Computer Sketchbook

7/28/2019 Computer Sketchbook

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Computer SketchbookAs I can’t afford to print anything to put in my physical sketchboo

going to treat this as a sketchbook till I have money and also so I fall behind with work.



Tour of Winchester

Induction week

•

In groups we had a shoWinchester

• City Mall, High Street, GKing Alfred, Abby GardCathedral

•We talked about the higraveyards (guildhall/agarden) and architectustructure, scaffolding (



Task• We visited [Park name] and were paid up in twos

• With my partner we went back to back with a pen or pencil of our choblank post card.

• One of us had to describe what we could see and the other had to dradescribed to them. And took turns drawing and speaking. Need to findcards.



To make sense of my quick scribble notes. I have stated.“When saying what I can see I find I map the landscape as if I’m drawing it. When drawing what I can’t see I find I’masking a lot of questions.”. Making sense of that statement;When I was describing the landscape I mapped it as if I weredrawing it myself, but when drawing the landscape that wasdescribed to me I found myself asking a lot of questions.

I found I was asking questions about perception, height,direction ect, I was confused about what was being

described though the drawing that I produced I really likedand when I finally saw the landscape described to me it wasnice to see some relevance. But my drawing of the landscapeas a whole wasn’t the one I can see.

When describing something you can see but the othercannot was fun and challenging but as I knew my partnerwas drawing what I described the easiest way for me was tomap the landscape as if I was drawing It myself. I found itdifficult the more I went into the details of the landscape. Ifeel in some cases a personal and individual description.

Language and speech is limited compared to the informationour eyes take in and the sensation of being there, it changeshow we see and feel about the landscape which then makesthe spoken description of the landscape a personal andindividual one. As I felt when it was my turn to listen anddraw then finally seeing the landscape myself, I would of described some parts in a different way to how my partnerdescribed it. Describing a landscape takes away and adds tothe visual landscape.

As we were limited with time as well, finding the right wordsto describe the landscape was unsatisfying.



The Blow Up ProjectYou will be given 10 multi- coloured balloons, these balloons are long and the type that are often used by clowns toof shapes at parties and children’s events. You will also be given balloon pumps to share within the studio. Use theballoons.

When decorating the studios consider your balloons as a sculptural medium. Through manipulation and invention tballoons into sculptural works. Consider how you can use the surrounding physical space and environment as a respresenting your works, also consider how you yourself are part of the resource.

Balloons are a symbol of celebration

Year, Christmas ect. When balloons a

helium I find the process of it slowly

interesting and it reminds me of som

physically aging, becoming old, or dy

balloons don’t seem to fit together b

length of inflation and how I relate th

living organism make me think about

In fact personally I fear getting old, I

but I don’t want to age. I don’t want

and achy, more vulnerable than I alre

I plan to make an extension of mysel

as imitations of my limbs, my skin an

suit or accessory



The Process of the exterior.

I use flesh coloured balloons to

imitate skin. I out line myself,

and entrap myself. The circular

exterior is like a ‘personal

space bubble’.

I have made the colour

symmetrical, I don’t

completely know why I did

this, but as I’m relating the

balloons to my limbs and skin

it is natural for me to make the

colours symmetrical as both

my arms and legs are

symmetrical to each other.





- Some balloons are tight and some are loose enough I can’t feel them.



Wearing the suitMaking sense of my notes:

I’m creating a Protective barrier, a suit, an accessory.

As I wear it and walk around doing what I normally would do, without my control I bump and touch people by accident. The balloopersonal space, I nor others around me are aware of it therefore it has no space but it makes my personal space physical.

Whilst making this and being surrounded by my peers who are also making balloon sculptures, every now and then I here a balloon jump to the sudden noise. I feel nervous for my sculpture and that makes me feel more attached to it so far I haven’t burst one sing

I want to make a video of me creating my sculpture.

After wearing it for awhile I notice it has a smell I can’t define or relate to anything else except balloons. Also the noise with every movement irritates me as it restricts what I can here outside the balloon barrier, it’s like a cage.



360Brief:

You are to engage in one of the specific locations you have beenallocated, explore it and produce a ‘panoramic’ response to the spaceback in the studio, the nature of the outcome is you r choice, someform of 3D drawing or painting or sculpture is fine but so too is aphotograph or video, it can even be a sound piece or a performance oran installation. We want you to be ambitious and use scale so that youproduce a ‘submersive’ piece of work.

You haven’t got to long to do this so you will have to work quickly inrealising the piece.Some aspect of your work should incorporate 1 metre diameter wirestructures produced in the studio.

Outcomes/Deliverables

One three dimensional work made of materials of your choice basedaround the wire structure that gives a ‘submersive’ experience of beingin that space to the viewer. This can be a direct visual response to theplace or something more tangential. The final piece s to be displayed inthe studio.

References to look at:

Eadweard Muybridge – Panoramas

Tacita Dean – Revolving Café

Iain Sinclair – London Orbital: A Walk Around the M25

Matt Collishaw – Throbbing Gristle

Andew Kotting – Cobra Mist

Pawel Wojtasik – Below Sea Level, At the Still Point

Note: Scanned picture of Winchester City Map. Circled are the places I

have been given to explore: Peninsula Barracks, Square and City Mill.



The City Mill has a shop which I went into it sells all sorts of interesting and quirky things, from fact

and fiction books about Winchester to small sculptures, accessories and trinkets.



I’m interested to

see the Mill in

action. In the

section ‘A Tour

of the Mill’ it

describes the

process of the

grain to flour

and it’s journey

through the

mechanism of

the Mill, what I

really like about

the description

is the namesgiven to parts of

the Mills

Mechanism.

Such as ‘shoe’,

‘eye’, ‘damsel’

and ‘bed stone’.

It sounds so

bizarre.





The Hopper

The Shoe and

the Damsel

The Eye

The RunnerStone

The Bed Stone

The Miller tips grain down the chute which land

above the Millstones. The Damsel which rotates

as the millstones, shakes the Shoe so the flow o

with the speed of the mill. The grain falls from t

the upper millstone called the Runner Stone. Th

between the Runner Stone and the lower millst

Stone in that process the grain is grounded into

another chute to the lower floor where it is coll

Some of the City



Some of the City

Mill roof timbers

are still in their

original state dating

back to the 18th

century. As well as

the bridge the

stone bridgeoutside the City Mill

with the builder of

the bridge and date

it was built 1813,

carved into it.

It is impressive how

stable it is after so

long.

Comparing the materials

wood and stone together,

wood seems the weaker of

the two. And some of the

wooden timbers had to be

replaced where as the stone

bridge which is more

accessible stands strong.



Luckily I picked a really bright day and went early

my advantage and I managed to get these few p

flare effecting the result. Although the result tak

the place I find it gives a off the sensation of tim

The front of the City Mill is full of so much natur

wanted to capture the entire spectrum includingAs I the sun is an important aspect for the water









Eadweard Muybridge

Muybridge photographed the scenery of

Yosemite Valley, Geyser Springs, Alameda

County and Menlo Park, as well as the

rugged Farralon Islands in the late 18th

century. Landscapes were popular around

that time due to the coming 19th century

and the events that happed. The growing

capitalization which brought with it

industrialization and technology.

I love how Muybridge worked so hard to

capture the landscapes beauty before it

was replaced by factories and smoky

chimneys.

Valley of the Yosemite, California



Seduced by light

and nature I take

scenic

photographs of

the burst of life

and nature

surrounding theriver in front of

this city mill.

Topohobia: Fear of P, lace in Contemporary Art



p , p y

- Caterina Albano Anne Eggebert, Polly Gould, Thomas D Tummer, Leslie Forbes,

Matthias Einhoff, David Ferrando Giraut, Almut Rink, Emily Speed and Louise K Wilson.

Uta Kogelsberger

Right Pictures – (Top) Urban Myths, Downtown 1

Urban Myths, Edge of the City 1 (2009) C-type photographic print,

90 x 110cm.





Kogelsberger’s Urban Myth’s photograph series shows American urban cities’ secret wilderness althoug

America is more country than city and seems to take pride in having beautiful nature parks but the serie

on Winchester a mixture of historic and modern buildings. In my time of getting to know Winchester an

progression and encourages the different and modern yet it clings to it’s ancient buildings which attract

toured and been told some history of their oldest buildings, I have seen untouched nature, barricaded a

these buildings are always being replaced by the new and modern or being fixed. Scaffolding seems to b

the cathedral and the church on Northwalls. And just like Kogelsberger’s Urban Myths series I feel the si

“The series looks at the significance of untouched wilderness.” “landscapes are being swallowed up by u

pollution and population growth.”.

M tt C lli h



Matt CollishawSelf observant, van

abomination.

Narcissus, 1990

Going back to ideas on making a 360 sculpture using 1 metre



Model of water mill

mechanism and ground

metal

Going back to ideas on making a 360 sculpture using 1 metre

about building the mechanism of the water mill. What I wan

sculpture piece is when people view it they get a the sensati

is undeveloped, under construction and incomplete. I want p

it is, and look to the images to understand and to be able to

industrial and agriculture buildings that are next to each oth

Winchester is becoming more and more apparent as the agr

struggle to sustain in this modern world.

Pina Bausch



After watching a tribute film on Pina Bausch I

wanted to do a performance piece, I very quickly

noted down the basics of what I wanted to do.

It was based on the process of the relationship

between a milling farmer and his mill.

I want to come back to this and video it.The idea for the video/performance was a female

would imitate the mill and a male was the milling

farmer. Both would be wearing white and stripped

down to underwear. The female would be standing

in a tube of water with a lifeless posture. The miller,

drew a circle on the mills womb in water colour. The

mill would come to life dip her hands in the water

and make a circler motion with her hands over thecircle, but it was easily rubbed away. Again the mill

goes lifeless. The miller comes back, draws another

circle on the mills womb. Lifts the females head

caresses and strokes her face and head in a loving,

caring manor as the mill becomes more active. She

dips her hand in water like before, circular motion

and the circle doesn’t rub off. She puts a clamped

fist to her mouth and blows out flour.

Pina Bausch



The Setting Up Project



In the last few weeks I have produced a lot of photography work on landscape and place and my self. I h

ideas of relationships, female and male, the body, colour and light, time, place and landscape. I have eng

performance art, Conceptual art, anti-art and found objects. I have used metal wire, balloons, watercolo

tape and found objects: Bike wheels and giant tin cans.

My performance art piece was made out of balloons tied to myself, I used a balloon pump to fill the ballo

For my photographs I used a fast shutter speed to capture the moving water. And I purposely moved to t

natural sun flare.

For my sculpture, starting with the model of the expected outcome, first I cut up the metre of wire into s

imitate grain, then I used card and cellotape to get the water mill hopper mechanism shape then I cut up

cut up wire to land in. It was planned that the real piece would be suspended by fishing wire, the hoppe

wire and photographs printed on acetate, the cut up wire would fall down through a tube which imitates

mills mechanism and the cut up wire imitating the grain would land on the floor. In the sculpture yard I f

attached to each other I was going to incorporate them with the piece but I decided not to though I do p

I found two tin cans in the sculpture yard with those two cans I plan to turn them into pinhole cameras a

a long period of time, this method is called solargraphy and it captures the suns movement.



Complete evaluation, find model and metal, scan paintings, create more if you can. Draw and

type performance idea. Scan more books.



Pina performance artist

Documents

Computer Sketchbook