Transmission 1 Works and Artists

Colin Legge

Colin Legge is currently based in London, and works predominantly with video and text, although his work is sometimes performative, drawn, or sculptural.

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.

http://www.colinlegge.co.uk

Unit

Unit is both the bare bones of a story, open to interpretation, and a very particular one-man-act.

Digital video. 4 minutes. 2011

Unit. Colin Legge. Digital video still. 2011


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Duncan McKellar

My work is based in drawing and spans painting, sculpture and film.

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.

http://www.duncanmckellar.com

48 Hours in Moscow.

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. 

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.

Animation.  4 minutes. 2010

Duncan McKellar. 48 Hours in Moscow. Animation still. 2010

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Heather Barnett

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.

http://www.heatherbarnett.co.uk/

Physarium Experiment No 013. Spelling Test.

Animated time lapse experiment with the intelligent organism Physarum Polycephalum. 

Does it know its name?

For a few years now I have been attempting to collaborate with the slime mould, Physarum polycephalum, observing and manipulating its beautiful growth patterns and testing its intelligence and problem solving skills.

Animation. 2 minutes 30. 2008.

Physarium Experiment No 013. Heather Barnett. Animation still. 2008


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Eleanor MacFarlane

Founder of theViewergallery and theProgressiveImage, I am an artist interested in Moving Image and art contraptions, scientific and optical ideas, and their meaningful implications.

http://www.eleanormacfarlane.com/

Personification

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.

Animation.  8 minutes. 2010

Eleanor MacFarlane. Personification. Animation still. 2010

Drawing

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.

Digital video. 7 minutes. 2006

Eleanor MacFarlane. Drawing. Digital video still. 2006




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Jacky Hutson

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.

http://www.spreadbeauty.co.uk/

Spread Beauty 1

"The necessity of art and beauty everywhere - not just the gallery space - in the workplace, the home, the everyday - to transform the space"

Animation. 9 minutes. 2010

Spread Beauty. Jacky Hutson. Animation still. 2010

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Michael Szpakowski

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.

http://www.somedancersandmusicians.com

Six Hours in Scunthorpe 

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.

Digital animation. 10 minutes. 2011

Michael Szpakowski. Six Hours in Scunthorpe. Digital animation still. 2011

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Paul Harrison

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.

http://vimeo.com/user7557956

Away From the Unknown.

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.

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.

Animation.  7 minutes 30. 2011

Paul Harrison. Away From the Unknown. Animation still. 2011

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Rachel Evans

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.

http://www.rachelevansart.blogspot.com/

Arm Span Daily Drawing

The Work is a five day video documentation of daily drawings mapping out the artist’s marks from the body’s actions and dimensions.

Digital video. 4 minutes. 2011

Arm Span Daily Drawing. Rachel Evans.  Digital video still. 2011

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Tom Walker




http://www.re-title.com/artists/cv/tom-walker.asp

Spin

Spin shed fall over

Digital video. 30 seconds. 2011

Tom Walker. Spin. Digital video still. 2011




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Parul Gupta

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.

http://www.followingline.blogspot.com/

Hairfall

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.

Digital video. 5 minutes 30. 2011

Parul Gupta. Hairfall. Digital video still. 2011

saturday 1st october 2011

theProgressiveImage Transmission 1

theProgressiveImage

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.

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.

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.

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.

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.

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. 

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.

theLongLine 1

theLongLine

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.

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?

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?

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?