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text edit glitch of one of my project 1 works 

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text edit glitch of my one of my project 1 works 

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text edit glitch of a James Turrel light installation 

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(This project 1 I have used as progression towards my main project which will be project 2)

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THE FIFTH DIMENSION SPACE/TIME MACHINE: AN ARCHIVE
password: archive

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Fifth Dimension Space/Time Machine: An Archive

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I've been reading this book, Sound Art Revisited, to deepen my understanding of the conception of sound art and its current iterations

This is a quote from Bill Fontana recalling his experience seeing and hearing a solar eclipse: "During the minutes just before the moment of totality (having a duration of 2 minutes), the acoustic protocol between birds, determining who sang at the different times of day became mixed up. All available species were singing at the same time during the minutes immediately proceeding totality, as the normal temporal clues given by light were obliterated by a rainforest suddenly filled with sparkling shadows. When totality suddenly brought total darkness, there was a deep silence. This recording was seminal for my work because a total eclipse is always conceived of as being a visual experience, and such a compelling sonic result was indicative of how ignored the acoustic sensibility is in our normal experience of the world. From this moment on, my artistic mission consciously became the transformation and deconstruction of the visual with the aural."

Seeing is much more immediate than hearing, sound is far harder to ignore than sight, sound is much more mysterious, much more of an enigma, than sight (in some cases)

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Julie recommended I watch Derek Jarman's Blue - I found the way he uses sound in a painterly way incredibly interesting, which is something I might be able to incorporate into my own sound work

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WEEK3 - WORKING WITH THE CONSTRUCTED IMAGE + APPROPRIATION: 

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WEEK3 - WORKING WITH THE CONSTRUCTED IMAGE + APPROPRIATION: 

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Software - InDesign (Photoshop only to give the grainy effect on the primary background image)

Text from: Portishead - Glory Box (It was the song that I was currently listening to when making this piece - I felt that it felt the overall energy of the image...)

Original Image: https://archive.org/details/FakirMusafarPhotosCollection
Fakir Musafar is one of my many inspirations - described as one of the "founders of the modern primitive movement".

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WEEK 2: When Images Collide - Create a Portrait Collage in Photoshop.
Created this artwork using Copyright Free images found in Unsplash.com
This collage artwork is a result of 3 Primary Images, Liquify Tool for his hair, Colour Adjustments, Lasso Tool, Crop, Blur, and Warp Tool.

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One of my many favourite fashion photographers - Abdulla Elmaz. Born in Australia, currently based in Dubai.

Clients / Publications -  Valentino - Louis Vuitton - Dior - Balenciaga - L'Officiel Vietnam - L'Officiel Ukraine - Sole Magazine - i-D au/nz

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"The work of Lawrence Malstaf (1972, Bruges, Belgium) is situated on the borderline between the visual and the theatrical. He develops installation and performance art with a strong focus on movement, coincidence, order and chaos, and immersive sensorial rooms for individual visitors..."

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Wolfgang Tillmans is a German photographer. His diverse body of work is distinguished by observation of his surroundings and an ongoing investigation of the photographic medium’s foundations.

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Wolfgang Tillmans on Tate show_ this isn’t about politics

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Lucas makes sculptures from a heterogeneous and unexpected range of everyday materials, such as worn furniture, clothing, fruit, vegetables, newspapers, cigarettes, cars, resin, plaster, neon lamps and light fittings. The grungy, abject appearance of many of her works belies the serious and complex subject matter they address. She makes constant reference to the human body, questioning gender definitions and challenging macho culture.

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Collage by me + text by Sarah Bah Bah

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Collage by me + text by David Shringley

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Collage done by me + found text by David Shingley

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I admire the way Janet Cardiff fragments reality, sustains the viewers disbelief, combines found and created sounds to create something wholly new, something engaging and interactive, something that demands to be listened to, demands to be deciphered

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read this study about the effects of making art whilst living with chronic pain
the author isolated specific themes that came up across the 15 participants which included; limitations and loss, solitude, modifying and adapting, distraction, fulfilment, connection, acceptance, self-worth and identity, growth, and meaning
the study also quoted Viktor Frankl "man's main concern is not to pursue pleasure or avoid pain, but rather to see a meaning in his life"

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theme: summer
tools: lasso, object selection, eraser, moving layers around

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James Turrell is an American artist known for his large-scale, immersive light installations. Interested in all aspects of human perception.
Turrell’s medium is pure light. He says, “My work has no object, no image and no focus. With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of wordless thought.”

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Bouillabaisse, Barcelona, 1948Chromogenic print© Condé Nast

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Underpinning all of Penn's work as a photographer is his special talent in the still life genre, to which he applied his signature resolve to prune away anything that did not contribute to the picture. From his earliest work at Vogue to his latest series of personal work, this resulted in powerful images that invite contemplation of Penn’s acute awareness of objects and their placement.

Penn frequently included elements of memento mori and selected subject matter that could, at first glance, seem unworthy of close examination, which give his images a "bite" that lingers.

https://irvingpenn.org/still-life

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CAEL2085-PS week 2  shark copy-Recovered copy

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I have this app on my phone that identifies plant species, and I have been trying to identify a plant from a photo I took. Each time I scanned it, the app would give me a different plant. So this collage is a mix of all the different species that the app thinks this plant could be but is really not, with the original photograph of the plant at the stem. I also still don't know what the species is.

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-all artworks collaged are from well known artists.
-manipulated facial features using photoshop of Picassos face- here is original: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.theartnewspaper.com%2Fnews%2Fwhen-irving-penn-forced-his-way-into-a-meeting-with-picasso&psig=AOvVaw3dYV-4lLBmHyO9Pz12iJPT&ust=1629340479352000&source=images&cd=vfe&ved=0CA0Q3YkBahcKEwiYi6y2xLnyAhUAAAAAHQAAAAAQAw

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CAEL2085 photoshop week 2-Recovered copy

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a film I watched yesterday, 'Perceval' 1978 directed by Éric Rohmer - a sort of strange rendition of the unfinished medieval romance, where the exposition is announced by the characters themselves, often in song, and always in rhyme.
I appreciate its willingness to be weird, to not follow typical narrative structure, and to be visually surprising.

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collage from feb

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KELVIN KYUNG KUN PARK
Space Time Machine
2016
Mixed Media
"Space Time Machine is an installation of live video feedback of a kinetic sculpture. Video images capture movements, refractions and shadow of the machine creating an ephemeral deception of time, space, and materiality." - From Park's Website

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Heidi Norton uses the mediums of photography, sculpture, and painting to explore the instability and liminality of time, while investigating ideas of preservation through material and modes of display.
From trendland

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“Specimens” by New York artist Michael Mapes is a series of elaborate specimen boxes made up of dissected photographs that are compartmentalized into individual fragments within plastic bags, glass vials or magnifiers. The creation is somewhere in between photography and sculpture, functioning both as portraits and as fascinating scientific canvases that make you question the logic behind the organization of each piece.
From gessato

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I find the idea of bringing pain to people, sharing pain, stealing pain, and coveting pain extremely curious

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Eugenie Lee has strapped a thick, strange-looking belt, a kind of torture device, to gynaecologist and endocrinologist Dr Natasha Andreadis.

The custom-built haptic device gives the wearer pelvic pain-like sensations, and at first, Dr Andreadis's descriptions of the experience are fairly innocuous: "I'm feeling like my organs, woah, are really getting a deep massage."

But once Lee ratchets up the intensity level, Dr Andreadis says "it's like someone's punching you and they've got spikes on their knuckles".

Dr Andreadis then starts swearing and is lost for words for a moment, before asking: "Do people have to go through this every month? ... [It feels like] ripping, tearing, crazy sharp."

Lee is a Korean-Australian interdisciplinary artist, and this work - titled Breakout My Pelvic Sorcery - is her latest effort to combine installation art, scientific research and cutting-edge technology to give participants an insight into chronic pain.

As she told Namila Benson and guest co-host Carly Findlay on The Art Show: "The quick and dirty summary of what I do as an artist is that I give pain to people for a living."
WARNING: This article contains graphic descriptions of pain that may be confronting for some readers.
A 'creative intervention'

Lee lives with endometriosis and adenomyosis, and has experienced pelvic pain for nearly three decades.

"I feel like there's something horrendous; some alien thing just living inside me, chewing and gnawing away, and sometimes it feels like there's a big lump of barbed wire just rolling and scraping against the organs and tearing whatever it touches," she says.

Lee also describes pain that's pulsing, shooting and stabbing.

According to national peak body Pain Australia, 3.37 million Australians were living with chronic pain in 2020 - and that number is forecast to rise to 5.23 million people by 2050.

"[But] hardly any of our experiences are acknowledged," says Lee.

"It's because it is invisible ... I'm not saying that my invisible experiences are any harder than people living with a visible disability, but it comes with its own difficulties."

Lee has spent almost two decades trying to make sense of her experience through paintings and photography.

But her life and artistic career took a significant turn in 2014, when she undertook residencies (through Accessible Arts Australia and the Synapse Residency) that introduced her to neuroscientists who specialised in pain research.

"[Over a] two year period, they sat with me one-on-one and gave me a crash course in the neuroscience of pain," says Lee.

Listen: Eugenie Lee

Lee spoke to Namila Benson and guest host Carly Findlay on The Art Show

Read more

She subsequently developed working relationships with other pain researchers and physicians, as well as a linguist with a special interest in pain expression.

"Within that scientific bubble, there was a whole lot of information that ... [helped me] manage my pain so much better than before," she says.

"The research into the neuroscience of pain in Australia is one of the most advanced in the world. But most of us don't have access to this important knowledge.

"So my artwork is a creative intervention ... bringing this important, latest scientific knowledge and combining it together with narratives of lived experience, not only from myself, but from other people who live with pain."

'Seeing is believing'

Lee's first art-tech hybrid was Seeing Is Believing (2016-2019), a combination of performance and installation that gave participants the illusion of experiencing the symptoms of a neuropathic disease called Complex Regional Pain Syndrome.

In the first stage, Lee (taking on the role of physician) sits down with the participant (playing a patient) and talks to them about the neuroscience of pain, while sussing out the participant's anxiety levels and attitudes towards pain.

In the final stage, participants step into an anechoic chamber and don a haptic glove which gives them gentle stimulation on one hand, while wearing a Virtual Reality headset that makes it appear like that hand is swelling up.

There are three settings for the haptic device, and Lee says even the most intense setting is fairly mild.

"[But] my intense performative interaction with them will intensify their experience. So for instance, I say, 'When you experience pain, next time, you will feel like this'. So it's a power of suggestion."

Lee is tapping into the nocebo effect (as opposed to the placebo effect) and she says this, combined with the haptic glove and the VR, gives almost all participants "pain-like symptoms".

"We manipulate their experience by literally giving them discomfort, and then the rest is done by their own brain ... and the brain has to deal with the sensory overload, which is what many people with persistent pain experience every day," says the artist.

Around 500 people have participated in Seeing is Believing, first at UNSW Galleries in Sydney, and then at other galleries and museums around Australia.

Lee was worried no one would be interested in experiencing pain - but sessions booked out, with many participants saying they were interested in trying to understand the experiences of loved ones living with pain.

'Breakout my Pelvic Sorcery'

"Pelvic pain is one of the least popular subjects even within pain research ... [and] there's so much stigma around pelvic pain," Lee says.

She attributes this to the fact that the condition mainly impacts women.

The haptic device in her artwork Breakout My Pelvic Sorcery, which is still in development, was made with the help of University of Technology Sydney mechatronic engineer Peter De Jersey.

"It's actually designed for therapeutic purposes ... but he hacked it for me and then we sort of refigured this machine into a pain-invoking machine," Lee says.

Breakout My Pelvic Sorcery gives the participant sensations described as "pulsing, stabbing and cattle-prodding pain" - matching the words pelvic pain patients used to describe their symptoms in the scientific survey The Language of Pelvic Pain.

Lee says that in her interviews with pelvic pain patients, they often mentioned how others failed to understand how difficult it is to do even simple tasks, when you're experiencing pain.

To explore this, participants play a VR version of the arcade game Breakout, a simple ball-hitting game, while wearing the haptic belt.

When Lee premiered Breakout my Pelvic Sorcery at the Big Anxiety Festival in 2019, participants only lasted two to three minutes.

She says many participants told her afterwards, "I didn't realise [how hard it was], now I know."

While mounting a one-on-one experiential work like Breakout My Pelvic Sorcery has been impossible during COVID-19, Lee plans to present the work at a global pain conference in Amsterdam in 2021.

Like many people from the disability community, Lee describes a silver-lining to 2020, with both her work and the arts generally moving online.

"I don't want it to go back to normal because it's been really wonderful, in a way," she says.

'Changing the culture of pain'

After trying Breakout My Pelvic Sorcery, Dr Andreadis, who regularly treats women with pelvic and period pain, said to Lee: "Take this to med schools, strap every doctor and nurse [to it because] it'll make us more empathetic in terms of managing our patients."

But Lee says she's cautious about using the word "empathy", preferring to frame her work around social justice.

"Most people think that they understand what pain is. But persistent pain is a different experience to the type of acute pain that a lot of people are familiar with; it's just so much more complex, and it can have a devastating effect on people," she says.

Last year, Lee was hoping to apply for an artist residency in Melbourne but couldn't write a grant application because of her pain.

The alternative option provided by the scheme was also not viable.

"I explained the situation again, and their response was just simple disbelief, suggesting that maybe I might be asking for special treatment or maybe I was a liar," she says.

"I was going through so much pain but that experience itself made my pain even worse ... that lack of understanding, to me, is an act of cruelty."

Those psychological and social components of pain (e.g. anxiety, fear, anticipation and isolation) are something she tries to capture in her work in an attempt to force people "to rethink their own preconceived beliefs and actions towards people living with long-term pain".

Lee's works might sound daunting, but she says in the conversations that she has with participants at the end of Seeing is Believing, many ask detailed follow-up questions and speak passionately of the experience.

She's hoping people take what they've experienced and share it with others.

"I'm almost like this queen bee and I'm creating these little worker bees [the participants] ... they are all doing their own bit to spread the knowledge and change the culture of pain."

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This artist lives with chronic pain. She wants you to try it for just a few minutes

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Eugenie Lee has strapped a thick, strange-looking belt, a kind of torture device, to gynaecologist and endocrinologist Dr Natasha Andreadis. The custom-built haptic device gives the wearer pelvic pain-like sensations, and at first, Dr Andreadis's descriptions of the experience are fairly innocuous: "I'm feeling like my organs, woah, are really getting a deep massage."

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Cave of Forgotten Dreams, Werner Herzog, 2011

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Cave of Forgotten Dreams, Werner Herzog, 2011

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I recently watched this documentary about the cave paintings in the Chauvet cave in France. These are one of the oldest paintings ever found and are from the Aurignacian period (dating back 32,000-30,000 years ago) when Ice Age animals still roamed the Earth. For me, what was most surprising was the sophistication of technique in the animal paintings. It was something I wasn't expecting at all and always imagined these cave paintings to be mostly stick figures, however these paintings are shaded really well and many animals have multiple legs to show movement. Something that really stuck with me is that a lot of the scientists said that they felt as though they were being watched when they were inside the cave and that all sense of time and space was non-existent. This is a really interesting film and if anyone wants to watch it, it is currently 90cents on Apple.

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‎Watch trailers, read customer and critic reviews and buy Cave of Forgotten Dreams for $9.99.

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Alternative view

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Echo, Shahzia Sikander, 2010, acrylic and ink on paper and wall 

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Echo, Shahzia Sikander, 2010, acrylic and ink on paper and wall 

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I really like this work by Shahzia Sikander, a Pakistani-American artist who, during the 90s re-created premodern manuscript in response to her curiosity to learn about the pictorial vernacular not from the western painting canon. She was hooked by the understanding of how colonial legacy shaped manuscript painting's fate. In this work she has repurposed some of the elements found in her earlier works and I particularly enjoy the layering of the paper and scroll like nature of the arrangement. Unfortunately I couldn't find an artist statement regarding this work. https://www.shahziasikander.com/artworks/echo

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AN EVER EXPANDING REFERENCE LIST

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Each week we will visit your journal posts here on PADLET.

You will be upoading studio exercises and outcomes, readings, reflections, and artist statements and examples of artist works here; as well as your own work in development.

Each Week: I would like you to post up to 5 images from TWO new artists to PADLET each week.

They must not be flickr, 'artists', instagram / Pinterist finds.

They should be NEW aritsts you have discovered through current research. They could be from varied artistic fields - theatre/film/ photography/ sculpture etc however must relate to your current research.

Artist Research Channels: Try reading photography or art magazines (VAULT, Blindspot, GUP, Foam, British Journal of
Photography, Aperture, Art in America, ArtForum). Also, look at galleries and museums- both current and past exhibits.

MOST IMPORTANTLY:
I would like you to locate the artists' statement and copy it (or a link to the statement) here on PADLET - include the source of the images or the artist’s web site etc.

Each Week Post on PADLET:
1. TWO Different Artists
2. Up to Five Images from each artist
3. Artist statement or a description of the series
4. Link to the Source of the images and text.
You should have at least 24 different artist entries by the end of the semester. AMAZING

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Liz Deschenes - Biography and selected works - Campoli Presti

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Liz Deschenes (1966) lives and works in New York. Her work is currently featured at the Art Institute of Chicago in the exhibition Photography + Fine Art: Material Meanings - Selections from the Contance R. Caplan Collection. The artist was recently presented in a group exhibition at Punta Della Dogana / Pinault Collection, Venice (2019).