Photo frame & install sketches
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Found photos
The photos are childhood photos of my mum, taken in the 1950’s and ’60’s. The original photos are small, all around 6-9cm. Most are damaged to some degree.
I scanned all her photos (about 100) then edited selected photos in photoshop. Editing focused on restoration – removing damage – and adjusting levels/contrast. Photos selected are a combination of the ones that are mum’s favourites or mean the most to her, and photos that speak to me and resonate in some way with the woman I know. I’ve used most of the photos I have of my mum and her mum. My Nanna was 40 when she had mum and 70 when I was born, so I only knew her as an older woman.
Arranged resulting 11 photos in InDesign (at Nicks suggestion) to decide layout and image sizes. Next step is to print as A1 and A2 to visualise and decide on final image sizes before sending to nick for printing. Photos will be between 2-4 x the original sizes.
Considering attaching the photos to a board and using either the other A2 or one of the A1 frames I have (same frame as the glasswork).
Glass work – progress photos
Finished. Next step is to create a base/stand.
Credit to Cobi for suggesting wire to suspend the glass panels and pointing out that the lines of the wire may not detract. My brother-in-law for the suggestion of mesh. And Jane for suggesting leaving most of the mesh intact, pointing out that the regularity of the mesh could be less distracting than more random lines if more was removed. Also the mesh has provided reinforcement to the frame so the whole thing is much more solid and stable than I anticipated.
Assembly progress
Wire frames for glass and fixing to mesh
Substrate to attach glass to is a 25mm aperture mesh. Section cur out to allow larger apertures for glass panels. Mesh is stapled to the back of the frame.
Found frames (from Reverse Garbage in Marrickville).
Initial arrangements – settled on A2. Partly due to considerations about the weight of the glass and structural integrity of the frame without reinforcement. It also keeps the works smaller and more intimate
Glass hanging/framing tests
Projector play
Proposal 17 March
Glass boxes
Second set:
Kiln (22 March)
First set:
Kiln (13 March)
Paper testing
Bottle recycling
Outcome (as of 24 March)
Darker brown glass (A & B) was from a heavy dark red wine bottle – almost completely obscures photos behind it. Might be too dark to use, on the other hand it might have value because it’s so occlusive.
Green glass works, blue is beautiful.
Kiln – 22 March
Kiln – 20 March
Kiln – 15 March
Outcome – first test 1 March
Pre-kiln – first test 1 March
Tech Classes
Week 9 (24 April) – Consultation with Cobi
Week 7 (3 April) – glass+photo
Week 6 (27 March) – glass+photo
Week 5 (20 March) – glass+photo
Week 4 (13 March) – Glass – Forming with heat
Worked on first test of glass boxes/cubes and getting those in the kiln.
Week 3 (6 March) – Glass – Sandblasting
Week 2 (27 Feb) – Photo – Framing
Friday Lectures
Week 12
Week 10
Week 5
Week 4
Week 3
Week 2
Galleries
National – MCA and Carriageworks 21 April
Cry 2023: https://photos.app.goo.gl/BTgg3cKyaGiTqiHs6
SCA Gallery 11 March
AGNSW 10 March
Carriageworks 24 Feb
I Spy, 2022
Getting to know someone is a game of discovery.
We ask them to take us to where they like to go, to show us their spaces. We look around and try to guess what they see, how they see. The places they frequent, the objects significant to them, these offer us a glimpse into their lives, snippets of their story. This is our opportunity to explore their world.
I spy with my little eye….
Disequanimity – Project 1 installation and presentation
Artist Statement:
Disequanimity, 2022. Digital print on fabric, 1.4 m x 1.4 m, single channel video projection.
Disequanimity is an emotional response. It is the flux of emotions, the way in which emotion can bleed through and define state of mind. It’s the feeling of a glitch in the psyche, the absence of stability, of balance, of equanimity.
I wanted to work with my own body to create a somewhat autobiographical work. The self-portrait was intended to capture myself as possibly only I see myself, the physical representation of the self pared back to its most fundamental, best described by the following:
“Photographing oneself is the closest one can get to trapping the image that looks back from the mirror.” – Frances Borzello [1]
I’m inspired by surrealist artist Claude Cahun and how she used her own body in a variety of compositions, simple and complex, to explore identity and representation. The materiality of the work, fabric and projection, was inspired by a work by Canada based New Zealand Artist Miranda Smitheram, Macro/Micro_Whakapapa, 2019. I have also drawn on the history of self-representation and self-identification though self-portraits, in particular by women, informed by the book “Seeing-ourselves: Women’s Self Portraits by Frances Borzello.
[1] Frances Borzello, “The Nineteenth Century: The Opening Door,” in Seeing Ourselves : Women’s Self-Portraits (London: Thames & Hudson, 2016), 137.
Final projected video:
FINAL_project1_image_reshuffle_2percent_Crop.mp4
Documentation:
Video: documentation_20220912_edit_v1.mp4
Feedback/reflection:
Quiet Moments, 2022. Warm glass elective final installed work
Quiet Moments, 2022.
Kiln formed glass and digital prints, 5 at 30cmx30cm.
It’s about the small and the quiet moments. Moments when the immediate environment is so engrossing that everything else fade away. Moments to be entirely present, where there is nothing before, nothing after, just the moment.
This work is a response to the beach and some of the emotions it conjures for me. The beach is an environment of flux, of constant change and motion, on both grand and very intimate scales. While seemingly endless vistas or the energy in breaking waves are awe-inspiring, I find moments of peace and calm in observing the smaller details. The interesting shells, rocks, or other debris along the high tide mark. Eddies around rocks or feet at the edge of the water, and the back-and-forth movement of water and sand. Looking through the water and trying to discern details distorted by movement and reflections.
Glass has qualities that evokes water: transparency, clarity, opacity, hardness, that it flows, that it can freeze motion and form. Combining kiln slumped glass forms with photographic images I hoped to capture a sense of motion and communicate some of these small and quiet moments.