tag:blogger.com,1999:blog-67790332076332483752024-03-05T22:07:31.876+00:00theViewergalleryonline...onsite...artgallery...theViewergallery is an area and arena devised by artist Eleanor MacFarlane for various online, onsite and popup art projects, a platform for enterprises, artworks and sometime collaborations with other artists. Occasional and recurring projects include theLongLine ongoing drawing events, theProgressiveImage explorations of moving image, Crucial Pursuit! the financial planning game for artists and Absolute Magnitude travelling postcard project.Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-6779033207633248375.post-56215723124738587412016-08-01T10:03:00.003+01:002016-08-01T16:29:32.089+01:00theViewergallery shop<strong><a href="http://www.cafepress.com/theViewergallery" target="_blank">theViewergallery shop</a></strong><a href="http://www.cafepress.com/theViewergallery" target="_blank">
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theViewergallery has been a brilliant place for me to trial all sorts of ideas in exhibiting and projects. If you have attended a theViewergallery event you may have seen my popup shop, which grows each time, and then is stored away in a cupboard.<br />
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I love making things, and multiples, and resourcefulness. theViewergallery shop has been my exploration of museum and gallery shop issues, by being a one-artist multimedia conglomeration. Branded products, exit through the gift shop, souvenirs, the value of image, and so on. My take is not so cynical as some. I, like many others, love gallery gift shops and am not immune to the desires they engender. Artists produce and viewers buy ideas and items. Everyone trails in issues, but the transaction can be very fruitful.<br />
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For many years I have worked on a Metaphysical Exchange project, which has been merging with theViewergallery shop concept for some time - a swapping of ideas for gallery objects. Perhaps the next time theViewergallery pops up on site, I will have the opportunity to manifest this SHOP project - Swap Hypothetical Object Project.<br />
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When I have time to figure it out, I may also make it an online exchange project. Money can be swapped too - it's called buying! And I have some theViewergallery items I have made which I will make available.<br />
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In the meantime, I enjoyed setting up another online shop project with theViewergallery items available as mugs, bags and other items through CafePress. I love the aesthetic of theViewergallery - a mixture of handmade and digital, and always resourceful, interested, curious, inventive, thoughtful.<br />
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theViewergallery Tshirt</div>
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<strong style="text-align: start;"><a href="http://www.cafepress.com/theViewergallery" target="_blank">theViewergallery shop</a></strong></div>
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ON Tshirt</div>
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<strong style="text-align: start;"><a href="http://www.cafepress.com/theViewergallery" target="_blank">theViewergallery shop</a></strong></div>
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theViewergallery keychain</div>
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ON bag</div>
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These, and more, available to buy online.Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-44056182552735266142015-07-22T14:36:00.001+01:002015-07-23T22:06:05.770+01:00The Facsimile Box<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="375" mozallowfullscreen="" src="https://player.vimeo.com/video/134193297?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="500"></iframe> </div>
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How to make The Facsimile Box and Artefacts with artist Eleanor MacFarlane. 2015</div>
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A theViewergallery project </div>
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<a href="http://covertartistinresidence.blogspot.co.uk/" target="_blank">http://covertartistinresidence.blogspot.co.uk/</a><br />
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The Facsimile Box project PDF download <a href="http://www.keepandshare.com/doc9/show.php?i=2611961" target="_blank">LINK</a><br />
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<i>The Facsimile Box booklet</i><br />
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The Facsimile Box inside templates</div>
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<i>The Facsimile Box outsides</i></div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-28539457592420212902015-01-03T13:45:00.005+00:002015-01-24T18:20:24.451+00:00Absolute Magnitude<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Absolute Magnitude is an international travelling art project. It started as an idea in exhibition collaboration between MA fine art students, studying online with the Open College of the Arts, and largely </span>coincided<span style="font-family: inherit;"> with the launch of theViewergallery itself.</span></div>
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<b><span style="font-family: inherit;">Absolute Magnitude is
the measure of a celestial object's intrinsic brightness, or an expression of a
star’s luminosity.
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<b><span style="font-family: inherit;">It allows the true brightnesses of objects to
be compared without regard to distance.<o:p></o:p></span></b></div>
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<span style="font-family: inherit;">Artists contributed a piece to this travelling exhibition, which was sent as a package to each other to show in any display or exhibition context. The brief was that the piece was postcard size, and upon the given theme.</span></div>
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<span style="font-family: inherit;">Documentation would only be revealed to each other at the end of the project.</span><br />
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<span style="font-family: inherit;">There have now been two rounds of the Absolute Magnitude project - Sun 2011-12 and Earth 2014.</span></div>
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<span style="font-family: inherit;">Absolute Magnitude II Earth comprised multiple pieces and has the potential for multiple responses. With different formatting and organisation, such travelling exhibitions, inventive displays in gallery, domestic or work settings, allows art to be created without regard to distance, much like the online learning experience.</span></div>
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<span style="font-family: inherit;">This travelling exhibition project has survived considerable mishaps, including the loss of all the works at sea. Still, the connections were made and sets of ideas travelled all around the world through the hands of diverse artists, approaches, settings and audiences.</span></div>
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Full reports and the other artists responses to follow.</div>
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Meanwhile:</div>
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<b>Absolute Magnitude II Earth</b><br />
2014<br />
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Eleanor MacFarlane</div>
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I went to Tate Britain in London on 14th of March 2014, with the intention of finding the right place for each card. I was looking for visual matches, interesting juxtapositions and parallels, in order to interpret and contextualise both the postcards and the exhibits in new ways. The project was not without its audience as some visitors asked me what I was doing, and one woman in particular was intrigued, and so I showed her some of the images in progress. </div>
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I realised that many possible connections could be made, contextually, literally, and through form or colour. It’s always tricky to line things up and take what you see. I also thought of the location of each artist and hoped they might get a kick out of seeing their work in such a venue and related to works they may never visit.</div>
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Debjani Bhardwaj Earth postcard Free Fall 2014 with John Michael Wright Astraea Returns to Earth c.1660<br />
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Mark Daniels Earth postcard Safe Harbor 2014 with Kurt Schwitters Relief in Relief 1942-5<br />
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Jane Dudley Earth postcard Houston You Have a Problem 2014 with Joseph Mallord William Turner The Parting of Hero and Leander exhibited 1837<br />
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Judith Farr Earth postcard 2014 with David Bomberg <i>The Mud Bath</i> 1914<br />
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Roshni Goonraj Beeharry Earth postcard 2014 with Johan Zoffany <i>Three Sons of John, 3rd Earl of Bute</i> c.1763-4<br />
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Alex Kershaw Earth postcard <i>[C]on-tour</i> 2014 with Bridget Riley <i>Hesitate </i>1964<br />
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Eleanor MacFarlane Earth postcard <i>Dust </i>2014 </div>
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with Martin Creed <i>Work no 227 The lights going on and off </i>2000<br />
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Rosi Robinson Earth postcard 2014 with Henry Moore Draped Seated Figure 1957-8<br />
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Angela Rogers Earth postcard <i>Occupied Earth</i> 2013 with John Martin The Plains of Heaven 1851-3<br />
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Jilliene Sellner Earth postcard 2014<br />
with William Lionel Wyllie <i>Toil, Glitter, Grime and Wealth on a Flowing Tide</i> 1883<br />
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<b>Absolute Magnitude I Sun </b><br />
2011<br />
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Eleanor MacFarlane</div>
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I collected several other postcards with views of the sun, a couple new, some from the family, and others vintage – the earliest is from 1910. I wanted to link these with the MA work using a visual theme, and show all within the context of sun postcards. When the packet arrived, my original plan of showing everything in a plain black frame didn’t look effective, and so I chose a large painted board – an abstract painting I had done some years ago. I matched the cards visually to the colours beneath. I wanted to create an artwork rather than a display, to create visual relationships between all the pieces, so that they could be read in different ways, and to give some sense of time and how collections become historical. The board was mounted on a large easel and shown at theViewergallery one day launch, in the Original Gallery, London, October 2011. About a hundred people saw it. The best reaction was an older lady, who drew up a chair and spent a full half hour in front of it, totally engrossed and fascinated.</div>
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<span style="text-align: center;"> Eleanor MacFarlane Dark Sun</span></div>
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3rd January 2015</div>
Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-72844174919335950812014-08-14T15:54:00.002+01:002014-08-14T15:57:04.065+01:00Sleeping Dreaming PlanningSometimes theViewergallery sleeps and dreams.<br />
While Eleanor is away busy elsewhere, theViewergallery plans its next projects.<br />
Sometimes it applies for funding, but it hasn't been lucky yet.<br />
When Eleanor finishes her MA perhaps theViewergallery will wake up a bit more.<br />
There are screenings and exhibitions and projects and drawings and ideas to make and do and see.<br />
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August 2014Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-65333939594598882042013-12-02T09:40:00.000+00:002015-01-24T18:38:25.135+00:00Crucial Pursuit!<div class="separator" style="clear: both; text-align: center;">
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Crucial Pursuit is a Financial Planning Game for Artists and Art Students. It is a debating and discussion tool which is designed to enable Artists to think through various circumstances, decisions and consequences they will come across in their Art careers. All of the situations are derived from real experiences in negotiating the Artworld, and many recur throughout an Artists’ career, no matter how mature or established they may become.</div>
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Financial decisions can make or break Art projects and personal budgets, and Artists are no different, no more or less financially educated than the rest of the population – except they tend to be extremely resourceful in their practice. This means there is a great source of creativity to tap into, but this is sometimes inhibited by an enormous amount of received information and advice. Artists have high expectations of themselves, and often want to fulfil the expectations of others, viewers and Art professionals, in order to be seen as professional and credible. Naturally this does not always mean that the best solution is the one with the biggest budget. Equally, it is sometimes appropriate to invest in the highest possible production values in order to deliver an Art project successfully. Sometimes it needs to be gold and sometimes it needs to be cardboard.</div>
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Crucial Pursuit acts as a forum for Artists to examine their responses, consider alternatives, and swap real experiences and anecdotes, to embed flexibility in financial choices and thinking. Artists tend to take on the costs of their practice from their personal budget, and so while pursuing an established practice, unwise spending and poor decisions can spread into and hinder all areas of life. </div>
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There is always an alternative. There is always a way of thinking which can make Art ideas happen. Money does not always equate to creativity, and it makes sense to be prepared, to think flexibly and to be resourceful so that financial and Artistic decisions are considered and not compromised.</div>
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Crucial Pursuit - coming to Art schools soon!</div>
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Some Crucial Pursuit! Art Dilemmas:</div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-17861369906589210542013-11-27T13:20:00.001+00:002014-05-07T22:04:04.853+01:00theLongLine events1. October 2011<br />
Launched at The Original Gallery, London.<br />
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2. October 2012<br />
Highbury School in Islington, London hosted a Big Draw day, where the Cubitt Gallery Drawing Collective set up several drawing-based workshops, including theLongLineand screening.<br />
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<a href="http://cubittartists.org.uk/" target="_blank">http://cubittartists.org.uk/</a><br />
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3. April 2013<br />
Islington Museum Cubitt Gallery Drawing Collective Day. Drawing workshops, theLongLine and screening.<br />
<a href="http://cubittartists.org.uk/2013/04/11/sixmix-public-workshop/" target="_blank">http://cubittartists.org.uk/2013/04/11/sixmix-public-workshop/</a><br />
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<br />Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-1133110473069893292013-02-07T15:33:00.000+00:002013-02-20T13:50:00.067+00:00Guardian Culture live chat<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRQQVQ92t9cyunnXo5xlJvByBj7u7ecCFBL3N7Y6F42Kk0GSiYGLrnPEP7FTVzNL0aHa8zzsSUsOez25cQ1BSwPdKvXdMYN2gL0hnaGI9taR6r13OOrQXTYw-pEIv69-Kmaxhzp8kNjSw/s1600/guardian+professionals+network.gif" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="49" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRQQVQ92t9cyunnXo5xlJvByBj7u7ecCFBL3N7Y6F42Kk0GSiYGLrnPEP7FTVzNL0aHa8zzsSUsOez25cQ1BSwPdKvXdMYN2gL0hnaGI9taR6r13OOrQXTYw-pEIv69-Kmaxhzp8kNjSw/s640/guardian+professionals+network.gif" width="640" /></a><br />
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theViewergallery on the panel for a live discussion on the Guardian Culture Professionals Network<br />
on Friday 8th February 2013, from 12 - 2.<br />
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<a href="http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2013/feb/07/gallerists-galleries-curator-start-up-business-tips" target="_blank">http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2013/feb/07/gallerists-galleries-curator-start-up-business-tips</a><br />
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Artist Eleanor MacFarlane of theViewergallery discussed setting up and running a popup gallery, and shared advice and tips.<br />
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And here is the Guardian's round up of the discussion:<br />
<br />
<a href="http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2013/feb/12/how-to-open-art-gallery?CMP=" target="_blank">http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2013/feb/12/how-to-open-art-gallery?CMP=</a><br />
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<b>Eleanor MacFarlane/theViewergallery's top tips on setting up a popup gallery:</b><br />
<b><br /></b>
<b>Ask for free space:</b> I have negotiated free or reduced rates for gallery hire in the past. If you're enthusiastic and can add value to the gallery by having a pop up day, they will help you out – I have even been given staff for free for the day.<br />
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<b>Be patient:</b> There's nothing wrong with smaller organisations waiting a bit until the next generation of things become cheaper. Let the large funded places invest in developing digital tech first. As long as you keep up with Twitter, Facebook, blogging and so on, tailor-made apps can come later. There are free online QR code generators to at least appear being up to date – it's a better contrast to have the gallery a bit old fashioned while the art is cutting edge.<br />
<b style="font-family: inherit; line-height: 15px;"><br /></b>
<b style="font-family: inherit; line-height: 15px;"><br /></b>
<b style="font-family: inherit; line-height: 15px;">Public Liability Insurance</b><span style="font-family: inherit; line-height: 15px;">: If you are artists or curators popping up, join AIR at Artists Newsletter:</span><br />
<div style="line-height: 15px; margin-right: 20px; margin-top: 13px;">
<span style="font-family: inherit;"><a href="http://www.a-n.co.uk/air" target="_blank">http://www.a-n.co.uk/air</a></span></div>
<div style="line-height: 15px; margin-right: 20px; margin-top: 13px;">
<span style="font-family: inherit;">Membership includes public liability insurance.</span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">Link up:</b><span style="font-family: inherit;"> One of the best pieces of advice for popups I've always tried to adhere to is to link with larger organisations.</span></div>
<div class="d2-body" style="line-height: 15px; margin-right: 40px; word-wrap: break-word;">
<div style="margin-right: 20px; margin-top: 13px;">
<span style="font-family: inherit;">So I linked with a local open studios programmes, linked my workshops with The Big Draw, etc.</span></div>
<div style="margin-right: 20px; margin-top: 13px;">
<span style="font-family: inherit;"><a href="http://www.campaignfordrawing.org/bigdraw/" target="_blank">http://www.campaignfordrawing.org/bigdraw/</a></span></div>
<div style="margin-right: 20px; margin-top: 13px;">
<span style="font-family: inherit;">It's mutually beneficial, and you get to be part of their publicity while you bring in new audiences for them.</span><br />
<b><br /></b>
<b><br /></b>
<b>Logistics and Layout of Gallery: </b><span style="font-family: inherit;">I'd say shamelessly steal best practice ideas seen in various galleries and other venues. We should all do that!</span></div>
</div>
<span style="font-family: inherit;">Adapt ways of presenting according to what you have.</span><br />
<span style="font-family: inherit;">Galleries often have a resource table of books, etc, now - great idea which even a measly popup can replicate.</span><br />
<span style="font-family: inherit;">And definitely have seats available when screening video.</span><br />
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-56062841206478572092012-06-07T22:05:00.003+01:002014-05-07T19:52:13.835+01:00theViewergallery report 2<div align="center" class="MsoNormal" style="margin-bottom: 12pt; text-align: center;">
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<span style="font-family: Verdana, sans-serif;">theViewergallery
had been invited as the inaugural artist in a new venture, The Art Shed, set up
by Mel Hardwick who runs the Freespace Gallery in Kentish Town, London. The Art
Shed was set </span><span style="font-family: Verdana, sans-serif;">up for the day on the Art Street, part of a festival organised by Mel, on Sunday 27</span><span style="font-family: Verdana, sans-serif;"> </span><span style="font-family: Verdana, sans-serif;">May 2012.</span><span style="font-family: Verdana, sans-serif;"> </span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">Setting up in a
temporary space requires trialling and anticipation, and flexible solutions
which can adapt to changing conditions. Wherever the plank goes, theViewergallery
exists, and there are additional reproductions of the plank in various sizes as
signs. We brought everything – stands, easels, tables, a ladder, fixtures and
fittings, adding to theViewergallery’s store of stuff.</span><span style="font-family: Verdana, sans-serif; font-size: 10pt;"> <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">Despite being a
baking hot day, over 100 people spent time in theViewergallery shed, viewing
the screening and reading the books. There is reasonable space for two to view,
but at times there were four.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">The stream of
visitors had much to say about the films, enjoying the variety, and also asking
further questions about the artists, and about theViewergallery set up.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">The screening had
been selected from a call for work, and further edited to a maximum of three
minute excerpts. The whole screening was ten minutes, which is a long time to
spend in a shed. I had made a further curatorial decision to show two films
together, including their soundtracks. They were Moving Image of train
journeys, through Berlin and Moscow. The effect together, both still with their
soundtracks, was mesmerising.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;"></span><span style="font-family: Verdana, sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZqHrSIVELV_SldSaGxYi8IgaNeVgppGnDE9LlHBKP0mHyTmVkrv5rPQVQxvj55c1e1iAuao3TQw8ZoQf4EdzCgtc24a6BShD4TCCEoXn7UOtgSZBY3DfX5NsCKKkrNL1tZfChlmSaVI/s1600/48+Hours+in+Moscow+Duncan+McKellar.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZqHrSIVELV_SldSaGxYi8IgaNeVgppGnDE9LlHBKP0mHyTmVkrv5rPQVQxvj55c1e1iAuao3TQw8ZoQf4EdzCgtc24a6BShD4TCCEoXn7UOtgSZBY3DfX5NsCKKkrNL1tZfChlmSaVI/s400/48+Hours+in+Moscow+Duncan+McKellar.JPG" height="292" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">Duncan
McKellar. 48 Hours in Moscow. Animation still. 2010<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;"></span><span style="font-family: Verdana, sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">Steve
Fossey. Berlin – The Space Between. Digital video still. 2010<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">The audience also
enjoyed the weird humour of Shared Stuff, where items move between different
split screens, and the cartoon figures in Leaders of Men. They were suitably
disconcerted by the insects piece with the alien-sounding music.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;"></span><span style="font-family: Verdana, sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">Elin
Ahlberg. Shared stuff. Digital video still. 2010<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">Jonathan
Kelham. Leaders of Men. Animation still. 2010<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">Eleanor
MacFarlane. X4. Digital video still. 2006</span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">The theme of
Multitude linked the pieces in split screens, with works with two, three and
four simultaneous frames, and multiplicitous views, and with morphing
characters within one frame.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">I had trialled the
screening in bright light, which was just as well, as the heat made closing the
door and attempting a dark space impossible. The screening was still clear and
visible even while battling direct sunlight.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">theViewergallery
shop project was set up, a set of fold-out cabinets.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 10pt;">Overall,
theViewergallery had a busy, eventful and successful day, making new friends
and fans. Despite many opportunities for things going wrong or blowing away,
everything went well, and the screening was enjoyed by an appreciative audience.<o:p></o:p></span></div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-28691574477796690952012-05-14T15:03:00.000+01:002013-12-02T09:55:15.768+00:00Multitude...Transmission 2...Works and Artists<div align="center" class="MsoNormal" style="text-align: center;">
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<b><span style="line-height: 115%;"><span style="font-size: x-large;">Elin Ahlberg</span><span style="font-size: medium;"><o:p></o:p></span></span></b></div>
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Fine
artist from Bristol, working in video and other media to create installations
which explore the human experience of digital technology.<o:p></o:p></div>
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<a href="http://www.elinahlberg.net/" target="_blank"><span style="font-size: large;">www.elinahlberg.net</span></a></div>
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<b><span style="font-size: 14pt; line-height: 115%;">Shared Stuff<o:p></o:p></span></b></div>
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Single channel video installation, depicting deficit and
excess through the flow of assets.<br />
Everyday objects transfer between three
spaces.</div>
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Digital video. 1 minute. 2010</div>
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Elin Ahlberg. Shared
stuff. Digital video still. 2010</div>
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..........</div>
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<b><span style="line-height: 115%;"><span style="font-size: x-large;">Steve Fossey</span><span style="font-size: medium;"><o:p></o:p></span></span></b></div>
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My
arts practice is interdisciplinary in its approach, but rooted in site
specificity. I use elements from video, installation, and
performance as supports for my questions. I attempt to capture and
rework observations of everyday life in a process of layering knowledge
creatively as it is revealed. The form of this layering is a
palimpsest of moving image, audio and text that asks the viewer to dialogue
experiences that foster a shared sense of Site. <o:p></o:p></div>
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<span style="text-decoration: none;"><a href="http://www.stevefossey.com/" target="_blank"><span style="font-size: large;">www.stevefossey.com</span></a></span></div>
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<b><span style="font-size: 14pt; line-height: 115%;">Berlin - The Space
Between<o:p></o:p></span></b></div>
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This video was shot on a train above ground in Berlin. The
experience of being in Berlin contains an inescapable duality of a resonant
past and an immediate sense of an unfolding present. Behind the newly converted
exteriors of buildings that will become apartments, shops and bars, there are
creative ambitions to forge an exciting future that belies the bullet ridden
exteriors that neighbour the developments.</div>
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The histories of Berlin fluctuate between the hidden and the
revealed. As one travels between places on the S-Bahn and U-Bahn, a sense of
suspended time occurs as the sound of the voice announcing approaching stations
blends with the hum of the electrics. Shapes pass by and views of the city
formulate histories in the minds of the traveller that produces a sense of
space between points in history. As these sounds and shapes merge, an
abstraction of location is caused and colour, perception, time and space become
a moving image that allows the traveller to be lost in this space between.</div>
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Animation. 10 minutes. 2011</div>
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Steve Fossey. Berlin
– The Space Between. Digital video still. 2010</div>
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<b><span style="line-height: 115%;"><span style="font-size: x-large;">Jonathan Kelham</span><span style="font-size: medium;"><o:p></o:p></span></span></b></div>
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My
work is based in drawing and spans painting, sculpture and film.</div>
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<o:p></o:p></div>
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Jonathan
Kelham was born in1986, in the East Riding of Yorkshire, UK. Receiving a BTEC
Foundation Studies in Fine Art from Hull Collage [2006] & subsequently
undertaking a BA [Hons] in Fine Art at Birmingham Institute of Art & Design
[2009], being awarded the Sir Whitworth Wallis Art Prize and Artwise
Curators/British Airways Award. In 2010, Jonathan completed a MFA at BIAD,
gaining a Distinction for both art practice ‘Leaders Of Men’ and research in
the ‘Subjectivity of Utopian Philosophy: within the Realms of the Unreal and
Nobson Newtown’. During 2010-2011, Jonathan completed a Postgraduate
Certificate in Education which included a Research Residency at Meantime Independent
Project Space, Cheltenham, UK on Art & Education’. The ongoing Leaders Of
Men have been exhibited nationally including: Surface Gallery, Nottingham,
Oxford House, London Flatpack Festival, Birmingham & BIAD/The Lombard
Method [for The Event 2011], Birmingham, whilst being printed internationally
in publications including: Yuck n’ Yum [Dundee, UK], Impulsive Random
Platform [London, UK] and Potroast [Auckland, NZ]. Forthcoming projects
include: Leaders Of Men: Village Tour, [2012] Residency, MEANTIME Independent
Project Space, Cheltenham<o:p></o:p></div>
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<a href="http://jkelham.com/" target="_blank"><span style="font-size: large;">jkelham.com</span></a></div>
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<b><span style="font-size: 14pt; line-height: 115%;">Leaders of Men<o:p></o:p></span></b></div>
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The hand drawn and rudimentary <i>Leaders Of Men</i> Animation
incorporates the development of the juxtaposition through montage of specific
English figures and the awkward, bumbling cartoon characters to develop this
notion of the creation of alternative worlds, narratives, dialogues and spaces
with a concern for a particular sense of the intentionally constructed
portrayal of a romanticised Englishness. Whilst the use of the record by
post-punk band Joy Division [<i>An Ideal For Living</i> EP, 1978. from
which the work takes its name] references another nostalgic and specific
English social and historical period, which provides a potential for creating a
ambiguous narrative or contextualisation of the hybrid characters, generating a
contradictory dynamism to these lumbering figures.</div>
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Animation. 3 minutes. 2010<br />
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Jonathan Kelham.
Leaders of Men. Animation still. 2010</div>
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..........</div>
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<b><span style="font-size: x-large; line-height: 115%;">Duncan McKellar<o:p></o:p></span></b></div>
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My
work is based in drawing and spans painting, sculpture and film. <o:p></o:p></div>
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The
scale of my work ranges from single line drawings capturing a moment to
paintings and sculptures which can take years to complete, acting as physical
and mental challenges. These large pieces form a constant from which other work
can evolve. I find great satisfaction in both extremes, from the immediate to
the obsessive.</div>
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<a href="http://www.duncanmckellar.com/" target="_blank"><span style="font-size: large;">www.duncanmckellar.com</span></a></div>
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<b><span style="font-size: 14pt; line-height: 115%;">48 Hours in Moscow.<o:p></o:p></span></b></div>
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A Pantoscope was a pre cinema entertainment device enabling
a theatre audience to watch a continuous panoramic painting scroll by on
tremendous rollers. For hours audiences would watch as scenes unfolded before
their eyes. I created a portable version of this public entertainment device
that uses a ten-meter scroll of cartridge paper measuring 28cm in diameter.
Like handmade videotape, the paper scroll is wound from spool to spool and a
drawing is created on each visible section as it passes by. This device enables
a continuous image to be produced. When the drawing is complete, watercolour is
added from memory and documentation photographs. </div>
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The finished scroll is then recorded rolling passed a digital video camera. The
animation can then be viewed as if riding the journey, continuing the tradition
of an informative, entertaining public travelling artwork. </div>
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Animation. 4 minutes. 2010</div>
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Duncan McKellar. 48
Hours in Moscow. Animation still. 2010</div>
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<b><span style="line-height: 115%;"><span style="font-size: x-large;">Eleanor MacFarlane</span><span style="font-size: medium;"><o:p></o:p></span></span></b></div>
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<span style="font-family: inherit;">Founder of theViewergallery and theProgressiveImage, I am an
artist interested in Moving Image and art contraptions, scientific and optical
ideas, and their meaningful implications.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I have a first-class BA in Fine Art and am currently
undertaking an MA. I am an Artistic Assessor in Visual Arts for the Arts Council, an arts book reviewer,
an Arts Mentor for the Koestler Trust, and an occasional
tutor.</span></div>
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<a href="http://www.eleanormacfarlane.com/" target="_blank"><span style="font-size: large;">www.eleanormacfarlane.com</span></a></div>
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<b><span style="font-size: 14pt; line-height: 115%;">X4<o:p></o:p></span></b><br />
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Insects behave in ways which reveal deep parts of human
psychology. Motives and anthropomorphisising aside, insects react to forces,
they interreact and respond. They have the basic instincts of flight or fight.
It is as if humans retain a primitive insect part of the brain, and so although
we have a basic understanding of their behaviour, there is an inner conflict as
insects are also linked to our repulse mechanism.</div>
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Digital video. 5 minutes. 2006</div>
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Eleanor MacFarlane.
X4. Digital video still. 2006</div>
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<br />Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-72836001871563387792012-05-03T09:34:00.001+01:002013-12-02T09:55:15.776+00:00Multitude at the Art Shed<div class="separator" style="clear: both; text-align: center;">
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<br />Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-54635431406120203892012-03-14T15:20:00.005+00:002013-12-02T09:55:15.770+00:00Multitude<div class="MsoNormal" style="line-height: 150%;">
<i style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: inherit;">Moving Image may be described as Video Art, terms overlapping into narrative areas, and into <span style="font-size: small;">documentation of studio practices and events. Video Art may encompass experimental happenings and ephemeral events captured on video. The Moving Image also suggests Cinema, with its larger scale of filmic and collaborative concerns. Moving Image can comprise everything that moves in a film-type medium, including animation, home movies, historical street scenes, vintage broadcasts, early shorts, use of found footage, and more. </span></span></span><span style="font-family: inherit; line-height: 115%;">Moving Image artists themselves borrow and use any and all of the media mentioned, and define themselves variously.</span></i></div>
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<span style="font-family: inherit; line-height: 115%;"><b>Multitude</b> is a theViewergallery project, part of theProgressiveImage exploration of Moving Image.</span></div>
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<span style="line-height: 18px;"><b><span style="line-height: 115%;"><span style="font-family: inherit; font-size: large;">theProgressiveImage...multitude</span></span></b></span><br />
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<span style="font-family: inherit;"><b style="line-height: 18px;"><span style="line-height: 115%;">Multitude</span></b><span style="line-height: 115%;">- a great
number; a crowd; an assemblage; the vulgar or common people; the state of being
many; a great number of individuals; numerousness.</span></span><br />
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<span style="font-family: inherit; line-height: 115%;">Moving image
and video art presents multiple views.</span></div>
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<span style="font-family: inherit; line-height: 115%;">Different
train journeys are juxtaposed, creating dual visions as if on inner and outer
journeys.</span></div>
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<span style="line-height: 18px;"><span style="font-family: inherit; line-height: 115%;">Objects appear and reappear between screens – a contemporary take on one
of cinema’s oldest tricks.</span></span><br />
<span style="line-height: 18px;"><span style="font-family: inherit; line-height: 115%;">Cartoon
figures morph through aspects of character and caricature.</span></span></div>
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<span style="line-height: 18px;"><span style="font-family: inherit; line-height: 115%;">Are insects individuals,
or one unit of a unified multitude?<o:p></o:p></span></span></div>
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<span style="font-family: inherit; line-height: 115%;">theProgressiveImage
seeks to define Moving Image, and explore why artists use the medium. Why a
photograph that moves? Why a film without a story? </span><span style="font-family: inherit; line-height: 115%;">Perhaps artists use Moving Image
to work with time, exploring the pace of thought - moments which can stretch out,
and which journey on through the mind.</span><br />
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<span style="font-family: inherit;"><span style="line-height: 115%;">Digital
video, film and animation techniques usually play at anything between 24 and 60
frames a second. They trick us into seeing a continual flow of movement, but really,
they reveal to us that reality is similar – a series of events which our brains
piece together into a sequence. </span><span style="line-height: 115%;">Moving Image artists make and show a version of
reality. </span></span></div>
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<span style="line-height: 18px;"><br /></span></div>Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-86373093354030746262011-11-24T18:33:00.000+00:002013-11-27T19:57:20.181+00:00theLongLine online<div class="separator" style="clear: both; text-align: center;">
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/iVKGdfeLlJE?feature=player_embedded' frameborder='0'></iframe></div>
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theLongLine. theViewergallery. 2011-2013<br />
15 minutes<br />
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<span style="text-align: left;">theLongLine is also on YouTube: </span><a href="http://youtu.be/iVKGdfeLlJE" style="text-align: left;" target="_blank">youtube theViewergallery theLongLine</a><br />
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(Sadly, each time I update theLongLine on YouTube, the previous link is replaced)</div>
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I have animated theLongLine and add each batch when there is another event.<br />
Many more to follow in time........<br />
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Music to accompany theLongLine: Left Bank Two, by Wayne Hill, played by the Noveltones, 1963, otherwise known to generations of British children as the Gallery theme to the TV programmes "Vision On" and "Smart."<br />
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I have currently not attached the music so as not to infringe copyright, but here is a legitimate link:<br />
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<a href="http://news.bbc.co.uk/1/hi/entertainment/7837997.stm" target="_blank">bbc.co.uk left bank two</a><br />
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: inherit;"><b><span class="Apple-style-span" style="font-size: large;">theLongLine</span></b><o:p></o:p></span></span></div>
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: inherit;">The Polyorama is an eighteenth century idea, a never-ending, ever-changing continuous landscape, made up of multiple drawings. As long as the horizon lines match up, the landscape can be rearranged endlessly. It’s a panoramic view of an imagined world, where ancient ruins can sit next to space ships, dreamy scenes or infested waters.<o:p></o:p></span></span></div>
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: inherit;">theLongLine invites participants to create a continuous landscape, matching three elements – Sky, Land and Sea. Whose drawing will yours sit next to – a famous artist, a child who will grow up to be a famous artist, someone from the other side of the world, a visionary, a scribbler?<o:p></o:p></span></span></div>
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: inherit;">theLongLine has ambitions to become a very Long Line. Started in 2011, when the world record for the longest drawing in the world stands at 9,154m (India, 2009), theLongLine will take its time, appear and reappear, tour and pop up occasionally, all the while adding to its length, its store of ideas and contributions. It all starts with one line. Where will it travel, where will your part of theLongLine be shown. How long will it all keep going?<o:p></o:p></span></span></div>
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: inherit;">Who is the artist of theLongLine – is it the artist who thought up the idea, the unnamed person who invented the form, all those who actually do the drawing, or whoever arranges how they are shown? Just 10 different sections of theLongLine could make 3,628,800 different landscape variations – I read this, but I still can’t believe it! Out of all those multiples of choices, how does one piece end up next to another – and will they ever meet again?</span></span></div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-51644124413222093522011-10-06T20:54:00.000+01:002014-05-07T19:51:58.622+01:00theViewergallery report 1<div align="center" class="MsoNormal" style="text-align: center;">
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Despite unexpectedly and unseasonably turning into one of the hottest days of the year, nearly 100 people attended the launch event of theViewergallery on Saturday 1<sup>st</sup> October 2011, held in The Original Gallery, London N8.<br />
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Seven of the ten exhibiting Moving Image artists attended, some of whom helped enormously in setting up and taking down.<o:p></o:p></div>
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<b><span style="font-size: 14pt; line-height: 115%;"><o:p> </o:p></span></b>Three artists talking</div>
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theViewergallery is all about being resourceful and adaptable. We made a makeshift screening room using available partitions. I had brought my projector and also backup technology in the shape of a TV, and showed the screening on both simultaneously, starting at different times. I love multiple screens and hope to show more in this way. The eye moves from one to the other, makes choices and connections.<br />
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<b>Transmission 1 Drawing<o:p></o:p></b><br />
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<b>Heather Barnett</b><br />
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<b> Rachel Evans</b><br />
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<b>Parul Gupta</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuQ1kmlQpZW4LYZnZgtKebca7TlKDuZVa6VAYMmEE9zAGsH6pPX9-U4AdwOE64hJFsrwzNM4So1IJACqUp1Djwnkt17ccGUwPsVVVtUh-WwoCbgkW2uVLFMGBOu_hLTGJk8NBs8m9lX3A/s1600/Hairfall+Parul+Gupta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuQ1kmlQpZW4LYZnZgtKebca7TlKDuZVa6VAYMmEE9zAGsH6pPX9-U4AdwOE64hJFsrwzNM4So1IJACqUp1Djwnkt17ccGUwPsVVVtUh-WwoCbgkW2uVLFMGBOu_hLTGJk8NBs8m9lX3A/s1600/Hairfall+Parul+Gupta.jpg" /></a></div>
Parul Gupta. Hairfall. Digital video still. 2011<br />
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<b>Paul Harrison<o:p></o:p></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmglRFup5kv3XyA4H1sPVsqWlsIgl5JQd8wT1etiKnIrHUODBBIx9IBFsVsC1xSYpTGuV4Elx0eq2pNoZBGzN8gLn2lPlUdZGLZYjwkDPcItE_3OmxCkb6joNyR2ekMF08EHECmAYZHsI/s1600/Away+From+The+Unknown+Paul+Harrison.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmglRFup5kv3XyA4H1sPVsqWlsIgl5JQd8wT1etiKnIrHUODBBIx9IBFsVsC1xSYpTGuV4Elx0eq2pNoZBGzN8gLn2lPlUdZGLZYjwkDPcItE_3OmxCkb6joNyR2ekMF08EHECmAYZHsI/s1600/Away+From+The+Unknown+Paul+Harrison.jpg" /></a></div>
Paul Harrison. Away From the Unknown. Animation still. 2011<br />
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<b>Jacky Hutson<o:p></o:p></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi__VVdXFOQSSkMm9ToWU1MM99j_KqUx7Cjw6lzjuKMawnVVmRPbfEo8Hzpr5hRnVclPdSbcGkOqNK4nK635aOuKNAW08iGL8dUSuB2HI1sFb8RHslJT4EW3T2O4KgZ779et85qiqRkcy4/s1600/Spread+Beauty+Jacky+hutson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi__VVdXFOQSSkMm9ToWU1MM99j_KqUx7Cjw6lzjuKMawnVVmRPbfEo8Hzpr5hRnVclPdSbcGkOqNK4nK635aOuKNAW08iGL8dUSuB2HI1sFb8RHslJT4EW3T2O4KgZ779et85qiqRkcy4/s1600/Spread+Beauty+Jacky+hutson.jpg" /></a></div>
Spread Beauty. Jacky Hutson. Animation still. 2010<span style="font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
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<b>Colin Legge<o:p></o:p></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo9Fw0PJ3-DzAHW6cm3eQXv5L75fzRQ9EZB5SG6Dq8gb0Fh1RZhT1DjYEo5otDM3_fIQ31P-xsytp7XHhvpt2c1LwpWEE0DaQ9EX3TWURFuapzR5nP9mBICD2EARVfStjVwN6Bj_fPPPU/s1600/Unit+Colin+Legge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo9Fw0PJ3-DzAHW6cm3eQXv5L75fzRQ9EZB5SG6Dq8gb0Fh1RZhT1DjYEo5otDM3_fIQ31P-xsytp7XHhvpt2c1LwpWEE0DaQ9EX3TWURFuapzR5nP9mBICD2EARVfStjVwN6Bj_fPPPU/s1600/Unit+Colin+Legge.jpg" /></a></div>
Unit. Colin Legge. Digital video still. 2011<br />
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<b> Eleanor MacFarlane<o:p></o:p></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4h6aUetXEW4L5U-tZFH2OL9N2t9MU-p-33bDQd_OWzpSHyvDmh4EedJx2fxCIN7tuc7t4st0n3LKQBt2YRxGF-96ImkTtQC6VhumEdPkIRiJ2FgBt1xPwUrn1JpZ9sVcQfccWTrbczE/s1600/Personification++Eleanor+MacFarlane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4h6aUetXEW4L5U-tZFH2OL9N2t9MU-p-33bDQd_OWzpSHyvDmh4EedJx2fxCIN7tuc7t4st0n3LKQBt2YRxGF-96ImkTtQC6VhumEdPkIRiJ2FgBt1xPwUrn1JpZ9sVcQfccWTrbczE/s1600/Personification++Eleanor+MacFarlane.jpg" /></a></div>
Eleanor MacFarlane. Personification. Animation still. 2010<br />
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Eleanor MacFarlane. Drawing. Digital video still. 2006<br />
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<b>Duncan McKellar</b><br />
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Duncan McKellar. 48 Hours in Moscow. Animation still. 2010<b> </b><br />
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<b> Michael Szpakowski</b><br />
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<b>Tom Walker</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhctWz4I0vYNMgZ5LhbbqnUI0OuWJ5CQHoxnTQaZrAeOdqzCAysxtrUMBO1GV6Pa1Pv-F4i_CIIpwYc4VdyHUrhNgPmc7HmgCOQFZYRddWQrDwc3PqIKruCYHOOAzXsGnqywoLz_eMUZ1c/s1600/Spin+Tom+Walker.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhctWz4I0vYNMgZ5LhbbqnUI0OuWJ5CQHoxnTQaZrAeOdqzCAysxtrUMBO1GV6Pa1Pv-F4i_CIIpwYc4VdyHUrhNgPmc7HmgCOQFZYRddWQrDwc3PqIKruCYHOOAzXsGnqywoLz_eMUZ1c/s1600/Spin+Tom+Walker.png" /></a></div>
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<b>theLongLine</b> has made a magnificent start in its quest to grow. This was really its trial run, and everything went smoothly, apart from next time I will have somewhere for all the pencil sharpenings to go. Even the youngest children got what they had to do. I was amazed by how much time people spent on drawing their part of this project, and then enjoying adding their piece to the line. My next big task is to scan each piece and create a moving Image from them, which I will show and add to every time I repeat this project. I have a system to record names and contributions, but also have several anonymous pieces.</div>
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The Moving Image will be on theViewergallery virtual space - this site.</div>
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We had a couple of extra drawing activities – one set up by a helper for the day, Anna Rootes – a roll of paper taped to the floor, which started off with people tracing their feet and drawing their journey to the gallery. It was very popular and gathered some magnificent and anonymous contributions.</div>
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We also made a wall-based Post It Notes Portrait Gallery. I had collected a multitude of shapes, sizes and colours of post it notes. Again, there were some wonderful pieces. I have them all still, and will certainly in time make something with this magnificent resource – perhaps an animation.</div>
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We had a pop up shop selling theViewergallery handmade-corporate items – badges, magnets, bookmarks. I had produced a printed catalogue for the Transmission 1 screening, and had small framed stills to sell, and exhibiting artists brought other items. Again, this is a venture I will repeat, as I love making objects and devising multiples, and have concocted many devices and prototypes over the years. I am planning my next batches of art objects, and will also set up a facility to sell online.</div>
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The other piece of the day, Absolute Magnitude, I am not as yet adding to this report, as we MA students are keeping it secret from each other until we have all shown it. However, I’ll just note that one lady pulled up a chair and spend at least 40 minutes in front of it, just looking, looking, looking.<br />
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Overall, theViewergallery made a satisfying debut, creating connections between artists, furthering the cause of Moving Image, launching ongoing projects and enterprises, and celebrating Drawing in many forms. It’s a wonder how many signs, stands, easels, blackboards and so on I already had around my home, and how much now belongs to theViewergallery, waiting for its next occasion.<br />
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Many thanks to</div>
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Magnus Hannah Jon Liam Anna Colin Duncan Paul Heather Terry</div>
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Eleanor MacFarlane 2011 </div>
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6th October 2011</div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-31571256941283603782011-10-06T09:52:00.000+01:002011-10-06T10:05:21.231+01:00theViewergallery<div class="MsoNormal" style="margin-left: 21.3pt;"><br />
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</div>Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-45243992326572543742011-10-06T09:49:00.000+01:002013-12-02T09:54:51.753+00:00Transmission 1 Drawing Moving Image<div align="center" class="MsoNormal" style="text-align: center;">
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<span style="line-height: 115%;">The definition of Moving Image is still forming – something to do with Video Art, Cinema and Photography, yet not exactly any of these, as it may or may not deal with issues of Narrative, Documentation or Performance. <o:p></o:p></span></div>
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<span style="line-height: 115%;">Moving in and out of these frameworks, Moving Image utilises new and old techniques of Animation and Digital Technologies, and uses the camera as a unique medium of expression.<span class="Apple-style-span" style="font-size: 16pt;"><o:p></o:p></span></span></div>
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<span style="line-height: 115%;">Artists whose practice is in Moving Image work in an age rich in imagery and sophisticated in use of technology. They borrow, as artists do, from all sorts of traditions, to capture and show through the lens fundamental ideas of art, life and meaning.<o:p></o:p></span></div>
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<span style="line-height: 115%;">This first screening from theProgressiveImage, Transmission1, shows Moving </span><span style="line-height: 115%;">Image and Animation from ten contemporary artists using Drawing in a variety of forms – animation, digital video, studio-based practice. Using pencil, computing, documentation and hair, Drawing is explored and redefined through Moving Image.<o:p></o:p></span></div>
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<span style="line-height: 115%;">theProgressiveImage’s mission is to seek out and create a context around Moving Image works, and to explore definitions of Moving Image – a photograph existing in time rather than on paper, a film as if cinema had not been invented, a digital poem, video painting, a long moment.....<o:p></o:p></span><br />
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<span style="line-height: 115%;">theProgressiveImage...Transmission1...Drawing</span></div>
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<span style="line-height: 115%;">Heather Barnett</span></div>
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<span style="line-height: 115%;">Parul Gupta</span></div>
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<span style="line-height: 115%;">Eleanor MacFarlane</span></div>
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<span style="line-height: 115%;">Duncan McKellar</span></div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-20461388635995818582011-09-26T23:39:00.000+01:002013-12-02T09:54:51.750+00:00Transmission 1 Works and Artists<div class="MsoNormal" style="text-align: center;">
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-size: x-large;"><b>Colin Legge</b><o:p></o:p></span></span></div>
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<span lang="EN-US" style="line-height: 18px;">Colin Legge is currently based in London, and works predominantly with video and text, although his work is sometimes performative, drawn, or sculptural.</span><span style="line-height: 18px;"><o:p></o:p></span></div>
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<span style="line-height: 18px;">One side of his work is much to do with story-telling and narrative. The other side is an exploration of the spaces we inhabit, in both a physical and psychological sense. In both instances he is interested in ways of presenting the every day.</span></div>
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<a href="http://www.colinlegge.co.uk/" target="_blank""><b><span class="Apple-style-span" style="font-size: large;">http://www.colinlegge.co.uk</span></b></a></div>
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<span style="line-height: 115%;"><b><span class="Apple-style-span" style="font-size: large;">Unit</span></b><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span></div>
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<span style="line-height: 115%;">Unit is both the bare bones of a story, open to interpretation, and a very particular one-man-act.</span><span style="line-height: 115%;"><o:p></o:p></span></div>
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<span style="line-height: 115%;">Digital video. 4 minutes. 2011<o:p></o:p></span></div>
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Unit. Colin Legge. Digital video still. 2011<br />
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<b><span class="Apple-style-span" style="font-size: x-large;">Duncan McKellar</span></b></div>
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My work is based in drawing and spans painting, sculpture and film.<o:p></o:p></div>
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The scale of my work ranges from single line drawings capturing a moment to paintings and sculptures which can take years to complete, acting as physical and mental challenges. These large pieces form a constant from which other work can evolve. I find great satisfaction in both extremes, from the immediate to the obsessive.<o:p></o:p><br />
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<a href="http://www.duncanmckellar.com/" target="_blank""><b><span class="Apple-style-span" style="font-size: large;">http://www.duncanmckellar.com</span></b></a></div>
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<span class="Apple-style-span" style="font-size: large;"><b>48 Hours in Moscow</b></span>.</div>
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A Pantoscope was a pre cinema entertainment device enabling a theatre audience to watch a continuous panoramic painting scroll by on tremendous rollers. For hours audiences would watch as scenes unfolded before their eyes. I created a portable version of this public entertainment device that uses a ten-meter scroll of cartridge paper measuring 28cm in diameter. Like handmade videotape, the paper scroll is wound from spool to spool and a drawing is created on each visible section as it passes by. This device enables a continuous image to be produced. When the drawing is complete, watercolour is added from memory and documentation photographs. </div>
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The finished scroll is then recorded rolling passed a digital video camera. The animation can then be viewed as if riding the journey, continuing the tradition of an informative, entertaining public travelling artwork.</div>
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Animation. 4 minutes. 2010<br />
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Duncan McKellar. 48 Hours in Moscow. Animation still. 2010</div>
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<b><span class="Apple-style-span" style="font-size: x-large;">Heather Barnett</span></b></div>
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Heather Barnett is a visual artist inspired by biological design and imaging technologies. Current projects include a creative collaboration with slime mould (an intelligent organism); running micro-designs, the microscopical design brand; and developing art/science projects at The University of Westminster where she is Senior Lecturer in Photography. Heather is currently working on a public art commission for Anglia Ruskin University in Chelmsford.<br />
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<b><span class="Apple-style-span" style="font-size: large;">Physarium Experiment No 013. Spelling Test.</span></b></div>
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Animated time lapse experiment with the intelligent organism Physarum Polycephalum. </div>
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Does it know its name?</div>
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For a few years now I have been attempting to collaborate with the slime mould, <i>Physarum</i> <i>polycephalum</i>, observing and manipulating its beautiful growth patterns and testing its intelligence and problem solving skills.</div>
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Animation. 2 minutes 30. 2008.</div>
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Physarium Experiment No 013. Heather Barnett. Animation still. 2008<br />
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<b><span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-large;">Eleanor MacFarlane</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></b><br />
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Founder of theViewergallery and theProgressiveImage, I am an artist interested in Moving Image and art contraptions, scientific and optical ideas, and their meaningful implications.<br />
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<a href="http://www.eleanormacfarlane.com/" target="_blank""><b><span class="Apple-style-span" style="font-size: large;">http://www.eleanormacfarlane.com/</span></b></a><br />
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<b><span style="line-height: 115%;"><span class="Apple-style-span" style="font-size: large;">Personification</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></b></div>
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Perhaps we are as shadows, or clusters of molecules comprising form, apparently moving and having something to do with each other. Streaming humanity, shades of substance, in effect more alike than we are different.</div>
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Animation. 8 minutes. 2010</div>
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Eleanor MacFarlane. Personification. Animation still. 2010</div>
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<b><span style="line-height: 115%;"><span class="Apple-style-span" style="font-size: large;">Drawing</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></b></div>
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Drawing from the pencil’s eye view. The act and motion of drawing smudges the edges of feel, intention and mark making. The pencil seems to know what it is doing once it is set free.</div>
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Digital video. 7 minutes. 2006</div>
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<o:p>Eleanor MacFarlane. Drawing. Digital video still. 2006</o:p><br />
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<span style="line-height: 115%;"><b><span class="Apple-style-span" style="font-size: x-large;">Jacky Hutson</span></b><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span><br />
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<span style="line-height: 115%;">As a painter, her work could be loosely described as abstract, with a strong use of colour and depth of layering, by comfortably working on a larger scale, naturally allowing for scope and movement within the image. Creating strong, flamboyant, sometimes stylized images with a 3-dimensional feel - her love of graffiti is reflected in her work. The subject matter can be quite random and very often changeable throughout the process.</span><span style="font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
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<span style="font-size: large; line-height: 115%;"><a href="http://www.spreadbeauty.co.uk/" target="_blank""><b>http://www.spreadbeauty.co.uk/</b></a></span></div>
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<span style="line-height: 115%;"><b><span class="Apple-style-span" style="font-size: large;">Spread Beauty 1</span></b><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span></div>
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<span style="line-height: 115%;">"The necessity of art and beauty everywhere - not just the gallery space - in the workplace, the home, the everyday - to transform the space"<span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span></div>
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<span style="line-height: 115%;">Animation. 9 minutes. 2010<span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJY1dxrur6a9ygYEpZqKdneKr-HGSKW-d-OmpMJrHLJ7r_9K3pPTMK5W_xDCHPYNGoGqUMcn7NFl-txDUXYvJIJ3bvrjirCWPwaRVya-aVA7Wxdh3X0AMCo_hBwsdYkvUKmHTQqTf1ey0/s1600/Spread+Beauty+Jacky+hutson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJY1dxrur6a9ygYEpZqKdneKr-HGSKW-d-OmpMJrHLJ7r_9K3pPTMK5W_xDCHPYNGoGqUMcn7NFl-txDUXYvJIJ3bvrjirCWPwaRVya-aVA7Wxdh3X0AMCo_hBwsdYkvUKmHTQqTf1ey0/s1600/Spread+Beauty+Jacky+hutson.jpg" /></a></div>
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Spread Beauty. Jacky Hutson. Animation still. 2010</div>
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<span style="line-height: 115%;"><b><span class="Apple-style-span" style="font-size: x-large;">Michael Szpakowski</span></b><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span><br />
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<span style="line-height: 115%;">Michael Szpakowski is an artist, composer & writer. His music has been performed all over the UK, in Russia & the USA. He has exhibited work in galleries in the UK, mainland Europe & the USA. His short films have been shown throughout the world. He is composer & video artist for Tell Tale Hearts Theatre Company & a joint editor of the online video resource DVblog.</span><br />
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<a href="http://www.somedancersandmusicians.com/" target="_blank""><span style="font-size: large; line-height: 115%;"><b>http://www.somedancersandmusicians.com</b></span></a><span style="line-height: 115%;"><o:p></o:p></span></div>
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<b><span class="Apple-style-span" style="font-size: large;">Six Hours in Scunthorpe</span></b> </div>
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This stop motion animation was created as part of the 20-21 Visual Arts Centre's 10th birthday Celebrations in Church Square on 23 July 2011. Made with the collaboration of lots of Scunthorpe folk in a six hour period, it also features performers from the day.</div>
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<span style="line-height: 115%;">Digital animation. 10 minutes. 2011</span><br />
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Michael Szpakowski. Six Hours in Scunthorpe. Digital animation still. 2011</div>
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<b><span class="Apple-style-span" style="font-size: x-large;">Paul Harrison</span></b></div>
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My work is involved in ideas surrounding transformation specifically how our perception or opinion of a subject's reality is changed through an animated or creative action. I view what I make as a socially engaged portrayal, one that is involved in formulating and asking new questions about the human form and condition. Including examining the relationship or contrast between what is considered real or imaginary within an art context.<o:p></o:p><br />
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<a href="http://vimeo.com/user7557956" target="_blank""><b><span class="Apple-style-span" style="font-size: large;">http://vimeo.com/user7557956</span></b></a></div>
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<b><span class="Apple-style-span" style="font-size: large;">Away From the Unknown.</span></b></div>
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Away from the Unknown is a digital stop motion animation that explores a notion of Hyper reality. So this piece is looking at an opinion that i have in which currency is a form of Hyperreality.<br />
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This animation was basically a reaction to my anxieties surrounding money and how it controls lives. Furthermore this work contains issues involving materiality and the immateriality of an image or depiction. In the end i hope this work can help people gain a greater insight into our capitalist way of life.</div>
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Animation. 7 minutes 30. 2011</div>
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Paul Harrison. Away From the Unknown. Animation still. 2011</div>
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<b><span class="Apple-style-span" style="font-size: x-large;">Rachel Evans</span></b></div>
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Rachel is a recent graduate from Bath School of Art and Design whose practice is centred around the physical act of drawing and mark making.</div>
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<a href="http://www.rachelevansart.blogspot.com/" target="_blank""><b><span class="Apple-style-span" style="font-size: large;">http://www.rachelevansart.blogspot.com/</span></b></a></div>
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<b><span class="Apple-style-span" style="font-size: large;">Arm Span Daily Drawing</span></b></div>
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<span lang="EN-US">The Work is a five day video documentation of daily drawings mapping out the artist’s marks from the body’s actions and dimensions.</span></div>
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Digital video. 4 minutes. 2011</div>
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Arm Span Daily Drawing. Rachel Evans. Digital video still. 2011</div>
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<span style="line-height: 115%;"><b><span class="Apple-style-span" style="font-size: x-large;">Tom Walker</span></b><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span><br />
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<span style="line-height: 115%;">Digital video. 30 seconds. 2011<span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span><br />
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<span style="line-height: 115%;">Tom Walker. Spin. Digital video still. 2011</span><br />
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<span style="font-size: x-large; line-height: 115%;"><b>Parul Gupta</b></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Lines have always been the medium of my expression and exploring it further is a constant research. The greatest source of inspiration in my practice comes from being receptive towards things which otherwise frustrate or sadden me, and how my aesthetics responds to it. Things which could go unnoticed, initially becomes the inspiration and then the part of the work – whether using broken hair as a medium to define line or using the scratches - an empty pen leaves on the paper. Through this I envisage drawing as a spatial exploration poised somewhere between installation and abstract line drawing.</span></div>
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<a href="http://www.followingline.blogspot.com/" target="_blank""><b><span class="Apple-style-span" style="font-size: large;">http://www.followingline.blogspot.com/</span></b></a></div>
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<span class="Apple-style-span" style="font-family: inherit;">My own hair has been a very integral medium in my drawings and for that I ritualistically collect my broken hair everyday from places like my bed, shower, comb, clothes and from every place I see them. There is a permanent place in my room where I have kept a white paper to collect my hair every day. The ritual starts in the morning each day when the paper is blank and till night, with every addition of hair on the paper, hair forms a natural organic drawing. In this video I have shot the process of creating the drawing as each hair strand fall on the paper.</span></div>
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Digital video. 5 minutes 30. 2011</div>
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Parul Gupta. Hairfall. Digital video still. 2011</div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-23759072910348156272011-09-16T10:04:00.000+01:002013-03-08T22:17:43.127+00:00saturday 1st october 2011<div class="separator" style="clear: both; text-align: center;">
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-46497659248985378952011-08-17T20:01:00.000+01:002013-12-02T09:54:51.757+00:00theProgressiveImage Transmission 1<div style="text-align: center;">
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It has come to my attention that not everyone knows what is meant by Moving Image. I make it, and even I’m not sure how to define it. As painting is not simply pigment on canvas, equally, Moving Image/Video Art could encompass cinema, experimental video, documentation of performance art, or digital arts.</div>
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theProgressiveImage is a platform to explore the possible definition of the medium of Moving Image, at least according to me. My take is that is comes from photography – it is a quest to disembody photography, to make it exist in time rather than on paper. My own aesthetic sensibilities come from surrealist photographers, and artists with a great sense of drama and contrast, and strong visual imagery which only the lens can capture. And so I cite artists such as Man Ray, Brassai, Moholy-Nagy. More currently I would mention Susan Derges and Steve Pippin. Although of different concerns, Marina Abramovicz, for her alternative way of capturing a decisive moment. And too many others to mention.</div>
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To abstract is to summarise or epitomise. As photography puts a frame around a particular aspect of life that is there all the time, emphasising a point, eliminating irrelevancies, so Moving Image reveals what a lens can capture, and what is unfolded in time. It abstracts that moment, summarises it. I am really fixated by ideas about time, what it is, how it passes, what it leaves. The Moving Image exists in time more than other dimensions, and is a fruitful medium to explore and remake such concepts.</div>
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theProgressiveImage is a series of screenings and projects around ideas in the Moving Image, defining, exploring, imagining what it can be. Moving Image is up for definition and contextualising. Its market is variable, its value nebulous, its history being written. If artists choose the most appropriate medium to convey their intentions, why do artists choose Moving Image - why choose something that takes time to unfold, that cannot be framed or rolled away, is not performed yet waits for its moments to unfold.</div>
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A photograph that moves, perhaps. An abstract photograph that moves, and yet exists in the air, in the lighted dust swirling over our heads as a cinema projection, or like an angled reflection in a shop window.</div>
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What does Moving Image show. Not exactly what a photograph can show, otherwise it would be that photograph. It is not a film, in that it does not centre itself around filmic concerns, although, like many arts, it may borrow from them, and others. Moving Image is to do with the movement, or the travelling through time of an idea, and how it is manifest in non solid form – in visible form – a long moment, not quite the same at the end as where it started. </div>
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Moving Image is a thought, a feeling, a vision where these two aspects collide. It employs many disciplines of photography in ideas about framing, scale, focus, depth, and so on. There is time to visit the prosaic as well as other layers of meaning of such things – framing is a visual choice, both in what to include and what to exclude. It employs the artists eye, and training, and hundreds of hours of looking, seeing, seeking, capturing. The artist frames the lens around subject and composes and contextualises the image. And with Moving Image that may be frame after frame after frame, using, changing, abstracting such photographic rules. And then there are other aspects of framing – to reframe ideas in new ways, to offer a juxtaposition, or a familiarity, or an association or disassociation.</div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-6779033207633248375.post-10606163591583376232011-08-17T19:58:00.001+01:002011-08-17T20:20:51.090+01:00theLongLine 1<div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b>theLongLine</b></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The Polyorama is an eighteenth century idea, a never-ending, ever-changing continuous landscape, made up of multiple drawings. As long as the horizon lines match up, the landscape can be rearranged endlessly. It’s a panoramic view of an imagined world, where ancient ruins can sit next to space ships, dreamy scenes or infested waters.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b>theLongLine</b> invites participants to create a continuous landscape, matching three elements – Sky, Land and Sea. Whose drawing will yours sit next to – a famous artist, a child who will grow up to be a famous artist, someone from the other side of the world, a visionary, a scribbler?</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">theLongLine has ambitions to become a very Long Line. Started in 2011, when the world record for the longest drawing in the world stands at 9,154m (India, 2009), theLongLine will take its time, appear and reappear, tour and pop up occasionally, all the while adding to its length, its store of ideas and contributions. It all starts with one line. Where will it travel, where will your part of theLongLine be shown. How long will it all keep going?</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Who is the artist of <b>theLongLine</b> – is it the artist who thought up the idea, the unnamed person who invented the form, all those who actually do the drawing, or whoever arranges how they are shown? Just 10 different sections of <b>theLongLine</b> could make<span style="font-size: 10pt; line-height: 115%;"> </span>3,628,800 different landscape variations – I read this, but I still can’t believe it! Out of all those multiples of choices, how does one piece end up next to another – and will they ever meet again?</div><div class="MsoNormal"><br />
</div>Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0