ARTIST STUDY: Richard Lewer

Richard Lewer’s works cover a diverse array of medium, subject matter, scale and styles.  He has drawings, paintings, animations, video and performance art, incorporating portraiture and landscapes, sculptural and installation based works as well as intervening with found objects such as maps for irreverent social commentary. His works are not realistic, but maintain a firmContinue reading “ARTIST STUDY: Richard Lewer”

SHADOWDANCER: PROCESS JOURNAL

ARTIST STATEMENT installation: light on plastic This installation is the result of testing the mediality of lightweight tablecloth plastic under different states of light. The surface of the plastic is semi-translucent and subject to tiny changes in air pressure, so the object was to examine these aspects by using a live camera feed to projectContinue reading “SHADOWDANCER: PROCESS JOURNAL”

PRACTICE: 5 – PORTRAITURE AND THE SUBJECT AS PERFORMER

Taking this work in the next level involves introducing a bodily aspect, including shadows and projected/ mediated video. Working with a live video feed of the subject taken from behind the screen and then rebroadcast back onto the surface of the plastic give some interesting distortions. I have also continued to experiment with the photographyContinue reading “PRACTICE: 5 – PORTRAITURE AND THE SUBJECT AS PERFORMER”

PRACTICE: 4

This essay will document my recent experimentation with white plastic sheeting undertaken in the studio each week and focus this research into a more tangible project outcome. It will also link my practice to theoretical research incorporating Butoh performance theory and the Bakhtinian notion of dialogism (areas I have been investigating in other subjects), withContinue reading “PRACTICE: 4”

PRACTICE: light painting 2

Today I took the same approach as previous iterations of this research, except notably the plastic has been folded and creased over two weeks of storage (whereas previously it comes directly off a long roll and appears much more smooth) – casting the lamp from an angle gives a remarkable array of shadows and contoursContinue reading “PRACTICE: light painting 2”

Fieldwork Research (Part 1)

At the Art Gallery of NSW today for the William Kentridge exhibit – to think about his process and approach to media. He has a diverse body of work ranging from animation, printing, collage, sculpture and theatre design. A couple of his works stood out but I was particularly enthralled by the montage of shadowsContinue reading “Fieldwork Research (Part 1)”

Practice: Light Painting 2019

BACKGROUND: In 2018 I developed a work for class which experimented with shadow and light, using a semi-opaque white plastic sheeting as a medium to generate a set of shadows. While I was moderately satisfied with the outcome, I felt as though the time pressures and circumstances surrounding the installation off the work left aContinue reading “Practice: Light Painting 2019”

LIGHT PAINTING/ PROTOTYPE I

The object of this experiment is to generate an “object of wonder” or as I like to describe it: “Machines That Do Nothing” -based on the research at UoW Innovation Campus this semester around installation artworks with an interactive/audience driven component. The theme for the work is ” A Natural History Museum After an Earthquake”.Continue reading “LIGHT PAINTING/ PROTOTYPE I”

Making Phenakistoscopes

These are very basic animation machines derived from 19th Century innovations in home-entertainment technology.  There are a number of variations within a basic structural premise, a kinetic object displays a series of images in succession, viewed through a tiny window to create the impression of a single moving image.  It’s the same principle as filmContinue reading “Making Phenakistoscopes”