Experiments

December 28, 2008

These experiments are to be completed in January 2009.  

They are to probe and question, in observing the landscape, the propensity quantitative information has to  to be observed/translated/represented in a qualitative way.  By using painting as a technology in itself, these experiments are designed to re-inject methods and conclusions — producing a techno-natural set of data about the landscape — back into the painting process.  

1.    Night Vision Drawing/Painting

Go outside at night.  Set up drawing station or painting station with a flashlight.  Then put on night vision goggles.  Make ten small charcoal drawings/paintings.  Note how depth perception is effected by infrared light and the use of one lens instead of two.  Is it hard to look at things in close proximity to the goggles?  Can you see further with the goggles on? Analyze shapes

2.  Night Paintings

Make paintings at night using your own faculties of sight and whatever light there is available (moon, streetlights, houselights etc…)

3.   Diagramming Landscape

-Sharpie landscape drawings over paintings of Peaks Island, ME and Center Harbor, NH are respectively and distinctly labeled within contours of shapes.  These shapes include SNOW BANK, TREE, SKY, ROAD, ROCK, and PILE OF LEAVES etc. The words are labeled haphazardly so that the shape of the SKY is has the potential to become what we assume is the road until we get close enough to see a label that indicates otherwise.  The diagrams challenge our categorization of generic landscape shapes.

-2nd iteration: rubbings/ with charcoal, textures of things outside (bark, branches, twigs, ice, buds, nettles, dirt etc.) direct vocabulary created through a visual reference to texture instead of a label on a painting.

 

 

 

 

 

 

Continue the process already designed to make multiple paintings with multiple perspectives in sharpie marker, spray paint and masking tape.  Change the process to include a large piece of paper gridded off into squares so that the pieces of used masking tape can be placed respectively in each of the squares after being spray painted and removed from the paintings.  

4.  Pedometer/Heart Rate Monitor

Measure the amount of steps it takes to do daily activities.  

Measure the amount of steps i take in taking a walk through the woods.  Measure my heart rate while taking that walk.  diagram and then make a painting illustrating the experience abstractly based on the information gathered by the pedometer and heart rate monitor.  

5.  Paint By Month

-This experiment aims to push myself to develop a practice for larger landscape paintings, which synthesize the different painting styles I have explored in the past year and a half.  There will be four paintings each 36”x 36”.  One will be completed every month and be titled as such.  Four colors of spray paint (along with other painting materials) will be used each month with one can changed out as time progresses.  Each month I will note other practices I use to complete the paintings i.e. memories, stencils, photographs etc.

2nd iteration: Layering multiple perspectives of the land on Peaks Island as seen from walking, memories of walks, objects gathered on walks and looking out my window.  I began to use plaster as a new material because I could not get the paint thick enough on the large canvas to add textural contrast.  

 

January 2009

January

February

February

 

 

 

 


6.  Monitoring Masking Tape / (Organizing Organic Masking Tape(Matter))masking_grid_12092

7.   I s Land Tags

Take spray paint and tag out on a walk(s).  Find a rock/wall/cement area that could be used to create a scene in masking tape inspired by where you are standing and what you see.  Spray paint the negative space.  Photograph the shapes created in the environment they now exist. Note how they are affected by their surroundings or how the marks themselves affect the environment.  Using a map, mark where you have put this mark/tag.  Recreate a map using only the new marks created in the landscape as guidelines for how to travel through the space in between these marks.

2nd iteration: Map out 5-10 different places to make a painting on the island.  Title each place.  (Beaver dam, centennial beach, ferry dock, john trot park etc.)  Bring a large canvas to be added to at each spot to layer each place.  Also, create a small spray painted/sharpie painting at each spot.  In the end I will have various images on different small paintings (titled with corresponding place made) and one image created by layering a single interpretation of each place on one painting. (Titled with the accumulation of place titles) possible poem could emerge also.

8.  Drawing from Photography

-Draw a Peaks Island landscape from a photograph to create a relationship between abstract and representational landscapes. Also interest in drawing something still (not alive or moving)

2nd iteration: draw large and on site (40”x50”) interested in drawing from life the different experience of being outside on site drawing instead of painting.  Also representational.

9. Putting Sylus to Sleep

-Qualitatively describes the quantity of time it takes Sylus Caswell to fall asleep. Six tracks recorded in Garage Band and compiled on a CD of pre-midday nap lullabies. Each track is titled by date.  The length of the tracks vary from seven to ten minutes while the quality of each remains constant as to deliver comfort and safety in repetition and tradition.

-2nd iteration: Recording in garage band the quality of the quantity of time it takes Sy to fall asleep.  This iteration focuses on Sylus’ conversation with those in the room while he is being put down and the folding of a child’s learning language development with an adult developing their vocabulary of musical language.  The type of musical language being honed is individual notes. Therefore, there is no singing or chords being played to lull him into sleep, rather, a collection of single notes strung together in simple song and repeated.  

 

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