Contextual Practice


I became inspired by Richard Wentworth's work and decided to loosely build upon it.  He explored photography of mundane every day objects we take for granted and this interested me heavily.  I brainstormed different ideas towards furthering my project and settled on taking graphic photos of light switches and plug sockets.  I scaled the images up to the real life size and reduced the colour and saturation whilst bumping up the contrast and brightness.  I felt this would be beneficial as haveing a whiter image, the more likely it would to be able to fit into the real life.  Instead of creating scenarios out of the ordinary, I reversed this, contrary to Richard Wentworth's objective, and placed these standard high detail images of switches and sockets, over the real ones.  The aim would be for people to not notice the images, as they would blend in over the top of the actual sockets and switches.  This idea to me resonated street art and could be linked towards the Dada magazine era.  I went around the class space pinning these images up perfectly and only when people turned around shouting ''Whoa!'' after realising the small detail in the room that had been altered, was I truly satisfied.   


Switch Single


Switch & Socket



All of the provided Images are primary




The process towards furthering this project began through picking out anything from a newspaper that interested me.  It came to my attention as my first idea that it could be interesting to explore contradicting scenarios and taking things out of context, like I did with the text session.  I saw an article talking about farming and the country side and thought about my composition, and layered it with a headliner "Remain A Londoner".  The entire composition contradicted itself, a city, or at least parts of a city, would be considered high end, clean, classy - the total opposite of a pig farm.  To then bring this to a sculpture I though about how to include a piece of hide or leather and put it next to a chunk of metal - abstracting the piece completely.  However, I found it more interesting to incorperate lumps of metal into an enviroment setting, to replicate machinery harvesting and tearing up the countryside.

Idea number two that came about originated from an image of about 30 women standing in a line with raincoats on getting drenched in their dresses.  After drawing the basic shape of them standing there, a fleeting image of a large group of KKK members came to my mind with their triangular heads and sweeping white sheets.  I didnt develop this idea further but it was still fun and interesting to play around with.

After deciding to continue progressing with the idea of mixing the chunks of metal with the countryside, I decided that it would be more intriguing to see how far I could get away with abstracting the concept as a whole.  I went through the process of branching out different final pieces that could come about from this, whether they included photography, projections, or just left as an instillation.  The decision was made to curate a large pile of dirt and have a lump of metal just wedged into it.  To elevate this I felt it would be better to find parts that could look mechanical of sorts, even parts of an engine - as this would provide a better link back to the original storyline of the articles.  After assembling the sculpture, I didnt feel that it looked very impressive and was not satisfied with the outcome.  Therefore, adding parts hanging above the ones in the dirt, to symbolise more pieces being thrown into the natural wildlands, would be an effective idea.  In result, I made a brace out of wood that would attatch to a wall 600mm outward and hold 4/6 pieces of steel hanging down.  If i had more time I would have painted the brace white to merge with the wall, and the cords holding the pieces of metal in black, representing tendrils of darkness, lowering more artificial objects into nature.  

After look at the piece again I wanted to add yet another aspect to it to improve it.  I decided to prject a looped time-lapse of a piece of metal rusting onto the hanging pieces of metal and the wall behind.  If I could change anything about this I would have specifically projected the looped process onto only the pieces, or have rusted some of the lumps of metal and taken my own time-lapse of it, to then project onto the specific pieces.  

Overall, I was happy with the final product and would have tweaked only some small aspects of it.  As a whole I felt that I went through a process, eliminating specific ideas and building upon the root idea of artifical metal invading the natural wild-land.


Fan Header


Rusting Video



The project began through taking 2 photos of yourself and trying to create weird angles or distortions of the face or body as a whole.  Whilst other people just took a front on photo of themselves standing infront of the camera, I decided to hone in upon a specific part of the body and I chose the eyes.  I decided to experiment with different shots and lighting differences, increasing the decreasing teh ISO, the exposure, contrast and saturation.  To build upon this, I realised that after removing the eyes, you can dehumanise the person as a whole.  Removing teh eyes closes teh door to access the person.  Looking into someones eyes adds emotion.  Eyes can increase the intensity of a situation, creating intimidation, allowing understanding, or evoking sensuality.  By focussing on a specific portion of the body instead of the entirety, you can make a small space enormous.

Day two of the project allowed me to experiment with the photos take of my eyes.  Slicing the images of the eyes allows the viewer to focus specifically on the portions of the image.  Something about disconnecting the image of the eye relates towards a loss of vision or clarity of the image.  There was also a strong sense of something very grotesque about slicing the paper right next to an open eye and my audience often told me that it made them cringe. 

The idea of offsetting specific slices of the image draws attention to a skewed loss of vision.



After being put into pairs, I felt that it would be interesting to explore the use of sound through total extremes.  Combining whispering and relaxing orchestral music with an incoming screeching northern-line train approaching from the left and exiting to the right seemed very interesting to experiment with and we proceded  to mix the audios with one another.   

To enhance this idea, we sought to play around with the already existing soft sounds.  We did this through raising the gain and increasing treble or bass.  The entire concept of our project was to not only shock the audience listening to the audio, but give them a false sense of security.  We sourced a relaxing documentary to play as visuals in the backgroup of a polar bear walking on ice.  Playing over the top was an asmr video - the pinnacle of a relaxing experience for some.  We slowly increased the volume of a different audio strain.  It was one of two girls screaming at the top of their lungs as they were on a rollercoaster.  The volume of this increased so much that many people who were watching with earphones had to take them off.  The idea of making an experience change so quickly from being smooth and serine to a jarring, aggressive, banshee scream made the viewers extremely uncomfortable..

We were not finished here.  Just to add to the experience we calmed the scene back down again.  A calm, melodic, orchestral symphony began to interrupt and brought the piece back down again.  Just as the music begins to heighten, an audio queue plays from a recording I took when on the northern-line train into archway.  The unbearable screeching of the metal dettering the tracks cuts in and out repeatedly, yet again creating an atmosphere of a false sense of security with the viwer thinking that the piece was coming to a closing.

The use of audio in a project taught me that including this sense can severly alter a piece if harnessed successfully.  I feel that because we experimented with both extremes, we got to learn more about volumes and mixing a lot more than if we tried to just create an atmosphere of bliss or one of blaring aggression.



Dual Switch


Extension Lead



This workshop encouraged me to explore combining text and image to create an all new scenario.  I picked up 3 different articles and began to slice out specific phrases and words that would link together.  There was an image from an article about depression and mental health out of a magazine that I noticed that fitted well with my words relating to a post apocalyptic article.  By taking several words out of three different articles ablout Globalisation, Waste product in the ocean and one with a list of different dates, the final product looked like something that could have been torn out of an article about an apocalypse.  Instead of colouring the background in black I felt that pairing the text with strips of black tape was efficient as they synergised well, with both being obviously very linear.  Whilst actually cutting out the texts, I sliced my thumb by accident.  As a last minute decision, I tore the tissue paper apart and overlapped the piece in the bloody tissue, to elevate the piece to a further degree, adding a sense of human blood being spilled due to the decline in the world, according to the piece.



Wooden Frame


Metal Rod


Rusting Time-Lapse Over Metal

Download rusting vid 1.mp4 [29.2MB]


The contextual practice session revolved around what it meant to be invisible.  It made me question if we were trying to accomplish invisibility or deconstruct it.

I instantly felt that moving towards a video or bomeranging clip without audio would be intuative in achieving invisibility.  If you zoom far in enough towards an image, the fidelity of the image is reduced to such an extent that you can no longer percieve what it is that u are looking at.  From this the idea of zooming in and out at such a large extent to create a sense of invisibilty originated.  

I thought that having two videos playing at the exact same time, looping of a clip zooming in on someone in the distance and then zooming all the way out, would be interesting to watch.  Side by side they would cross over in the middle, but just be reversed.  

However, I felt that I could develop this idea further.  Instead of having two videos playing, why not just have one video but starting zoomed all the way in, and slowly zooming out, gradually revealing just how far away the person is.  To achieve such a high level of zoom, I realised that one person could film another persons phone in which was maxed out.  There would be three phones, one fully zoomed into the person, then another fully zoomed into that phone, and the third fully zoomed into that one, creating an inception esc scenario.  The first phone - zoomed into the actual person - would gradual reduce and when zoomed all the way out, the next would follow, and then the next.  The entire idea is hard to explain through text.  The fourth phone recording, would film the third phone and the recording from the fourth phone would be presented with a final snapshot showing the entire process.  

Not only did this project accomplish making someone invisible to the audience, but it deconstructed it to an extent, showing that if zoomed in far enough on something, you loose the image as an entirety and that object you are focussed upon, no longer is the same object you are focussed on.