Plotting the stage…

For the performance I need to make stage or raised platform. After a few meetings with Paul our technician I have since changed the stage slightly. The original plan was to have jut a clean, white, block with a slope off the edge. After working out how in which we will be putting this together, I have decided that having the beams and supports visible would have more impact on the piece. Constructing a contrast from rugged planks to a smooth clinical slope would seem more stylised and perhaps even theatrical.

To make sure this is the case I am considering painting the inside of the stage, to convey this ‘theatricality’, exaggerating the richness of the beams by colouring them a dark red, in my mind will give the stage an artificial power, thus continuing with the theme of my work.

Our technician has informed me that the slope that I want to be seamless when reaching the floor, will be quite difficult to achieve, he has asked me to consider a shoot, or a long piece of wood that will follow off the table of which I am printing from. Where, I am not convinced it will reach the same affect, as simply kicking the load of prints off the stage, I do think by the slope coming out the table and therefore being higher than the initial stage/slope would be more extravagant.

We have come to an agreement that we will make the stage without the preliminary slope, with the table idea in mind, but, if I don’t like how it turns out I can change it back to the former idea, time allowing of course.

Degree show/catalogue write up and thoughts for easter break

I have been working hard with the new format of tracing Pollock’s ‘convergence”, decided to work in four layers, three will definitely be in the show but I am going to continue my hunt for a hinged screen, bringing me to a four-layer copy. I would ideally I would want to aim for five or six screens for this one print but this is not possible for the show because of logistical nature of printing live. Although, nevertheless I will take them to the sixth step, regardless as it seems a shame to end their lifespans prematurely, it just will not be a part of the show.

Because I came to this conclusion over the Easter holidays I am unable to get this printed out until the beginning of May, with this in mind I have made similar attempts with other translucent inks such as the humble felt pen. I believe that if each layer gets the utmost attention this will be a lot more impressive than the previous colour prints and would be better to show these at the opening.

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Degree show preparations are on their way. Since the last plans I have found where I can order a reasonably priced yet effective A3 drying rack. The stockist assures me it takes up to an A3, so as soon as I can confirm my positioning in the Holden gallery I shall be making my purchase. Sadly, I am yet able to purchase these because they are wall mountable and I would need to know if I indeed manage to get a wall space.

I a also toying wit the idea of having carefully positioned camera around my work area during the live print, with close ups being broadcast lower down, this would help to over exaggerate my each moment, thus adding to this overtly expressionistic Artist stereotype I have become interested in dismantling.

To also get the working studio look I have been researching other people’s workshops as ideally, I would like the space to look as authentic as possible. From my findings this usually includes big clear worktops and tatty ink-stained aprons, rusty machinery and wall mounted shelving. So far my budget is £550, the items I have on the list thus far are as follows:

3 x £70 – mountable drying racks. = £200

Second hand worktop table with trestles – £100

wood needed to make stage – £65. Quote.

Shelving – £35

So far, I have £50 for any hiccups. Ink, screens, solution and tools will be on loan to me from the print department. Also, I have purchased my own as I am in the process of making a home studio kit anyway!

Also in preparation for the show was our catalog information / photograph selection deadline.

Below is a sketchy draft of what the outcome should look like:

April Preston (aka Showers)
-aprilshowersart@live.co.uk
-07850368371

Whether I am working with video, performance, dance, music, or installation I am drawn and intrigued by the relationship between trauma and humour, drawing most of my inspiration from Tragicomedies, Narrative Poetry, 1970’s Woody Allen and Brechtian plays. When performing I take on the name and persona of April Showers, a parody of myself. This becomes a somewhat existential process of making autobiographical Art.

Other previous works have consisted of: Cross-stitching sculptures, 3D photographs, site specific installations and experimental drawing. These works all follow a similar motif, they all embody the idea re-invention; the re-working of an object or role. Making a traditional format or concept become multi-functional; the ability to serve and fulfill another use.

In my most recent studies I have been responding to the work of Jackson Pollock. Neither being friend or foe to his work, I am demonstrating my ambivalence to the idea of ‘creative genius’. By creating flat copies of his work, meticulously transferring and tracing his 3d drips into printed flat prints, I attempt to take the fun out of Pollock and ‘unfetishise’ the notion of being an artist.
I am questioning the role of emotion in Art whilst asking the following questions:
Can emotion be easily transferable to an audience? If so does that make it important to transfer?
Why aren’t the smaller things in life just as important?
Is Art supposed to be transcendental or a contrived affair?

Mini CV:
2008: The westgermany club, Berlin. Performance.
2008: Link gallery, Manchester. Collection of photographic prints.
2009: Moonfish building, Manchester. Audio.
2010: Soundcontrol, Manchester. David Shrigley support/Performance.
2011: Melancholy, London. Burntworld collaboration. Video/performance.

Taschen and update

I have been coming up with problems, or rather questions when doing my last batch of prints. With transferring the information by the humble pen I have come across some issues such as inconsistency flow of pen ink, overall this makes my work lack in consistency. Also, thickness of nib has been creating unwanted issues when tracing, I mistakenly used a large nibbed pen for areas that had a large surface area and finer ones for the smaller bits, I didn’t take heed that even the larger, more ‘blockier’ parts also swirl into insignificance and thus I have lost some of the much finer detail to give these prints the wow effect I am striving for,

Secondly, I began to have problems with colours… Should one colour in the background? – Am I record what the print tells me to be true or do I use some intuitivity and improvise for the paint marks I cannot see that are layered with other colours an assume they are there? Do I fill in the gaps or work with only what the print gives me. If so do I stick to just the one print of the same image.

Lots of food for thought here, one solution to my pen related problem came to me when thinking of a series of still-lifes I did at the Mill’s life drawing group. Below is a still – life of some buildings, I tried to draw the buildings by concentrating on the shapes rather than the finer details of the structure, this repetitive boxed effect gave me an overall stylized study of the construction. If I used a fine lined marker pen, the same brand throughout I can avoid the previous ‘nconsisitanties and give the overall body of work a more accurate, anal finish.

If I use the same ‘loop’ method as I did with the bulding studies I can get an even more minimal feel to my work, therefore creating more of a visual contrast between myself and his work.

Here is a draft version I came up with using a four-layer system. Please note this is only about 3x3cm of his ‘Convergence print’ (as seen below)

I purchased a Taschen Pollock book, buying the exact kind of object that kicked off this project. A cheap easily produced book of prints. These types of reference books that address the viewer as if the viewer was partially sighted.

I removed the centrefold from the book as it happened to be the picture I had been spending most of y tie working on, so from here I am only going to study from this one print, not to use or any other copies of this image. That way, again I can try and gain some consistency with this final stage of my work.

Cornerhouse meeting

My letter proposal was well received by The Cornerhouse and I was asked to attend a meeting where I would pitch my idea further.

on returning from the meeting I am left feeling like I have underestimated the importance of thinking every aspect through.

I wrote the proposal as every much that, a proposal. I was scrutinised on my budget, this felt a bit strange, I was making up numbers on the spot for something I was not sure if I was going to make. I mos probably would not be making this piece without some backing, and because of that took them up on this funding opportunity. Trying to hide that I felt like a reject contestant from The Apretence I kept up my enthusiasm, as did my interviewer. She told me what the panel thought could be better about my proposal without being negative about my overall idea. I re-wrote the proposal with her advice in mind, and have been told I am through to the next stage. Now he waiting game.

If I were to be in a similar situation again I would know exactly what NOT to do, and because the experience was not at all threatening I would not be so fearful of the next encounter, everyone was very human and I was treated with the utmost respect.

It’s just because they really like the idea I expect!

Plans for installation

Above is one of a few sketches, I am trying to visualise how the show will pan out.
wherever it is I want there to be a lip or sort of smooth running slope off the edge of the stage, so I can create a sort of conveyor belt feeling to the prints. I can dramatically swoop them off the edge and they can cascade onto the floor for the visitors to pick up and take as they please. This is to aid a feeling of ‘disposability’ to the works, making them seem cheap and neglected.

I do need to address business cards, as if all goes to plan I will be elevated on a stage, un-able to network and talk about  my work. Another thing that I am actually quite pleased about! I was thinking of scattering them amongst where the prints will land but dont nessercarly want that train of thought to be involved when watching me perform. I would like those things to be separate entity. Look at the work, then, if you like it, look for contact details. I would hate to be bombarded with contact details when trying to view a work. traditionally screenprints are marked in pencil by their creator. It may be an idea to pre mark each piece of paper in pencil as a business card.

My final issue with the performance is I am worried people wont pick up and take the prints. I need to find a subtle yet effective solution to this problem.

More print results

I have started to layer up the colours of the prints, after a long time tracing!

I am loving the flat shiney marks being made, where in real-life, in Pollocks paintings would swirl together, here I have made layered smooth even tints by doubling over the colours. It’s a contemporary remedy to working over Pollocks work and I am really happy with how it has turned out.

Here are some of my results:

Pollock problems

Wondering what to do next with this project, I am tempted to do some cross-stitches with these codes, but don’t want to appear ‘old hat’ for my degree show, I am working with that in mind. It is hard to avoid the prospect of the up and coming show.

A lot of my previous works have been stitch oriented and I would like to embark on something new and more challenging for the term ahead.

I am enjoying the paradoxical approuch from my work to his, the stark constrat from the way he works to the way I work is food for thought. He has tried to convey emotion through the act of dripping paint, where I come a entirley different generation of thinking. It isnt that I dislike Pollocks work, or that I even like it, I ‘nothing’ it, I see it and I aperiacte it for its textural beauty but do not feel any begging questions through his work. Also, I find the assocation with ’emotion and paint’ a tiresome one. Why does Art always get credated by how personal or autobiographical it is? Can emotion be easily transferable to an audience? If so does that make it important to transfer? By using Pollocks work I am hoping to ask thse questions.

‘binary’ pollock

One of the experiments, undertaken is a binary pollock, here I have created a coded version of one of his famous painting ‘Convergance’.

Because the coding takes so much space the sections seen below are only about 1/8 of the overall ‘picture’.

1 page book / book-binding workshop

I attended the bookbinding workshop at the University, getting my monies worth before I graduate, here I was taught a few things such as the importance of grain in paper, and how to do an effective book-binding stitch, but one thing that has stuck in my mind is the beak/trouser/maze book; a booklet made from one piece of modest a4. Here are my notes below:

1x piece of A4, scissors, something flat to crease the paper.

1:
Fold the plain sheet of A4 paper into 2 from both directions. Working into the middle, so the center can point out.

2:
Cut the plain A4 sheet along the folders.

3:

First from the bottom, do not cut the last box.

Then from the top, again do not cut the bottom box.

Then again from the bottom, again do not cut the last box. Or just copy the picture below!

Can cut in any direction or plan as long as it continues in one strip. This picture above is showing how to make a ‘maze book’, called as such as when you follow the strips it is a bit misleading like a maze!

4:

Fold the plain A4 sheet into mini pages

5:
Fold carefully without tearing, and bingo – a book!

Another way of doing this which is slightly more easier is, rather than making a maze/trouser format booklet, it works to push all the pages together, creating a star like shape, push the seams together making a little useful book!

What I love about this design is that it is great for event/curatorial work, having both the scope to make a nice little book with information but which also when un-folded can make a decorative poster or map. From this session I am now designing the positives to a screenprint which will follow this format, it is for an all day festival me and my friend are putting on, a nice way of keeping in mind everything from this session.

I also intend to make a one page book, illustrated with the purpose to teach people how they can do it at home. And hopefully, making ‘self publication’ a little easy for anyone interested in such things; hopefully creating a chain reaction for this multi-purpose nifty book.

bonfire afterthoughts

documentary and autobiography work in this open context is rather new to me, I have never felt comfortable being overtly confessional, or dealing with themes of a sexual nature, but in this film I have disguised all the bits I was worried about, and presented a realistic me, through the guise of a creative me. Of course, I can be both, but in these works you see clearly a turning off from formal acting to informal nervous, me. The fact that this was also burned I thought shaped the piece in that as aforementioned I do not really try to tackle personal issues through Art, I usually take a less sentimental approach to life and my work. I feel both regretful and pleased that nobody got to see the piece, it made me work differently, but also in turn I do not know if change of behavior was a positive thing or indeed a bad thing. By having an audience respond to my work it could have encouraged me to try to tackle more things through film.