Wednesday, 28 February 2018

mima Senior Curator, Elinor Morgan talks at the NewBridge Project as part of Practice Makes Practice

Last night I attended another Practice Makes Practice Curators talk, an event in which an invited curator speaks about their work and then answers questions. This week Elinor Morgan, Senior Curator at Middlesbrough Institute of Modern Art (mima) spoke to us about some of the different art institutions she has worked for, specifically OUTPOST, Norwich, Wysing Arts Centre, Cambridgeshire and Eastside Projects, Birmingham. Elinor then focused in slightly more detail on her current work at MIMA.

Morgan is passionate about art that has a social role, and it was the vison of Alistair Hudson, MIMA's last Director, that attracted Morgan to work at mima. "His new vision for mima is based on the concept of the Useful Museum, as an institution dedicated to the promotion of art as a tool for education and social change."



Hence, the 'about' section on the website reads

"Middlesbrough Institute of Modern Art, part of Teesside University, is moving forward with a civic agenda, to reconnect art with its social function and promote art as a tool for changing the world around us. With this vision, we see ourselves as a ‘useful’ museum.

We wish to have an influence on society, taking a leading role in addressing current issues within politics, economics and culture. Our programmes encompass urgent themes such as housing, migration, inequality, regeneration and healthcare.

We offer changing exhibitions, collection displays, learning activities, projects, and community-focused initiatives that involve multiple artists and publics. These programmes promote creativity for everyone in ordinary life, through education, activism and making.


We have been developing relationships with constituencies in Middlesbrough and beyond. Our ambition is that these help us shape who we are: a public site, open and accessible, diverse and inclusive, and used by all."


Elinor suggested reading Toward a Lexicon of Usership by Stephen Wright.


She gave some excellent examples of the ways in which mima is going about achieving their aims, from working with and developing the collection to ensure that underrepresented voices are recognised to providing a free community day lunch once a week for anyone and everyone, allowing people from all walks of life to come together over a shared experience (a meal) and talk. If anyone ever asks "what good is art?" then they should go to mima to find the answer.

Tuesday, 27 February 2018

New test projections at The Word






When I last visited The Word a number of days ago to investigate the technological setup, I was shown how, without appropriate masking or shaping of the video, the projection would spill onto the floor and ceiling. I was able to obtain the template used to make photographs fit the screens, and have spent the past week trying to figure out how to apply the template to videos.


 

















After a few attempts that were in the right direction, but not quite right, one of the technical team at The Word discovered a fairly straightforward method to follow using Photoshop. I followed his instructions using the templates for each wall and exported 5 versions of a test video, one each for walls 1, 2 and 3, and two videos for walls 4. He kindly tried projecting the test videos in the Story World space, and sent me these photographs to confirm that applying the templates to the videos had been successful. I will follow this method when exporting my final videos.



Saturday, 24 February 2018

Serena Korda - Missing Time at BALTIC

"Serena Korda works across performance, sound and sculpture reconsidering aspects of communion and tradition in our lives. Korda is the 2016-17 Norma Lipman & BALTIC Fellow in Ceramic Sculpture at Newcastle University, a two-year residency that culminates in this exhibition.


During her fellowship, Korda has drawn inspiration from her location and the people she has met. She has become fascinated by the sound of stars from the dark skies of Northumberland, only audible with specific radio devices, and the pre-radar acoustic sound mirrors dotted along the North East coastline that attempted to detect the sound of enemy planes up until 1919.


During her research, Korda has explored planetary harmonics using homemade radio telescopes to pick up the sound of our galaxy. The particular frequencies derived from the planets, otherwise known as the ‘Music of the Spheres’, were believed during the Renaissance period to have a direct effect on the human psyche. Inspired by these different ways of listening, the potential healing power of sounds and their use as a way of communicating, Korda has created a series of large ceramic dish-shaped portals that act as sound resonators. Working alongside North East-based a capella group Mouthful (Katherine Zeseron, Bex Mathers, Dave Camlin and Sharon Durant), Korda has created a sound work that plays with the harmonics of each portal and a powerful live performance that touches on invisible forces, consciousness and what lies beyond planet Earth."


It is wonderful that BALTIC is currently exhibiting solo exhibitions by women in each of it's galleries, and with the quality of the artwork and hugh standard of the exhibitions, I really hope that this is not the only time it will happen.


Korda's ceramics are beautiful objects containing patterns and marks that resemble marble while also appearing painterly and washy. I was intrigued to find out that the technique used to form the patterns is Nerikomi, a Japanese technique "in which the clay is stained different colours, rolled into a sausage shape, sliced and rolled back together for a marbled finish with runs right through the body of the dish. Korda then scraped back the surface" to reveal more layers. 

I'm looking forward to going to her sonic performance in March.

Jasmina Cibic - THIS MACHINE BUILDS NATIONS at BALTIC

"Bringing together film, sculpture, performance and installation into multi-layered projects, the core themes of Jasmina Cibic’s practice explore how art, architecture and political rhetoric are deployed and instrumentalised in the name of the nation.


For BALTIC, Cibic has developed a site-specific installation that showcases the three films of her latest Nada trilogy presented for the first time in the UK. Setting and framing the scene, the artist has devised chambers where specific architectural components are reconfigured. These include design fragments drawn from modernist Yugoslavia’s unique synthesis of architecture, art and design, culminating in the modernist palace which housed the First Conference of the Non-Aligned Movement in 1961 in Belgrade. Corridors, curtains and murals here become theatrical devices which guide the viewer through the exhibition.


Bridging the installation is the narrative trio of films that examine three of european modernism’s star architects and the role their work played in forming national representation in decisive moments of European history. These include Mies van der Rohe and his trade fair designs for Germany in the 1920s; Vjenceslav Richter’s Yugoslav Pavilion for the 1958 Brussels EXPO and Arne Jacobsen’s Aarhus Town Hall finished during the Nazi occupation of Denmark.



Nada, meaning hope in Croatian, gathers together these historical symbols and iconographies that stand between ideological censorship and cultural production. Cibic’s projects present a synthesis of gesture, stagecraft and re-enactment, revealing the strategies employed for the construction of national culture as well as their use on behalf of political goals. Realised in films and installations, hers is also an ongoing performative practice, an ‘enacted’ exercise in the dissection of statecraft."


I found this installation to be visually stunning and intellectually stimulating. Although Cibic's work is layered with meaning and historic references, I feel it is possible to appreciate the work without being privy to this information. Cibic's ability to compose her videos is exquisite. Mirror images, symmetry and formalism, all come into play. The initial walk through the long illuminated passageway sets the scene for what is to come. The first room shows Vjenceslav Richter's original and censored design for the Yugoslav Pavilion in Brussels reinterpreted as a musical instrument. The second film Cibc's redirection of Bela Bartok's pantomime ballet The Miraculous Mandarin. The final film features a debate staged between 3 women about what art should be. It had lots to get me thinking! 

Friday, 23 February 2018

Sofia Stevi - turning forty winks into a decade at BALTIC

"Sofia Stevi (born Athens, 1982) makes paintings, sculpture and works on paper. Drawing inspiration from literature, philosophy and the everyday, her works bring together a wide range of references, from the writings of Victorian poet Christina Rossetti, to found images on Instagram.


Stevi’s sweeping lines and colours describe form with a sense of playfulness and animation. Her paintings capture fleshy fruits and soft body contours with a cartoon-like expressiveness. Made with Japanese ink on untreated cotton fabric, the works evoke the domestic but have a charged eroticism. Torsos and limbs dissolve into psychedelic patterns and washes of colour. Moving between the real and imaginary, Stevi’s works are often deeply personal, exploring the artist’s desires and dreams."


In the smaller room of the gallery Stevi displays some of her offcuts of fabrics that have been made into what resemble sample books that have been placed on a low coffee table. Viewers can sit on one of the bespoke bean bag style cushions made by Stevi. It is these that I am particularly attracted to because of their abstraction and non-figurative nature.

Tuesday, 20 February 2018

Testing design on gallery walls

Having finished the to-scale design for my wall painting, I sent it to Liam McCabe who, along with Emily Garvey, is curating Bittersweet, the group exhibition that will take place at Assembly House, Leeds in March. Liam had gained access to the gallery and set up a projector in the space to check that my image did indeed fit the wall. 

Liam had imagined situating my wall painting on the wall facing the entrance, but this wall turned out to be brick and this uneven surface may pose problems when using the tape to create the lettering and also to mask out the areas for painting. He has now suggested another wall, of the same dimensions, with flat walls. The projection worked very well, with the design clear, and fitting the wall well. 

I'd be giving too much away to show you the full design, but below is a sneak preview.



Unfortunately it was not possible to get the projected image to fit the wall as it was not possible to get the projector far enough away from the wall. However, it may be possible to split the image in two halves and use a couple of projectors to form the full design. 

Preparing mock ups

For my next exhibition (Bitter-sweet group show at Assembly House, Leeds) I am going to be doing a wall painting. I have completed the design and I will project this onto the wall to use as a guide for masking out the areas to be painted. The text within the design is in a font that I have created, and this will be in fluorescent gaffer tape. I've spent the past few days making a mock up of each of the letters so as to calculate the amount of tape that I need to buy.

Here is a sneak preview 




Sunday, 18 February 2018

Matthew Pickering - Martha [Alzheimer's Machine III] at The NewBridge Project


Over the course of February, Pickering will host 3 exhibitions, each one being a part of Martha [Alzheimer’s Machine III].





The series of short artist films, photographs and installation works explore the effect of Alzheimer’s disease on the way we see, interpret and understand the world around us through the eyes of Martha, a fictional character living with AD.




Centring around Martha's move into a care facility, Martha re-experiences moments of her life unfolding within her family home, from moments of personal significance to seemingly incidental memories that slowly reveal the disconnect between her perception and reality.





The competing and intersecting narratives give conflicting accounts that examine the complex intersections between autobiographical memory, account, fact and fiction that underpin conscious recollection.










Part 1: In Transit


Preview: Thursday 15 February, 6-8pm


Exhibition Open: 16 - 17 February, 11am-5pm







The main part of In Transit was a two-screen video projection in which Pickering has expertly choreographed footage between the two screens. At times the shots continue so as if the two screens are as one, but at other times the footage on both screens is different. The tones, colours and forms within the screens are so well matched that, whatever the type of footage shown on both, it seems to correspond meaningfully. The pace of the camera movement is in keeping with the understated and contemplative tone of the work. The formal qualities of the work are outstanding - Pickering is a pro at creating beautiful and compelling compositions - but when paired with his theoretical understanding of AD, the work is taken to another level


Part 2: Dissolution

Preview: Tuesday 20 February, 6-8pm

Exhibition Open: 21 February, 6-8pm and 22 February, 11am - 5pm




Part 3: Lapse

Closing Event: Tuesday 27 February, 6-8pm

Exhibition Open: 24 - 25 February, 11am-5pm

Friday, 16 February 2018

Creative Scotland's U-Turn

Following the announcement by Creative Scotland, Scotland's public arts funding body, that they were to cut funding to twenty organisations, a number of key figures in the Art world voiced their concerns and launched several petitions urging Creative Scotland to reverse its decision. This coincided with Ruth Wishart and Maggie Kinloch, two members of the Creative Scotland board making the decision to resign.

Thursday night's episode of Front Row on BBC Radio 4 included an interview with Robert Softly Gale and David Leddy, two artistic directors, who discuss how their organisations have been caught up in the funding storm.

Ten days after Creative Scotland announced cuts to the theatre, disabled arts and music groups, an emergency board meeting was held during which they decided to reverse the cuts. Birds of Paradise, Catherine Wheels, the Dunedin Consort, Lung Ha and Visible Fictions will now be given three-year funding deals.

"The £2.6m required for the funding reversal is to be found from ‘targeted funds’, a pot of money which Creative Scotland set aside for specific tasks.

This could mean money taken from the traditional and Gaelic arts, money for its Arts Strategy, cross-border touring or literature translation."

http://www.bbc.co.uk/programmes/b09r3nx5

http://www.heraldscotland.com/news/15924468.Creative_Scotland_to_revamp_funding_after_U_turns_on_controversial_cuts/

https://www.thetimes.co.uk/article/creative-scotland-funding-restored-to-five-groups-after-protest-d9g0fkb6z

Wednesday, 14 February 2018

Select, Copy, Paste - Execution - Sunday Feature - BBC Radio 3



In the second programme in this series exploring the impact of technology on creativity the focus is on the execution of ideas. As technology has improved how has it enabled artists to create new kinds of work?

Musician Holly Herndon reveals how technology is not only central to her creative process but it's also key in terms of subject matter. She responds to the impact of technology on society and is raising an AI baby that she's teaching to sing.

Doug Eck from Google's Magenta is also looking to create new forms. His goal is to create a new form of art, generated by computers. If fifty years of music was driven by the electric guitar, perhaps it's time for a new type of sound generated with the help of machine learning and AI?

Visual artists Trevor Paglan and James Bridle reveal the hidden infrastructures of the internet.

Writer Ed Finn asks what impact these technological advances are having on our cultural output? Instagram's filters may make us feel creative but does increasingly average perfection lie ahead?

Computers can help us paint, write stories, design objects and compose music, but as technology is heralded as an enabler to a better life, do we risk losing sight of that spark of imagination that makes us human? If human beings are no longer needed to make art, then what are we for?

Colour scheme for next exhibition

Over the past few weeks I have been creating the design for a wall drawing that I am going to be exhibiting as part of a group exhibition called Bitter-sweet at Assembly House in Leeds.

Today I finalised the colour scheme and design. Here is a sneak preview




Monday, 12 February 2018

Select, Copy, Paste - Conception - Sunday Feature - BBC Radio 3

"Clemency Burton-Hill presents a series exploring the impact of technology on creativity. Across three episodes she traces how technology has shaped the creative process, from conception and execution, to sharing and experiencing. Technology may help us to be more productive, but does it make our ideas better?
Artists are both preoccupied with technology and empowered by it. Technology underpins the way we live, but how does the technology artists, writers and musicians use change the way they create?


In the first programme she focuses on conception - how technology has shaped the way we have come up with ideas over the last 50 years. We examine the impact of a seminal event in New York that formed a brave new alliance between art and technology. Electronic music composer Suzanne Ciani explains how she trained as a classical composer, but was frustrated by the limitations of the instruments and sought answers in a new instrument built by a former NASA scientist. Pulitzer prize-winning composer John Luther Adams finds his music in wild exposures; a cabin in Alaska that was his home for close to forty years. For him the tool he keeps returning to is a rare discontinued pencil.
Computers can help us paint, write stories, design objects and compose music, but as technology is heralded as an enabler to a better life do we risk losing sight of that spark of imagination that makes us human? If human beings are no longer needed to make art, then what are we for?"

http://www.bbc.co.uk/programmes/b09kptx0

Sunday, 11 February 2018

Sean Scully: 1970 - Artist Talk at Newcastle University

To mark the opening of the exhibition, Sean Scully: 1970, Newcastle University and Tyne & Wear Archives & Museums hosted an artist talk with Sean Scully.

As ever, Professor Chris Jones offered his considered thoughts, on, in this instance, the work of Sean Scully. He spoke about how Scully was able to evidence the humanising potential of painting. He also mentioned a couple of anecdotes that explained Scully's significance to Newcastle, in particular to the fight to keep the Hatton Gallery at Newcastle University. It therefore seems fitting that Scully's exhibition is one of the first after the major renovation.

Scully spoke simply, honestly, with humour and in a way that allowed his strong character to shine through. "Born in Dublin, Ireland in 1945, Scully moved to Newcastle in 1968 to study Fine Art at Newcastle University. During this time, he began to develop his iconic style of technically flawless paintings, consisting of a complicated grid system of intersecting bands and lines." He was keen to refer back to times as a child and memories of activities that had an impact on his future artwork. For instance, when he was a youngster, he used to darn socks and engaged in more feminine activities such as sewing and weaving. This influence is evidenced in his weaving sculptures and grid patterns.


Scully spent time in Morocco where he was inspired by the visuals of Islam. "The world of Islam is a world of rhythm as opposed to image". It was after his trip to Morocco that he began painting in lines. He created grid paintings that acted as portraits of bridges in Newcastle showing layers of simultaneous activity, layers of order. He liked to fight between formalism and informalism, and was attempting to break order with order.


Scully believes that there is nothing pure about his art, and embraces impurity. He regards himself as a fusionist; an integrationist.



Later, when he moved to America, his paintings became stripped down to the essentials - lines and stripes. Working on aluminium sheets, he slices paintings, making them seem unstable.

Scully also spoke about his sculptures, but I don't think that these are as powerful as his paintings. Perhaps that is because he does not make them, but has a team of people who make them for him. I was surprised to hear that they even go against his colour choices, and this makes me question is role as an artist.



It was a fascinating insight into the development of a significant body of work over a substantial period of time, and his entertaining delivery of the talk made it all the more enjoyable.

Thursday, 8 February 2018

The lack of funding for Glasgow Art Gallery Transmission

As a member of the Glasgow Art Gallery, Transmission, I was disappointed and shocked to hear that the arts funding body Creative Scotland has dropped the gallery from its 2018-21 portfolio of regularly funded organizations (RFOs). The impact that this is likely to have for the artistic community is significant. The following article by CHRIS SHARRATT featured in Frieze magazine, examines the situation.

Why Did Creative Scotland Defund Storied Glasgow Art Gallery Transmission?


The gallery argues that the funding body is no longer supportive of institutions that maintain a principled refusal of professionalization



For many Transmission gallery is synonymous with contemporary art in Scotland, an artist-run Glasgow institution that epitomizes the DIY attitude that has helped establish the city as an international centre for art. Judged on its recent actions, you could be forgiven for thinking that the arts funding body Creative Scotland favours a different view. It has dropped the gallery from its 2018-21 portfolio of regularly funded organizations (RFOs), a move that, based on its award for 2015-18, will lose Transmission guaranteed support of GBP£210,000 over three years. It is a decision that has left artists, curators and gallerists expressing anger and disbelief.

Transmission was founded in 1983 by graduates of Glasgow School of Art and has had a key role in the city’s visual arts ecology ever since. It has remained a vital, continually evolving force, in large part because of the way it is run. With a membership of more than 300, it is led by a rolling voluntary committee – typically consisting of six people, although at present it is four – with committee members usually staying in the role for no more than two years, occasionally more and often less. It’s a model that ensures a continual process of renewal and, by its nature, dispenses with the usual arts establishment hierarchies of CEOs, deputy directors and chief curators. Past committee members have gone on to become internationally-known artists and gallerists, and include: Claire Barclay, Christine Borland, Douglas Gordon, Jim Lambie, Tanya Leighton, Carol Rhodes, Eva Rothschild, Lucy Skaer, Simon Starling, and Modern Institute founding director Toby Webster.

The Glasgow-based artist Martin Boyce was on the Transmission committee from 1991-93; The Modern Institute, which represents him, is just around the corner from the King Street venue. ‘Transmission was and is an outsider,’ Boyce says. ‘It allows artists to be responsible for cultivating their own ecosystem that then develops outwards into the city and beyond. It becomes part of the DNA of the artists themselves.’ Remembering his involvement as a recent graduate of Glasgow School of Art, he adds: ‘For me, Transmission was a lifeline, a school, a salon, a gathering place, an invitation, typewriter and a photocopier, an excuse to reach out to other artists, self-determining, responsible, tentative, self-perpetuating, open. It was the first port of call when artists and friends arrived off the train.’

Katrina Brown, director of Glasgow’s Common Guild gallery and a former director of Glasgow International, was a Transmission committee member at the same time as Boyce. She echoes his point about Transmission’s importance to the city and its artists. ‘It’s such a fundamental and foundational component of the [Glasgow] ecology that it’s impossible to imagine the landscape without it.’ While accepting that ‘not everything should necessarily exist for ever just because it has existed once,’ she describes what the gallery offers as ‘rare, special and important’, believing it ‘fosters a strong sense of both individual and collective agency which has undoubtedly fuelled the now legendary DIY spirit in Glasgow’.

Brown also points out that the Transmission model has been copied by other artist-run spaces in many countries. This is undoubtedly the case, although aspects of its approach have in recent months been put under close scrutiny by the Transmission committee itself. In June 2017, it took the surprise step of postponing the gallery’s annual members’ show, citing ‘multiple burnouts’ amongst the committee due to the pressures of fulfilling their unpaid roles while also holding down paid work. The committee’s decision was accompanied by a pledge to strive ‘towards an alternative’ model that doesn’t rely on free labour and all the stresses and social barriers this creates. It seems that Creative Scotland concluded that an organization in such a constant state of flux does not belong in its portfolio of RFOs. Amanda Catto, Head of Visual Arts at Creative Scotland, puts it differently, stressing that the decision: ‘was not taken with any intention to damage Transmission. We respect and value their very long and quite exceptional history in terms of being an artist-run space’. Citing Creative Scotland’s Visual Arts Sector Review, which was published in October 2016, she tells me: ‘There are many artist-run spaces across Scotland, it’s a different landscape to 35 years ago. What we wish to do is create a targeted fund that will support many artist-run initiatives across the country, including Transmission, and create a much more considered and strategic response to their needs.’ She adds that the gallery has transitional funding in place up to October, ‘and then we will work with them to see where that leaves us’.

Transmission was aware of the still to be confirmed artist-run fund when it issued its robustly-worded statement in response to the Creative Scotland decision. It expresses the view that Transmission was considered ‘too messy and unpredictable’ and ‘subject to quick change’ for Creative Scotland to continue investing in it: ‘Transmission believes that Creative Scotland has chosen to cut our funding because they are no longer prepared to invest in an institution that refuses professionalization, and yet by virtue of its unique history operates at a scale comparable to more professionalized institutions.’

Paradoxically, this rejection of professionalization makes the certainty of regular funding all the more crucial, offering continuity as the organizing committee keeps changing. And while Catto states that her organization is ‘very aware of the vulnerability and precarity of all these [artist-run] spaces’, to remove Transmission’s existing route to funding before any new strategy has been developed seems – whether by accident or design – to be perversely destructive. As Kirsty Ogg, director of New Contemporaries and another former Transmission committee member, puts it: ‘It’s crazy to think that the voluntary committee structure could sustain the gallery’s activity through project-by-project funding applications – they [Creative Scotland] clearly have no sense of the pressures that younger artists are under as members of the precariat. The incredible, cooperative membership-based structure that has lasted for 35 years needs at least one cornerstone of stability.’

The backlash over the decision to drop Transmission is just one aspect of a wider crisis that is enveloping Creative Scotland following its recent regular funding announcement, which included the defunding of three performance companies working with people with disabilities. Two board members – the journalist Ruth Wishart and Professor Emerita of the Royal Conservatoire of Scotland, Maggie Kinloch – have resigned over the lack of time and information they had to consider the decisions, with Wishart stating that Creative Scotland ‘finds itself a family at war with many of those it seeks to serve.’ In total, 20 organizations have been dropped. Other visual arts bodies that have lost their RFO status include the Glasgow-based public art producer NVA and Edinburgh’s Dovecot Foundation. (There have also been 19 additions, with Stills Gallery in Edinburgh becoming an RFO for the first time.) As for Transmission, Boyce captures the feeling of so many artists, curators and others in the visual arts who are perplexed by the Creative Scotland decision. ‘Transmission introduced me to the idea of a supportive network that has always stayed with me. It is unfathomable to me to understand why this ethos is no longer considered relevant.’

Wednesday, 7 February 2018

New typeface


Drone Ensemble experiment with vocals

I am working towards my audio visual installation to be held at The Word in May, and will be collaborating with The Drone Ensemble to produce the audio for the installation. 

After an initial introduction to my project and discussion about how the collaboration could work, we had our first rehearsal and experiment on Monday evening. I specifically want to work with voices, and it will be the first time that The Drone Ensemble has used vocals as part of a performance. 



We began with some vocal exercises to warm up, and then gave each other a phrase that we had to say. Joe had been making some instruments that would alter the sound of the voice, or alter how the voice is heard. By speaking into two circular discs, the sound gets amplified for the speaker, but it does not really sound much different to the listener. Is this like the experience of an auditory hallucination? Would attaching contact microphones to the inside of the discs enable the amplified sound to be heard by the listener?

The second time that we did the exercise we also added the friction drum, and this made a real difference. People began to gain confidence in what they were doing and we established some links between what we were each doing. At times there was rhythm and other times none. 

We listened back to what we had recorded, and went through the aspects that worked and those that did not work. I am going to do some further preparation work prior to our next rehearsal and we will continue to develop the performance.

Sunday, 4 February 2018

Testing projections at The Word

On Friday I visited The Word to do some technical research in preparation towards my forthcoming exhibition in the Story World area of The Word.

Story World is a white space with four slightly curved walls and four projectors that project onto each of the four walls to create an immersive environment.

I had prepared a number of videos and still images with different aspect ratios and wanted to establish which format would be the best for the room, and whether I would need to create masks in order to avoid any of the projections bleeding onto the wall or floor.


The image above was an animation made on clear 16mm film stock. The colours were not as vibrant as I had expected, possibly because the room is not totally dark. There was some bleed on the floor, and when the projection went to the ceiling, the projector shadow was visible.


I also noticed that the edges of the shapes in the animation did not seem as crisp as they appear on the original film, but this will be because of the amount that the image has been enlarged by.


The image below shows a projection of an animation that I made using the black 16mm film strip.




The image above shows a panoramic view of the 3 walls with the same projection on.



In these images, the projections with the hexagonal patterns have been applied with a template so that the top part of the wall is not projected on. This eliminates the shadow from the projector from being in sight. The other wall with the black film image still has the bleed on the floor, but the image goes all the way to the top of the wall.



These show the projection with the template applied reducing bleed to the ceiling and floor.



My mission now is to decide what I prefer and create an appropriate template for my footage prior to creating the video file to be projected. Wish me luck!