I had been looking at ideas of surface and how that could play a roll in creating a suitable space to enhance meaning. I projected photographs firstly onto a wall that had a brick texture so that the black and white images would absorb parts of that. I then further explored the idea of dimensionality such that the image would acquire a depth and life by existing across varying planes. The material I found useful for this was ripstop nylon which is the material used in the construction of parachutes.
By draping this material in numerous ways I found it possible to create quite dynamic projections which not only worked as moving images but also worked as stills. I thought this a particularly useful method for approaching the subject for this module in terms of who one might discuss fragmentation or ideas of multiplicity. I felt the breaks in the surface created unique pockets of light and shadow and could be a useful area to explore in future projects particularly as I get more interested in projection.
Martin Soto's exhibition the Equation of desires indirectly influenced my thinking with projections. I had seen previous work of his that used photographs within other creative structures and he is an artist I generally admire. In this exhibition Soto Climent plays with the surface of photographic year books so that new images emerge out of the existing stills. I think this was behind my approach in exploring surfaces for projection. Francis Bacon was probably the most famous advocate of repurposing photographic still imagery and altering its condition to create the basis for many of his paintings. He also used cinema as a similarly creative backdrop such that aspects of certain scenes would end up as part of his painted works. Soto Clement doesn't destroy the original images but he simply uses a procedure of rolling up to create whole new assemblages of images. His work very much fits with my love of the rhizomatic approach. The picture appears in the taking by the artist and then disappears again when the images are unrolled.
I am interested in these ideas of images becoming other images that then become others so that one feels the ephemeral presence of the artist moving across a surface. The artist observes and records the alterations but the images maintain their original fidelity underneath the process of intervention. One could say it isn't the desire to posses or transform but rather a desire to recreate new aesthetics out of what otherwise might be seen as 'stuck' beauty. Perhaps it is fear of loss or a search to reframe old memories and to seek to amalgamate a past, present and future into one place. Maybe its trying to escape structures that as artists we want to challenge, trying to create the imagination always outside and railing against the physical world's fixed objectivity.