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We looked inside some of the posts by elvisboothclaveria400sem1 and here's what we found interesting.
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Fun Fact
The KCSC sent more than 20K requests to delete posts related to prostitution and porn to Tumblr from January to June 2017.
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Collaboration Reflection
Moving through the creative process with someone else was really rewarding and allowed for more synthesised production from the audio and editing styles to the vulnerable nature of performance, nudity and filming.
We had a play list that we collaborated with that held teh songs we listened to on the drive there as, when we were filming in the studio and that helped us imagine the audios.
My own approach is very internally informed and and decisions often presenet themselves to me in a predetermined foreshadowing experience with Jack being heavily theoretically informed it created pockets of compromise and allows a layered element of companionship and relationship buidling to the body of works
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My enjoy internship - Performance program
through my internship
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Summative Planning/Testing
We decided to explore the still image potential in Breathless,Ere We Overwhelm as there was a reoccuring comment about it.
jack and myself both had to learn alot about on Photoshop
We intially planned for a series of 5 images using the same double imge lyout of the video work but after some testing and alot of selecting we wittled down 60 stills to 16.
We discovered that it would work best to have 2 tryptichs on the wall instead retaing the same separation as in teh videoJack on teh left and myself on teh right
We printed them on the inkjet printer initially we were going to use gloss but decided on spotlights rather than just overhead lights so went with a matte paper to avoid the black glare and to create a more life like residue with the skin
This is teh smallest we've presented our bodies the most fragmented but wanting the lines of skin an dlimg to create a new horizon across teh wall
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Writing I've been working on through out the semester
I feel my skin stretch out over branch and rock. Shifting the air and water around me.
Carving out my breathe each time, deeper into my diaphragm.
It harmonises with the wind and the leaves shaking then gets left behind
Joins the deep hum of the stone, creating heat at the point of contact that warms and reddens
Extending flatter than usual, folding and letting my skin kiss itself
My skin biting onto the bark collecting its dust in the hair all over my body
At moments I feel the gravel standing at attention, watching me offer my scape to theirs
The grass cares less
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When the tape on my chest starts to go transparent and the smell of the dead skin cells beneath appears
its time to do it again
Usually once a week every 5-7 days
If I can be bothered I’ll soak it in oil allowing the adhesive to loosen but often I’m too impatient
I peel it back ripped dead skin, hair and sticky residue
The skin red and rough except for the part where the skin is pulled over itself
That part is so smooth practically hairless
Pimples sit lumped, from lack of sunlight and air hard and under the skin weep
Showering away what I can with multiple passes of soap picking off soggy clumps go
When I bind my chest I lay flat on my bed
the soft comfort of my bamboo mattress squishy and swallowing me up
My head propped up on a pillow to get the angle right
My chest scrubbed clean and dry from oil, sweat or water
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When things are so bad they look good
Is the same as when you’re so lonely that you begin to remember your own company.
When things are too good that they turn bad
Like when you're wrapped in love but there’s a drought
I can feel it in my kidneys..
I don’t know if I’m good or bad company
I’d like to be looked after
No one has looked after me in the way that I wanted them to yet.
I think my favourite parts of most of my relationships are when we aren’t talking but are actively together.
Stones on the bed.
Sand is too rocks what ants are to us, perhaps.
I think about my hair too much
I talk about my hair too much
Sand on the beach is to the hairs on my head.
I need to telll at least 1 person a day about what I did
It makes me feel real
The jack in the box that was left with just one more crank til he was out.
I’m waiting.
My chest hurts and my feet are numb,
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Dan and Brooke from enjoy Notes on crown shyness and breathless ere we overwhelm
First shot - pink flare
Post internet composition - Microsoft screensaver
Synthetic quality to it the camera and projection
Contemporary clothing or the strength od nudity
Colonial relationship with land and white
Holly Childs
Landscape- colonial tool
Pull it out of the landscape?
Digital aspect of intervention
Pursuit gazing out
Yale Bartana
Juliet carpenter
Clip length
Faf swag
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Screening Event with all 4 collaborative works
Myself and Jack Ellery decided to host a screening event at the cinema on campus, with the 4 videos that we have created collaboratively in the studio this semester so far. We approached a couple of artists that are in our community in Poneke that have video practices with themes surrounding ours which we condensed down to a description of ‘the body and transience’ to keep it open and approachable while communicating. We got a reply back from one but he didn’t have a very good archived version of the video we wanted other than the one that was uploaded to YouTube. The other person we reached out to didn’t get back to us until the day of the screening. In the future allowing more time to coordinate will be crucial. The poster pictured below, for the event was designed by myself with stills from one of the works in the reel Denudation. I was hoping to depict and entice what the screening would be like. We posted this on instagram as a collaborative post that would show up on both Jack and I’s accounts which have about 2,000 followers combined. We gained access to the space in the afternoon prior to the event and had reported all the videos with better colour grading and to eliminate any glitches from prior showings as we knew that projecting them that largely would exacerbate any hiccups. We also created title cards and credit cards so viewers would know where they were in the reel. The run time of all 4 videos with titles was approximately 40-45 minutes, which we thought was appropriate to expect people to sit through as it’s being held with a venue with comfortable and accessible seating and amenities.
The quality of the images and the audio displayed through the technology at the venue I believe was successful. It retained its crispness and saturation and the panning and reverb through the audio was clean and elevated from its usual test space display. The ability to watch 4 works back to back created a strong direction of Jack and I’s practices that was enjoyed by the small crowd but also provoked reflection for myself on what I’ve created and where I’d like to head next from what gaps of imagery or tone I noticed through the reel
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Editing studio footage for week 10 crit -
Editing strobed 6k footge and learning how export such complex files was a learning curve
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Research Seminar Presenatation -
1. ‘Research questions’: what questions does your practice activate, what is its key focus?
My artistic practice primarily centres around embodied performance often documented and translated into a video but can extend into a wider sculptural/installation experience, my own personal positionality as a queer trans pakeha in Aotearoa largely informs my approach and output. My own queer identity is woven throughout and informs my research interests and practice as well as the relationships, contexts and spaces I’m in when creating work, they’re not objectively obvious to some visually but I see queerness as a point of view into relationships and worlds rather than an isolated experience or definitively depictable element.
My practices key focuses exist in two parts in my mind:
The initial ideas and processes are fueled by an interest in internal and positional exploration of my body and landscapes or spaces and the relational potential between them.
The body, my body; its movement through space, interaction with water, and how it responds to clothing or none—has always lived right at the front of my thoughts, terminally aware, perhaps more so than the average person, as I've come to realise over time. My earliest memory of this heightened awareness starts at my introduction to dance classes at the ripe age of 3. It was a ballet class, and my mother enrolled me with her intention of instilling good posture and coordination, though I think her desire to adorn me in those adorable pink outfits and showcase me on stage as her cherished doll played a part as well. I genuinely appreciate this foundation in dance that my upbringing provided, but in retrospect, I recognise that the years spent meticulously analysing and refining my own body in rooms adorned with floor-to-ceiling mirrors, week after week for 15 years, may have contributed to an elevated sensitivity regarding my own physical presence. An enduring connection between self-awareness, bodily expression, and the expectations of others continues to be a prominent thread in my life and artist practice.
To imagine and then enact is to perform. To react to stimuli is to perform. To have an audience is to perform. Performance and animism's relationship to each other creates a world where no matter where you focus your attention you can become an audience to both the emotional and casual theatrics of life on earth.
The second key question or check point comes into play once I feel satisfied by accumulating different residues through performance video, audio, writing or sculpture I turn my attention outwards into the experiential potential of art. Understanding the atmospheric potential by tuning the presentation and path to engagement.
As the initial part of my process is deeply internal and its visual content often engages in cathartic and emotional embodiments of my own life but once that’s been achieved my approach to utilising contextual variables such as light/darkness, audio amd physical orientation it creates a new way to interact with video media, as I recognise how a lot of the general public have a high frequency rate of interaction with video media whether it be the classic living room television, a 3 hour doom scroll on social media platforms or even digital billboards while you're waiting for the traffic lights. Utilising projection to control shape, light output and surface mapping where possible instead of LED screens and incorporating raw materials; woods, metal, cottons, water and hair allow this symbiotic relationship within my practice to develop.
I’m interested in creating not necessarily something so obvious as an emotional response but an atmospheric response where using one or multiple sensory stimuli creates a pocket to contemplate the dynamic of their own body to their own worlds. Introducing sculptural objects or installations into my works to achieve this has been a series of research that I’m unsure yet is successful or satisfying for myself.
Some key words to my practice and thinking
Scape
The dictionary botanic definition of this word is “ long flower stalk coming directly from a root.”
It's also a suffix that is used in “denoting a specified type of scene”.
For me both of these definitions feed into my practice themes. The poetic nature of the root also being the same line that the flower blooms on mirrors imagery of a body standing on the land/whenua that there's a direct line of communication. For the latter definition being able to describe any surface or space as a scene allows me to draw parallels between them. For me it's often in the context of the body-scape and landscape emotion-scape.
Skin
The skin is the precipice of when what we’re talking to or about starts and ends. How it shifts a viewing experience when it’s seen in close proximity like in my most recent work with Jack Breathless, Ere We Overwhelm where the use of large strobed clips of skin studies stood large filling the whole wall pushing the space into darkness when not showing an image or when its completely removed and flattened away from the body in my work from 2023 Buck Wild where I was just a superimposed silhouette of myself krumping on top of separately collected landscape footage displayed on a CRT TV with a moat of pointed metal crowns surrounding to create even more distance. My relationship to skin as a container and activator murmurs always.
medidate/breath
Meditating and breath are both key parts of my performances. The phrase or mantra I hold when doing this is - The earth is my bed, my stage and my altar. A performance ends and another begins. We leave one space to enter another, tuning its atmosphere by our breath/liveness with space, sound, smell. Heightening our sensitivities to these attunements.
Performance unifies our conceptual and artistic formalities with embodied activations and sensations. Sharing to a live audience or for documentation to be re-presented. To create residual artefacts.
Things I’m interested in
Queer Theory
Jack halberstam
Val smith
Autotheory
Hydrofeminism
PErformance theory
Jahra Wasasala
Animism - Edward Scheers Animate Atmospheres and Martin Patricks Exploring Posthuman Masquerade and Becoming from Animism in Art and Performance
Holly walker - Masters thesis P ā K E H ā (Body In Between) I D E N T I T Y.
‘When I fit my body into a space, the rock silences the environment outside, I can hear my heartbeat in the silence it allows me. I feel a sense of a shared body.’(69,2021).
Ana Mendieta
Cultural Media
SOPHIE xeon
The
Queer Futurism
Andrei Trvkosky
Solaris
Mirror
Orlando - Sally Potter 1992 Virginia Woolf
Foreign Body - 2022 Earlier work
Titled in reference to Mona Hatoum's work, I was at a point where I was reconciling the political and abject nature of my own body. The work consisted of paintbrush like objects that were made of coast wood I sanded down and bristles that were collected from different parts of my own body hair. That was activated by attached water dispensers that precipitated water along the materials creating a rhythmic audio that enlivened the space.
Collaborative threads that are woven together in my practice allows me to open my peripheral thinking and understanding and remembering that conceiving and creating can’t exist in my own exclusive world. The mirrorball with the most small fragments shine and reach the furthest and I think that explains how I approach collecting help, support and opinions from those around me. I feel this approach stems from my previous experiences of girlhood in a way and being able to acknowledge that there is responsibility to know when to ask for support, critique and fresh eyes.
My work ‘Scape’ made in 2022 was a sculptural video installation that was drawing parallels about laborious relationships and emotions that the human body and the natural landscape both endure and where those visual images can intersect and play off each other. For this I filmed myself workshopping and performing a number of sequences that included weight bearing, counterbalanced movements with a friend.
I’m Currently working in a collaborative partnership with Jack Ellery in my studio practice creating documented performances in video audio ; Denudation, Crown Shyness, ‘Gainst the Horses of the Sun and Breathless, Ere We Overwhelm. We’ve travelled to spots from Makara to Miramar Peninsula surrounding Te Whanganui A Tara spending time with each space and scene. Working with Jack allows us to share these conversations, imaginings, moments and labour to create richer outcomes as we share some positions but also hold and bring some completely separate experience and motivations.
Finally, in brief, talk aloud and demonstrate the structure of your essay and the organisation of its ideas.
Will separate and organise my ideas by internal queer movement , external landscape scene then connection installation and relationship between media .
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Week 10 Friday Crit
w/ Israel and angela
Intuitively make me feel more into your body having tension
Discord between imaghery and audio in begining then asit progresses in falls into unision quit esatufying
Wanted to dance
Becomes seamless with speed
Duality - the seperate body make qustions arise is there a binary in question
Whos are these body
Hows it political ?
Fragmented body - why rent we allowe to se the full
Masculine and feminine - then tension between difference approach to movement
more tethered to the wider slower feel like i can follow
the bodies shield eachother - create privacy by the duality as you can't fully focus on one
Birthing process reding - the difficulty a coming out process
Would love to see next to the gainst the horses language of landscvpe to bopdy landscape
page like format - a flipbook questions a natrual or created order
the ground is quite prominent - the relayion to effect of groundness
The white studio creates an infinite space - subtle shaodws interesting
The choreography whats driving it - the body as a material translates- moulding nd forming
Audio is succesful in invoking movement in the work susatains interest
editorial
the binding on my body is more obvious in this work more vulnerable and personal
Fluid vs rigid movement and the wueerness
youtube
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Week 10 Tuesday Crit
youtube
Tuesday week 10 Crit notes
Moments of desperation
Forcibly moulding into strata
Soft and sticky rocks
Suspenseful
Audio ominous
Filling paths through scene
Small and static vouyeristic
Childlike eg roll poly
Struggle and uncomfortable
Descent and ascent
Continuity when scene cuts away and comes back
Colonial landscapes
Characters
Humour
Framing into moment
Closer diegetic sound
Jeff Parker’s theatre country
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Eugenia Lim - Metabolism @ Enjoy
Really great australian video essay using land as body and body as land to explore drone and landscape cinematogrpahy with an amazing audio
---------------------------------------- "Created across seasons, in dialogue with the site-as-protagonist, Metabolism considers the interdependencies between human and more-than-human bodies, interior and exterior ecologies, and the consumption, colonisation and capitalisation of body-as-land."
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Christchurch City Gallery - Heartbreak in the Springtime
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Week 9 Lecture: 7th May 2024Shannon Te Ao
- Tāhū collaboration with Tamsen Hopkinson - light work for THE FIELD @ Geturde Contemporary Melbourne
- Audio Mikey Young
- Layers and points, the space between there and journey. Getting to the next place along a timeline
- Twilight the space between day night blurry where he's at in his practice
- Luminous intensity, reflection and aftereffect. Value
- Fault Ralph Hotere and Bill Culbert referenced in Tāhū
- Works that travel and exist with different communities
- Simple ideas discussed and explored in complex ways
- As straight line manifested into reality isn't simple - put into architecture and other works. How does it exist from different vantages
- Hara 2022- Showing small bits in shows not necessarily new work. Modest participation can be a valuable exchange
- The curation of show is so cohesive so feels like a singular exploration/journey
- When moving from remembering to imagining
- The image projected into shooting space and then performed infant of then taken still and printed into image -creating layers
- Only made works between these 2 spots that he whakapapas back to surrounding lake Taupo
- Personal spiritual connection to that whenua
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