Norman Mclaren

Norman Mclaren is an artist I have looked at from the start of my MA course.  His drawing on film technique is what originally inspired me to experiment using this form of animation.

His work is similar to my skin film (and the brain animation on film from self negotiated 1) in that it shares the direct animation technique of drawing on film and our work is both very expressive as a result.  Mclarens work is usually responsive to music where mine is responsive to the body and self, although his films do attempt to form correlations between stimulating the eardrum and stimulating the retina - thus forming a relationship between the film and body.


This can be clearly seen in this short film titled Dots:

Kayla Parker

Kayla is an artist filmmaker who explores subjectivity and sense of place in her practice using photography, sound, film, performance, found objects, drawing, writing, and digital technologies. She is interested in the intersection between the natural world and urban environments, in particular liminal spaces such as the industrial outskirts of the city; and she also produces collaborative work with Stuart Moore.

Her films have received numerous network screenings on the BBC, ITV and Channel 4; her work is shown worldwide at film festivals and in touring programmes, with television broadcasts in Australia, Canada, France, Austria, and Germany; and she has shown in group exhibitions at the Barbican London, the Norwich Gallery, the Newlyn Gallery, Tate, and Arnolfini. Kayla is a lecturer in media arts at the University of Plymouth and a member of the Land/Water and the Visual Arts research group; her doctoral research area is gender and creative practice in animation.

She has made two films for Animate: Cage of Flame (1992) and Sunset Strip (1996). Recent commissions include Small World (2007), an investigation into HD aesthetics for the Definitive Stories screening programme at the National Review of Live Art, Tramway Glasgow.

Source

http://www.kaylaparker.co.uk/films/films/nuclear_family.html

http://www.kaylaparker.co.uk/films/films/unknown_woman.html

http://www.kaylaparker.co.uk/films/films/cage_of_flame.html

http://www.kaylaparker.co.uk/films/films/night_sounding.html

http://www.kaylaparker.co.uk/films/films/sunset_strip_film.html


http://www.kaylaparker.co.uk/films/films/walking_out.html


http://www.kaylaparker.co.uk/films/films/short_walk.html


http://www.kaylaparker.co.uk/films/films/verge_film.html


http://www.kaylaparker.co.uk/films/films/poppies_film.html


http://www.norwichgallery.co.uk/gallery/archive/ex2001/pages/animate.html

 

Phillip Warnell

Below entry from Phillip Warnell official website:

Phillip Warnell is an artist and filmmaker based in London and Brussels.

Over almost two decades he has used the body as a site of exploration producing a series of works positioned between film, performance, the visual, and the sonic.

Through various specialised media - filmed encounters, live performance, video, participatory works, photography, text, ultra-sound, ingested cameras, high-speed film - a considerable part of his work has concerned itself with the exploration of, and curiosity with, the body's interior, or more precisely, its 'insideness'. Though central to his practice, the work is not simply about the body: it exists as a foil, a point of orientation, becoming host to investigative procedures which record and transmit hidden chemical and biological transformations, often to a live audience. The body becomes a place as much as a person, an object and subject position, bringing to the fore questions of viewpoint, subjectivity and representation.

To this end, Warnell has collaborated widely with a range of contributors: both individuals and organisations, shaping works intuitively, traversing disciplines and exploring the circumstances of co-production. In 'Performing the Interior', a paper presented at the Endo-Ecto conference in February (ICA, London, 2006) Ric Allsopp contextualised Warnell's works within the histories and traditions of performance. He writes: 'Performance is a lens through which both subject(s) and object(s) are joined. What were considered visionary and imaginary entries into the individual body, associated with the traditions of shamanic, magical and theatrical performance, are now routinely materialised through remote imaging technologies which can render the hidden interior spaces of the live, active body, visible and transparent. When placed back in the context of performance such techniques can reveal 'imaginal apertures' which in turn disclose other possibilities, other boundaries for our conception of the body (and the body politic) as a transforming and generative site of representation'.

At the root of Warnell's work, Allsopp suggests, is the desire to give an insight into the complex relations that constitute our bodies - the 'tension between the desire to get at and 'see the soul', or at least the inner workings, and the elusiveness of this endeavour'.... 'The work sits across the boundaries of bodies as anatomical, physiological objects of research; as a feeling, sensate, mobilising locus, and as a topos or location of the artwork'. 

Source

Oesophagus

Sounds produced, combining voice and gargle.

Oesophagus

Borborygmus

Sounds of internal organs transferred onto vinyl, produced from various methods including ultrasound.

Borborygmus

Endo Ecto

Live capsule endoscopy medical procedure as a performance.

Endo Ecto

Host

The resulting footage from 'Endo Ecto'.

The sequences of film were then sectioned, and each element framed by the lips and set within the disruptive space of a continually opening and closing mouth. The splitting of the material and its real-time playback means that the entire recorded journey can be seen in just 18 minutes'. 

Host

Lisa Le Feuvre comments, 'In 'Host', the reality of the body is not what comes across; rather the body appears as a fiction'. The five-screen film presents 'the interior view of the body stitched on to the mouth, the mouth being the boundary point between the inside and the outside. In the recording there is no narrative, no action. It is impossible to relate to such a view of ourselves: it is a reductive process'. (Lisa Le Feuvre, Suture, London 2005).


Meet Your Inside
Endoscopic Visualizations in Contemporary Culture by Jan Eric Olsen


 

Notes on Proposal Writing - Chat with Tom Simmons

Tom Chat:

Consider:

3 separate pieces of work rahter than trying to tie them all in together as one.

Very seperate films with many different themes
Could just do one of the films
What I was thinking about last year - reconsider this idea of abstract self portraiture, what I am doing is more than that.
Portraiture says - static reproductions of images, not much to it
very much about mark making
performance art
Exploration - development of old proposal brought up to date
Voyeuristic?
Exposure?
Subjectivity - Expression
WHY installation?
Why Sheet on show as well as film? - (a thing mentioned several times!)

Sheet and glue on show - as a display of progress or as an installation? is it really necessary? - Careful they do not devalue the films!

Needs to work as an installation

Make sure I explain WHY I am making these decisions and why they are there etc...

My justification is - I want something tactile, to connect the viewer with the film.  Very much about me (put this in later post?)

animation/film/object

scale/surface

discover themes and focus as I go through the the masters project itself.

Critical Reflection

Discussing and presenting my work as I go

Notes on Proposal Writing - Chat with Suzie Hanna

Suzie Chat:

Consider:

Development and direction - Think about the audience - Justify my work
My work is very expressive
Try not to get caught in 'eye candy'
What uses are there for what I am making
Literature?
VJ?
Dancers?
Performance art
Try to make my work more academic - Why have people done things like this in the past?
Consider Sound
Mood experience?

Returning to Study

Today, I returned to my studies at the Norwich School of Art and Design.  I will be continuing where I left off around this time last year on my Masters Project. There are many things I need to reconsider, the most important being the Masters Proposal, which I struggled with so much last year. My ideas for work still remain the same but my intentions  need to be re-thought out.  I have been given a deadline for a draft Proposal this coming Monday.  I expect this to be very difficult, after a year out of studying, though I am very much looking forward to getting into my Masters Project again with a fresh mind.