processandenquiryjodierundell

[processandenquiryjodierundell]

10 images

[processandenquiryjodierundell]

Artist Statement

Throughout my practice I’ve always adopted a playful approach with materials and research and have always embraced this. Although I’ve worked with colour often in previously projects, I’ve never had a formal understanding of colour theory and how colours actually work together. I wanted to challenge my way of working by using colours consciously, and deliberately as opposed to what I’m used to, for fun. Throughout the project, I consciously kept the unpredictability and evolution prompts to mind and interpreted this through the perceptions of light and colour. Exploring the absence of colour and painting with light, watching and feeling the effects of the energy shifts from the colour change.

My work ended with the focus of vibrational boundaries, and the unexplained process of our eyes making still images move through the contrast of colour. I rely on the unpredictability of the viewers connection with the work to showcase the impact that colour has on the human eye.

[processandenquiryjodierundell]

Project Statement

Using the words ‘evolution and unpredictability’ and embracing the unknown throughout the workshops. My work has a strong concept of light and colour throughout, and I aim to create a body of work based around this. Researching into colour theory and artists who work with colour and the absence of colour. Taking inspiration from Dan Flavin and his use of light and Marit Roland’s ‘drawing with paper’ series with paper vessels. Making work based around the relationships with colour, through sound with inspiration from Carsten Nicolai and their interpretation of how our surroundings sound back to us. I’m going to be developing work by playing with colour contrasts, looking into chromesthesia and document my research.

[processandenquiryjodierundell]

Final Time-Based Work.

From my developments, thinking and maintaining colour as my main concept. I was researching into chromesthesia, the ability to see sound as colour.

I wanted to challenge this and create something that played the sounds of the colour.

In order to maintain the unpredictability of the piece, I decided to use a monochromatic filter and erase all colour from the piece. Other than the frequencies of the sound.

Using the frequency of the colours and matching this with the frequency of sounds.

I wanted to create a piece that would have the viewer questioning what colour was what and what sound related to what colour.

Timings of the sounds being played are also thought out. The violet, cyan and blue at the beginning have smaller timings due to their tighter frequency and as the piece plays the timings of colours get longer, as though to play at the same length of time as the wavelengths look.

As opposed to just knowing and listening to what they see.

[processandenquiryjodierundell]

Developing from the paper vessels, I wanted to use different materials.

Thinking of colours in particular I opted to use a cellophane material that was transparent and holographic / iridescent. The aim was to make a huge spiral and hopefully turn into a cone.

Due to the material, and coiling the quills in a different way from the workshop. Opposed to using strips, these proved to fall apart too easily and were too delicate. I found making a huuuuge sheet of paper and rolling it from the corner gave the same effect but easier to manage.

When trying to pop out into the cone shape it was difficult to maintain this as it was too thin and flimsy to work with.

I then used a large roll of wallpaper and painted this as the UV spectrum - Red - violet - Blue.

Rolled this then re rolled it to create a larger piece. When left this unravelled into its own shape and I liked the outcome of this.

[processandenquiryjodierundell]

Final 2D Work.

After attending the post modernism lecture. And understanding that if the meaning has no absolute this would be a good piece to use with colour.

As we are seeing the colour; what makes this the colour?

By using text in the coloured background and using the opposite colour, I wanted to create something that would make the viewer question the piece as well as playing with the eyes and experimenting with text and vibrating boundaries. The unpredictability of the outcome and the interpretation from the viewer.

I could develop this further by erasing all colour and making it monochromatic, as to relate and correspond with my time based piece. But I really like the way the viewers react to this piece. It’s fairly simple but fairly complicated, and this is the feeling I’m aiming for throughout my work. Through vibrating boundaries and the meaning not being absolute, I wanted to create something that raised more questions than answers.

Also, on a note I never thought of - many colourblind people would find this a difficult piece to interpret and I’d like to explore and research more into this at a later date.

[processandenquiryjodierundell]

Artist research

Carsten Nicolai, sound artist.

I was particularly interested in how Nicolai works. Creating digital works based off of drawings and listening to how our surroundings sound back to us.

Relating this to my own sound work, I wanted to try make a piece that would allow the viewer to hear the colours.

‘Carsten Nicolai originally trained as a landscape architect and his knowledge of among other subjects geology, biology and architecture is reflected in his works, which combine sound, light and space. The work unidisplay is inspired by among other things the organic and systematic spaces of Japanese garden architecture, and as in Japanese gardens you can sit in the installation on a bench and observe the endless digital landscape.

The shifting light patterns of the work and its continuous soundtrack create a dynamic aspect. Carsten Nicolai is preoccupied by the way time is always dependent on our perspective and rooted in our body and being. Besides issues of time and space Carsten Nicolai is also interested in all the ‘invisible’ sounds with which we are constantly surrounded in everyday life, and the sounds we construct through language and music, and which have a strong influence on us.’

The invisible sounds is something I’ve taken and applied to my own work, looking at colours as sound and matching their frequency to each other. Then in my final piece using a monochromatic filter to erase the colour and focus on the ‘invisible’

https://www.soundoflife.com/blogs/experiences/seeing-sound-hearing-colours-exploring-the-concept-of-chromesthesia

Also looking into chromesthesia. The ability to hear colour as sound.

For my sound piece I was looking to challenge and flip this on its head.

Looking to hear the colours as opposed to seeing the sounds.

I’m going to incorporate the unpredictability by confusing the colours or erasing all colour completely and using a monochromatic colour palette in order to make it more unpredictable.

[processandenquiryjodierundell]

Forms and shape from 2D -3D.

Taking the negative space from the first image and making it 3D.

Using the cone / quill shape and creating a reflective and holographic material. I created 2 pieces that when moved and self standing would reflect and create different reflection based on the object or environment around it. Using this as inspiration for my final piece.

I like the shape of the cones and the unpredictable way that the shape presents itself.

[processandenquiryjodierundell]

Minimalist line drawing based off the frequency lines and wavelengths, paper pen and watercolour.

[processandenquiryjodierundell]

Cast of small cones / tubes from paper.

Accidentally kicked and broke the full piece after this photo but it looks like crystals, but the paper thin fragility of it is something I’m drawn too. I might develop this further at a later date.

Using colour on the inside of the vessel to make a colour on the plaster.

And using different light colours to change the vibe and feel of the piece.

Using the unpredictability of colour to change the set and atmosphere of the piece.

[processandenquiryjodierundell]

Using the quilled coloured paper I interpreted the Hz waved from each colour in terms of thickness. I made the paper quills thin - fat and slanted them, it wasn’t meant but as the tubes got thicker as did the negative space lines and it incorporated the frequency wavelengths along with this in both a positive and negative space manner.

[processandenquiryjodierundell]

More 2D developments using contrasting colour to create a vibrating boundaries from the eyes, when moved the black and white one looks like it spins.

Circles and spirals are quite a constant form and shape throughout my work so far so I’m looking into playing around with that some more.

https://learn.ncartmuseum.org/artwork/vibrating-boundaries/#:~:text=This%20is%20a%20large%2Dscale,that%20combine%20painting%20and%20sculpture.

Taken inspiration from vibrating boundaries and Martha Clippingers exhibition on this. I like the unexpected way the eyes translate the colour and shape and the boundary between fine art and craft.

Using a lot of cut and stick technique to create the waves and movement from works.

[processandenquiryjodierundell]

Digital edits using contrasting fluorescent colours to entice the vibrating boundaries from the image and colour.

[processandenquiryjodierundell]

From the large folded forms workshop, I tried to create the visible light spectrum gradient colour line from a sheet of wallpaper; I didn’t like the final outcome and changed this to a Red - Blue UV piece.

Shining different spectrums of colour over this to see how the light changes and reacts. Using UV light and trying different colours together to see the reactions together.

[processandenquiryjodierundell]

From an exhibition with placement.

The artist using the words and colours separate, I’m going to incorporate this into my unpredictability of colour.

[processandenquiryjodierundell]

Artist research

"The Treachery of Images" by René Magritte - An Analysis

After our lecture on Post Modernism, I was listening to how when the prospective of 'the meaning is not absolute' and being introduced to Magrittes, ' The Treachery of Images' and this is not a pipe, I was thinking of how this is relating to colour, and the questions of why green is green and not red when the meaning isn't absolute. Then looking back to our semiotics lecture and how certain colours are attributed to certain feelings and signs, green meaning go and red meaning stop. I am incorporating this into my work by challenging the eye of the colour, I was reading the Vibrating Boundaries from the Interaction of Colour by Josef Albers Exercises from 'Interaction of Color' by Josef Albers by Jeff Zych and was excited to see how the contrast of colour can play with your eyes.

Also read and watched praise of shadows **expand**

[processandenquiryjodierundell]

Time based development (2).