be composing the final version’s soundtrack alone. It’s a very particular process and while collaboration can bring about results that wouldn’t have occurred otherwise, it’s good to take command of your whole practice and really understand and realise what you want as an artist within any given work.

Process

The process of making is an entirely experimental one. I have no idea what I want until I see it and I can’t see it until I try it. I know vaguely what idea I am going for, but the work’s character is formed in the experimentation process.

One of the ways that I attempt to contemplate the work through making (since just thinking about it tends to achieve nothing) is through taking analogue photographs of imagery I am interested in and developing them in a darkroom. The film always starts with an image. The slow, meditative process of working in the darkroom allows me to spend time with the image, and soon enough, I will print one that I want to see moving. That image then becomes a still from a film that doesn’t exist yet. I will shoot video footage of that image, in Rift’s case, it was water. I will shoot again and again until I have a collection of footage. Through spending so much time with the image, I begin to formulate an interpretation of what it means; this becomes the film’s identity. The process of making is like putting together a puzzle without having seen the picture on the front of the box. I have little knowledge of what I’m doing while I’m doing it. The work reveals itself to me during its development. It always starts with the image of a fixation, something I repeatedly find myself preoccupied with without knowing why. The making process is finding out why. It’s an investigation.

I believe my biggest technical challenges are ahead of me. I have not worked too heavily with sound before, although I regard it highly as a medium. For this film, I will be learning to compose a soundtrack, manipulate sound within software and create a multi-channel sound piece that aims to create a sonic space within a physical one. Once I’m on the other side of it, I believe sound will become a crucial part of my practice.

I think the visual of the film is very strong. The black and white tones, the materiality of the water in the way that it is shot… I want the editing and structural element of the film to be really prominent in its effect and you can see examples of that in this version, but I hope to push it further. Sound is the realm I want to explore with the most attention now though.

Reflection / future

I gained a lot from working on this film. I believe it is the culmination of everything I’ve been seeking within my practice during my time at Wimbledon. It is the first thing that I think can really be used to represent what I do, what I’m interested in and how I work. I will use this film to push my practice further after graduation, to find new ways to explore my ‘investigations’ that may garner different results. I am excited to see how things develop from here.

I always want my work to be experienced physically. My favourite works are never things I’ve seen only online. They are things I’ve stood in a room with or amongst. I want this work presented in a room on its own, blacked out, with some sort of physical installation that breaks the 16:9 frame of the film into a more panoramic, forward-approaching set-up, one that contends with the viewer’s eye. I want it to overwhelm, and I want the soundscape to house that visual warmly and create a spatial experience of immersion where one can really get lost in the movement of these images and how they play out on screen.

Lockdown

Mostly, it has just been hard to get in a flow. Working is so much about being unconscious in what you’re doing, and I think it’s difficult at the moment to be comfortable enough to submit and to do without thinking. There is so much information every day, the conditions around us constantly remind us of what is happening. It’s hard. But I’ve been using work as an escape. And if you persist in trying to bury your head in what you’re doing you can succeed for even a short time. That’s what I’m trying to do at the moment. I may not be able to work for the same amount of time every day, but any moment I do get of effective concentration and creativity is enough to satisfy me considering the circumstances right now.

Do you think you will incorporate these changes in methodology in your future practice?

No, not at all. If anything, these restrictions have made me more aware of what conditions I need to work. Yes, you can in theory, work anywhere, but realising what gets the best work out of you is important too. I know what that is now; primarily, it’s a space designed only for work, one that is private and spacious, so you can find those moments of unconscious flow. It’s hard to do that with all the confines in our lives right now. It makes for a very hyperaware landscape, and that’s not where creativity typically manifests.

Collaboration

Would you be interested in future online collaboration with other students from Wimbledon?

Under the right circumstances, yes.

Do you have a specific project in mind or are you up for experimenting?
I never have a project in mind, so experimentation would be my way forward.

If you want to collaborate, are you looking for particular skillset or would you like to be contacted by anyone interested?
Sound, moving image and installation would be the realms in which I feel I could work collaboratively.

Find Iman on Instagram at:
@naorouge7

Interested to collaborate? Contact here:

imanosman@hotmail.co.uk

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Margarita Ieva Loze (Painting 2) - Memory Collector (WIP, 2019-2020)

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Margarita Ieva Loze (Painting 2) - Memory Collector (WIP, 2019-2020)

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Introduction

My name Is Margarita and I study at Wimbledon College of Arts, year 2 (BA) Fine art: Painting.

This is a work in progress where I look at my early childhood memories and combine them with imagined/unreal places.

My main idea of the work is to not show any narrative for the stop motion but let the viewer create their story and feel the environment.

This is hand drawn stop-motion, that’s drawn on a transparent paper with coloured pencils. It is created to be as a resemblance of a book, where each ‘page’ (sequence) tells different story and invites the viewer to think of their own personal memories or fantasies.

Was the piece made during lockdown?

As this is work in progress, I started making it last year and I am continuing making it under lockdown too.

How did you find inspiration and motivation to create during this time?

Personally, I find this time itself quite fascinating. This is the first time in my lifetime when I can feel the change happening in the scale of the whole world and even more, I am able to be here, document and reflect on it. It’s such a surreal feeling, almost as time does not exist at the moment at all.

By saying that, I see this time as a wonderful chance to take more braver decisions and experiment with various materials and formats. To try out something completely new and look back at my practice to see what could be improved and what my future aims would look like.

That is my inspiration - keeping being curious and reflecting on things that interests me.

Research / forming the project

What were your initial ideas and your research themes when you started the project?

It’s a bit hard to answer this question as I don’t see my projects as separate. They all kind of talk about similar ideas therefore the research is quite specific, it’s about nostalgia, space, time, illusion related themes. I’m triggering questions such as - where is the safe zone and what is that blurry line of reality and a daydream. I am interested in recreating a sentiment of a moment and explore the work that involves immersive experiences.

Process

The process is quite slow and time-consuming as I draw each frame from scratch and the put them together on program ‘dragonframe’.

Although it takes time, I enjoy the process of making a lot and it often gets me to meditative state. Other fun thing in the process is sound making. Only recently I have started to make my own sound for the animations, and I found that as an inspiring tool to play with.

Reflection / future

In my ideal world, I would create a room with objects and other drawings and present this work as projection on walls and objects within space. I would make it as an immersive experience where the viewer would feel like ‘being inside the animation’. I would also add another element - smell.

Lockdown

I think that my practice has changed a bit to being more personal and intimate. I am more open and definitely feel influenced by the lockdown mentally.

Collaboration

Would you be interested in future online collaborations with other students from Wimbledon?

Yes, always! : )

You can find more of Margarita's work and contact details here:
www.margaritaieva.com

Follow Margarita on Instagram at:
@margarita.i.loze

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Film and Video at Wimbledon College of Art

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Introduction

Heya, I'm Toraigh and I'm an Irish artist, currently based in London. I am in my third year on Fine Art: Print and Time-Based Media. Normally my work lies somewhere between music, installation, performance, interactive art and occasionally video. However, this situation has brought about a few changes in what I have access to and where I am gaining inspiration from as well as my general mindset, so the work I am presenting on this online showcase is a bit of a departure from my usual practise.

This is a short clip from an experimental animation I am currently developing.

Was the piece made during lockdown?

Yes.

To be honest, it has been difficult to find inspiration at the moment. Working from home and social distancing creates quite a difficult environment to work in. As I'm sure most people are, I feel disconnected from people and the creative environment at university that often inspires me to make work. I began creating this animation just for a bit of fun and give myself something to do, as I worked on it, I became more invested and am now aiming to develop it into a longer, more realised video work.

Research / forming the project

What were your initial ideas and your research themes when you started the project?

To be honest, very little research went into this, but it has definitely been influenced by the current situation. The animation features a pair of blue medical gloves, which have strong associations with coronavirus and the paranoia it is creating about health/hygiene. I also really interested in non-verbal communication, particularly through music and theatre, researching this throughout my degree has definitely influenced the style of this work.

Did you work on your own or with a group?

I have worked on my own so far.

Process

Before lockdown I had rented a laptop from the CLS with dragon frame installed, so I have been using this to create the animation. I created the soundtrack using Ableton live and have mostly used instruments and drum kits for this short clip, but I am currently collecting sounds and conversations which will later make up part of the sound, embedded in the music.

I've had little experience with animation, so there was definitely a bit of trial and error getting things right, the lighting in particular. When it came to editing both the video and sound, anything I was unsure of I looked to youtube tutorials for the answers.

I think I could definitely be more confident with animation and the all round quality could maybe be improved. Despite this, I am pretty happy with the results so far, more importantly, I feel I've learnt a lot in the process and now my main aim is to lengthen the piece. I do have more footage to work with, so just need to get editing.

Reflection / future

I definitely think I've gained a bit of confidence in using dragon frame and have enjoyed the process of considering how sound can be paired with video to create a certain tone or short narrative. I will definitely take this into future work. I've also learnt to be patient (which is not always one of my strongpoints), animation is a slow process but to be honest it's been good in these circumstances having something to invest a bit of time into.

Besides this online showcase, how would you like it to be presented?

I haven't thought too much into this yet because it was originally just for fun so this is something I am now thinking about.

Lockdown

Lockdown has caused me to look for ways to create without the facilities that are normally easily at hand in uni and has definitely shown me that sometimes just to start something for an experiment or a bit of craic can develop into something more interesting.

Do you think you will incorporate these changes in methodology in your future practice?

Yes.

Collaboration

Would you be interested in future online collaborations with other students from Wimbledon?

Definitely, I love collaboration and am always open to proposals for projects, those with a live aspect in particular.

Do you have a specific project in mind or are you up for experimenting?

Both. I am always up for experimenting and throwing myself into something new. I also have plenty of ideas I'd be willing to share with people who are interested in music and live art/performance.

If you want to collaborate, are you looking for particular skillset or would you like to be contacted by anyone interested?

Anyone!

You can find more of Toraigh’s work here:
toraighwatson.com

Follow Toraigh on Instagram at:
@toraighw

Interested to collaborate? Contact:
toraigh.watson@gmail.com

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Film and Video at Wimbledon College of Art

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Tilly Wheeler (SDS2) - Diamond Dogs (2020)

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Tilly Wheeler (SDS2) - Diamond Dogs (2020)

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Introduction

Could you please introduce yourself and your work?

Tilly Wheeler, 2nd year Set Design. This is a music video shot and edited by me as part of a group project in which a zine was also created, in response to David Bowie's Diamond Dogs. Group members - Myself, Shirley de Waele, Bianca Meneghelli, Rebecca Nesi, Kika Dias da Silva, Issy Valerio, Paige-whitney Aiken.

Research, forming the project

What were your initial ideas and your research themes when you started the project?

Creating distinct characters or subcultures based on the song lyrics, the idea of a dystopia and the time period in which the song was made. Focusing on strong visuals rather than narrative. I was interested in making some moving image work that was a bit different from the work usually done on the Set Design course. Research included films, 70s/80s musicians and their music videos, fashion photography and fashion film.

Did you work on your own or with a group? If you worked in a group, how did you decide on each role?

We shared them out at the start, but the roles changed a lot and crossed over as the project progressed.

Process

Could you tell us more about the process of making?

Before shooting - lots of prop/costume buying and making and using clothes and objects we already owned, borrowing equipment from the CLS and learning how to use it. Shooting - styling, makeup, setting up backdrops and lighting, still lifes with props. Filming in the Green Screen studio and on location in London. I used a handheld digital camcorder and a Super 8 film camera. After shooting - developing the film, editing everything on Premiere Pro.

What were your biggest technical challenges and how did you overcome or work around them?

Definitely processing the Super 8 film! Jack and Ursula helped me loads with this, and it just took plenty of patience and perseverance.

Even though it was a challenge, the Super 8 was one of the most rewarding elements of the project, and I'd like to develop my skills here. I was also happy with the editing, which took a long time to complete.

Reflection / future

What did you gain from this project?

I tried things that I hadn't previously and developed skills in prop styling, directing people being filmed, lighting, shot composition, analogue and digital handheld cinematography, and editing to music. Also working with people that I didn't know before was really nice.

Are there any elements you will use in your future work?

All of the above, hopefully!

Lockdown

How do you find inspiration and motivation to create during this time?

Watching lots of films, listening to music, reading, making notes of ideas. Trying to keep a good daily routine, which isn't easy at the minute!

How did the lockdown influence your practice so far?

I've tried to work on some of my digital skills like Photoshop which normally I put off doing.

Do you think you will incorporate these changes in methodology in your future practice?

Yes, I'd say so.

Collaboration

Would you be interested in future online collaborations with other students from Wimbledon?

Yes, possibly!

Do you have a specific project in mind or are you up for experimenting?

Not really anything specific in mind at the moment.

Find Tilly on Instagram at:

@tillywheeler___

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Film and Video at Wimbledon College of Art

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Hara Ailamaki (PTBM 3) - INdurance 2 (2020)

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Hara Ailamaki (PTBM 3) - INdurance 2 (2020)

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The artist
Hara Ailamaki’s work takes an autobiographical approach to self-exploration. Drawing from her own experiences, she visually discusses themes of longing, loss, inner exploration as well as inner conflict. Spanning moving image, digital collage and multimedia installation, her work is developed from a fundamental consideration for the passage of time. With influences of existentialism, Hara’s work references those who have also pondered upon their existence, as her objects, materials and spaces explore the burden of being, through a lateral, cross-boundary approach to making that results in pieces of ever-changing processes and forms. Her practice unfixed, reminiscent of the transient nature of being.

The work

'INdurance' are a series of videos that depict the cutting of meat. With a suggestion towards obsessive, painful procedures, ideas of repetition, failure, and pointlessness are present here as the work contends with fixation. Made to discuss the notion of fitting in, and failing to do so, the work attempts to portray a frustration that comes from repeated attempts to a futile goal. The more attempts, the more suffer.
The work depicts a performance: filmed and edited. After experimenting with a live version, I decided that this was the appropriate way to showcase 'INdurance', as a stronger, more intense relationship is formed between the material and the viewer.

I was always interested in raw, visceral and internal visuals, so I decided to explore their meaning, adding the human element and interacting with it. I was greatly inspired by pieces like Hermann Nitsch's 'Mysterien Das Orgien' and Marina Abramovic's 'Balkan Baroque' but also pieces that have a focus on repetition and psychosis such as Bruce Neuman's 'Raw material Washing Hands'.

Process

The process was painful and time consuming. At the end of the performances my hands were full of cuts, as the way I handle the knife was really clumsy. The smell was awful and difficult to endure throughout. On the other hand, this pointless repetition offered me a soothing feeling, space and time to let my mind wonder and think freely. I was both present and absent, within my mind and outside of it all at once. A mediation, with a feeling of calm in amongst the chaos of the action.

The videos you see are actually part of a performance that happened live in Copeland Gallery for our PTBM Interim show. The piece was performed in a booth with a small opening, just enough so the viewers could see inside. The audience was not aware of what was inside at first. A lot of them were a bit shocked and mainly repulsed by the sight of the rawness. The live performance allowed me to install the work and give the viewers the chance to experience the piece first-hand, to come closer to it and face it; the raw meat in the booth of my installation along with the intense smell forced the viewer to remain present, unable to escape the work, making it all the more intimidating and confronting. The use of materials complimented the content, as frustration was communicated efficiently.

This project allowed me to explore my practise deeper. There is still a lot of experimentation that I am doing, as 'INdurance' is still under development. At the moment, I am working with sound and spoken words in order to advance it.

Lockdown

After the lockdown started, I had a really difficult time to stay productive. I painted a lot, mostly my plants, as I find it relaxing and partially satisfies my need to create. When I managed to find a flight back to my family, I decided to document the whole procedure. So right now, still trying to reach home, I am working on the documentary of my return. After all, this pandemic is now part of our life and it should not be ignored but faced and embraced. This is our new reality and we have to learn to function in it. Filming my trip is helping me and keeping me motivated, as I can understand and process the reality of the situation through my lens.

Collaboration

PTBM always collaborates; our practises are so broad that we can easily incorporate our works together. I, as well, am very interested in collaborating with anyone that has the will; creating is all that is needed really.

You find out more about Hara’s practice and contact details here:

https://haraailamaki.wordpress.com/

Find Hara on Instagram here:

https://www.instagram.com/all_the_right_moments/

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Minqi Xu (MFA 2) - The Green Light (2020)

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Minqi Xu (MFA 2) - The Green Light (2020)

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Introduction

Could you please introduce your work?

My work ‘The Green Light’ is a short film about three people talking their experience of seeing the green light. This video is a part of my project for degree show. The final piece will base on it to tell the whole story in two parallel worlds.

It’s a single channel video with sound. But I’ll develop the story and make it as a double screens video installation.

Research / forming the project

What were your initial research themes?

My initial idea came from the news pop up on my phone every day, also the article which clarify some fake news. I always suspect the authenticity of the information that we receive every day. Most of my practice discuss about the boundary between actuality and fiction. The project started from February.

I prefer to work by my own. But in this project, I asked three of my friends help with the acting part.

Process

Could you please describe your process of making?

This video was made by two separate times. First, I finished the line of one character and shot this part. After I made sure of that’s what I was looking for, I continued with the script and shot the rest part of my video. For the editing, there are two versions of it. One is the version that we see now which mix three interviews together, another one is to play one by one.

My biggest technical challenge is the audio record. As you can tell, the soundtracks are bit different among three characters. That’s because for the second filming I couldn’t borrow the same audio recorder from CLS, and I met some problem of the microphone setting. So, I tried to use postproduction to manipulate the soundtracks, to let the volume even. But still the quality is different.

I’m happy with the effect that I edit three interview footage together by selecting part of their lines build up the whole story. I think I’ll work more on the editing and use the footage creatively.

Reflection / future

What did you gain from this project?

I learned some skills of audio and light setting. Also, the experience working with actors. Now I’m working at home without the help from technicians, I have to work on all the setting by myself. So, what I learned from it is definitely useful. As I mentioned before I’ll continue to develop this story. This project is a beginning of the work that I’m working on and it gives me many inspirations of how the story will go.

I think online showcase is totally fine for this work. If I continue to build up the story and make it as a double screens video installation., I’d like to show it in a gallery space.

Working during lockdown

How did you find inspiration and motivation to create during this time?

I read lots of novels and watch many films.

How did the lockdown influence your practice so far?

Actually, it didn’t affect me much, instead it offered me a new way of thinking how to utilize this situation making a new work.

Do you think you will incorporate these changes in methodology in your future practice?

Of course.

Collaboration

Would you be interested in future online collaboration with other students from Wimbledon?

Yes, it will be great.

Do you have a specific project in mind or are you up for experimenting?

Not now. I’m still focusing on my degree show.

If you want to collaborate, are you looking for particular skillset or would you like to be contacted by anyone interested?

I’d like to work with musicians. The biggest challenge for all my work is the music and sound design.

You can find more of Minqui’s work here:

www.minqixu.com

Interested to collaborate? Contact:

mikixuminqi@gmail.com

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Amina Vormann Wu (SDS 1) - Thoughts (2020)

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Amina Vormann Wu (SDS 1) - Thoughts (2020)

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Introduction

Could you please introduce yourself and your work?

Hello, my name is Amina and I am studying Set Design. I am half German and half Chinese.

This 40 sec. film contains a monologue, held by myself that deals with vulnerability and honesty.

Was the piece made during lockdown?

Yes.

How did you find inspiration and motivation to create during this time?

To be honest, when I left London it took me two weeks to calm down first.

I did nothing but thinking and research about certain artists’ views, lives, and works. And I watched several documentaries of people, who really inspire me, in their work and on their achievements.

With this input of information and food of thoughts, I went out daily, for a walk in nature.

And somehow, I always get inspired by nature. I love to observe color combination which were naturally made. Sometimes it is the tree that is interestingly arching around an old man. Simple and minimalistic ‘sets’ motivate me.

And then I imagine how certain people would ’perfectly’ fit into the ‘set’ to make up the aesthetic shot.

And when the phrases of the books I just read and the upcoming thoughts buzzing around me, I just feel the inducement to create something.

That is basically how I get inspired or come up with something- if that makes sense?

What were your initial ideas and your research themes when you started the project?

This film is like an excerpt. It belongs to a series of many little ‘clips' . They are accompanied by deep inner thoughts, connoted personal views, and just stills.

I would like to make an actual film one day. And so, I decided to just start. By visualizing my ‘diary’.

I write things down whenever I feel it and have a very clear vision of it. If it is a situation I just experienced or topics that inspire me. Or a quote.

I start to visualize and film then immediately to try out, how things look on camera and how things have an effect on the viewer. I also like to test the borderline between the viewer and the topic. I want to create a lot of small films which will make up one big film at one point. The focus should always be on bringing something across in a very minimalistic way.

Did you work on your own or with a group?

My sister helped me filming but besides, it is created by me.

Process

Could you tell us more about the process of making?

I wanted to be very close to the camera, to really suggest vulnerability and honesty. In the post-production, I did zoom a lot again. I, as a person, didn’t want to be too much in the focus. More the skin and the peculiar movements, which should go into one with the audio.

I recorded myself by phone and wanted to have a warming empathetic voice, so I spoke very closely into my phone. I wanted to gain empathy.

I’ve always been a person who jumps from one thought process to another - to actually visualize it and to stay with one hairline and to finish one thing before starting to think about something else, is definitely a challenge to me.

I think what worked well, was the atmosphere that I brought over. It does seem very personal and ‘wholehearted‘? That was my aim.

I would like to improve on camerawork. Instead of doing a lot in post-production in ‘Premiere’, I would rather gain skills in learning more about the impact of certain angles or camera fluctuations.

Reflection / future

What did you gain from this project? Are there any elements you will use in your future work?

I like to keep working with the combination of movement and voice. Because I always danced and expressed myself through dance, or through poetry. It might be the most truthful thing I can create.

Besides this online showcase, how would you like it to be presented?

I don’ t really know what possibilities for me exist beside this at the moment. But I would love to show some of my ‘mini-films’ on a display in a white room on good speakers..

Lockdown

How did the lockdown influence your practice so far?

There is not too much ‘distraction’ so the lockdown helps me to stay at one project.

Do you think you will incorporate these changes in methodology in your future practice?

When this is all over, I need to carry on doing, with what I only now have found time for.

Collaboration

Would you be interested in future online collaboration with other students from Wimbledon?

Oh of course. I’d love to. :)

Do you have a specific project in mind or are you up for experimenting?

Up for experimenting!

If you want to collaborate, are you looking for particular skillset or would you like to be contacted by anyone interested?

Yeah, I would like to be contacted by anyone interested.

Find Amina on Instagram at

@aminaavm

Interested to collaborate? Contact here:

a.vormann0620191@arts.ac.uk

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Film and Video at Wimbledon College of Art