Monday, 27 September 2010

Identifying & Evaluating Creative Strategies I Have Previously Used

  • Focusing & Masking: As part of my cities project last year I developed a series of photographs in the style of Gillian Wearing.  I used photoshop to blur out the faces of the people in the shots in order to express their anonymity in an environment lacking human interaction.  I wanted the images to be a series of insights into the lives of the people who share out environment with, rather than a series of portraits.  By masking the faces I drew the visual focus onto the signs that the people has written and held in an attempt to portray my idea of an insight beyond the visual exterior of strangers.
I think that these strategies were effective in achieving my desired intentions regardless of my questionable photoshop skills.  In applying similar strategies with film i anticipate that i could achieve similarly effective results.  I plan to experiment with focus through layered composition of frames as well as lighting techniques.  I'm interested to explore the capabilities of film as a versatile medium to convey the symbolism of objects within carefully constructed frames.
  • Focusing: The body of work i created for my digital photography elective last year explored the beauty of naturally occurring pattern, colour and texture.  I did this by zooming in on tree bark eliminating the recognised object to elevate my desired focus.
  • Dissolving: to conceptually highlight the similarities between the skin on my face and the bark of a tree, I used Photoshop to apply the bark texture to my face merging the two components symbolically dissolving the original object (the tree).

  • Improvisation: In an interactive installation I put together for last year's collaborative strategies project, I interviewed members of the public after they had experienced my installation.  I had a general intention to record their receipt of the artwork to determine weather or not I had achieved my intentions, however the loose framework of questions I had prepared to ask was improvised to react to individual responses.
Improvisation is key to capture the spontaneous and unexpected effectively.  This strategy will be useful in any filming where certain elements are uncontrollable.
  • Diffusion: My installation 'The City Is Nature Too' (, was based around a comfortable armchair positioned in the hustle and bustle of the city centre.  The altered territory of the object provided a different perspective and experience of the space which supported my artistic intention.*
  • Mapping: mind mapping is a consistent component of my ideas development.  Visualising the links and connections between ideas allows me to follow the development process back to make sense of where my ideas are originating from.  Mapping was a vital tool in my collaborative project as joint mind maps identified where mine and my collaborative partners ideas met and connected.
  • Substitution: In last years 'Skin/Trace' project I replaced the surface pattern and texture of orange peel, with a traced laser cut etch of my own skin.  The substituted texture and pattern applied to the material made a visual connection illustrating my conceptual  ideas.

  • *Changing the Context: Furniture as associated with the comfort and safety of the home, created an environment and viewing angle with preconceived notions of relaxation and none-intimidating territory.  The chair in its new context created an environment conceptually conflicting atmospheres and the viewers experience of a space.
  • Artificial Restrictions: In order to focus the visual sensory experience of the city centre, my audience wore headphones playing recorded sounds from the natural environment of Hyde Park.  This restricted audio in an attempt to challenge the ability to observe.
  • Interpretation: The installation manipulated the combination of strategies I have discussed, by providing a situation where by the observer was able to read the surrounding environment from an alternate angle from the everyday 'norm'.

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