I’ve been working from home, making the most of the sunshine, whilst working on a more violent test video – the Japanese remake of Unforgiven (1992) – Yurusarezaru Mono (2013) which is just over twice as long as the last test video. Both being the same scene I could see how they are basically the same in terms of structure yet the later one is far more violent. Maybe that is due to use of samurai swords which are more dangerous, in terms of the damage they can cause. Ultimately both the sword and gun both can and do induce fatal injuries. Cinematically they are very different visually in terms of impact creating different reactions when they have been used to inflict pain.
Looking at the most recent test video the slower rate I stretch the broken clips to I could see the impact was starting to be lost. I think at 15% you lose real impact, which applies to both, moving into self parody of the actors in the scene making the most of their death scene.
Once I play both videos I’ll know how they look and play out, the timings will show what is more effective when projected. The juxtaposition of the Japanese remake will prove interesting, as I bring the scene and it’s violence to the original setting – the Wild West. I could be moving away from Westerns to look at Samurai films. I also want to see how this same technique – if successful works on a larger model which I’ve mentioned previously – Minnie Haberdashery in The Hateful Eight (2015) which sees countless innocent people being killed and more violently.
Work on the physical model miniature is now complete. Today I took advantage of the heat and primed and painted my posts which I’m surprised have fixed in place to support the ceiling. Three coats later I called time on the model miniature. Looking at the model now, it is my first internal model, It’s minimal design reflects the saloon in Unforgiven (1992) which I’ll be projecting footage from next week at the earliest. I’m pleased with how it has turned out so far.
Looking at the test video again I am concerned the way the violence has been slowed down multiple times might come across as more like something from a Sam Peckinpah film. However thee more I think about it, the violence he captured was from various angles, to see the full extent of the violent act as the victim falls to the ground, the impact of the act is really stretched out and thrown at the audience. Still I have to see what happens before I get too concerned.
The last few weekends have seen me bring the saloon model miniature together, so it’s a solid white, ready to project against. I’ve been moving faster than I expected which is always good. With the model all but complete, the ceiling in place I decided to add the posts which I found at least two in the set itself. If anything they really are the finishing touch without bring too much detail. I’ve got the balance right. I just need to wait for them to fix in place before I prime and paint them.
I then moved on to prepare and edit new test videos, using footage from Unforgiven (1992), the final showdown, which was reduced to the reactions to gunfire. Which took less time to create than first thought. Surprisingly little gunfire goes off in this scene. I decided to slow down each of those reactions a few times. I’ll see how these all work once the last of the painting is over.
Lastly I made a start on the same scene from the Japanese remake Yurusarezaru mono (2013) which I didn’t find surprising that it contains more violence in the equivalent scene. I haven’t finished that test video that will be projected into the same model. It plays with the relationship between the two films and the violence within them.
I’m pleased to announce that I am returning to the New Mills Festival, taking part in the Big Weekend – 22nd – 24th September.
The last weekend of the two-week festival –
The Art Trail includes a “Big Weekend”, timed to coincide with the hugely popular Lantern Procession finale, which attracts an audience of more than 14,000 to the town. The Big Weekend sees artists and venues across New Mills open their doors to host pop-up exhibitions, open studios, workshops and demonstrations, and arts and crafts markets.
More information coming soon!
It’s been just short of 6 months since my last proper gallery trip, I’m now back in London to see whats on offer in the smaller galleries. Yesterday I planned to do 4 shows, however I was running ahead of schedule so I made a stop at the V&A Museum of Childhood, which was both nostalgic and inspiring.
My first stop was over at the Lisson Gallery on Bell Street for Natalie Djurberg & Hans Bergs show Who am I to Judge, or It Must be Something Delicious (2017). Initially when I was researching potential shows to visit I was unsure about this one, even with all the mixed media figures. It was the content of the work, the sexual overtones, was that too much for my taste. The more I thought about it, I knew it was going to be fun. Plus after watching The Greasy Strangler (2016) a crude and weird comedy about a father and son, and their dark activities, which as much as it was down-right disgusting I couldn’t stop watching. I still have it stuck in my head, says a lot really.
There’s no real text on the show, which leaves it open to interpretation which for me is great, as I don’t like being told, it spoils the exploration of the show on a personal level. I found the work overwhelmingly funny. So much debauchery in one room. Moments of unadulterated pleasure with faeces, sticks, bananas, My Little Pony’s and moons. It was pure madness in a small space. repeated quotes that question what it going on top of this platform. Balancing out all the insanity before is.
I also watched a portion of one of the animations – Delights of an Undirected Mind (2016), from which these model miniatures are from. Crude in content, with less regard for the skill of the animation, essentially it’s loose allowing the content of innocent fairytale and childish imagery running rampant in the bedroom. Just as disturbing and funny, if not more so than the first space.
My next stop was at Josh Lilley to see Nicholas Hatfull – Tofu Dealer (to kill my hunger in daytime wander). I came mainly for the larger sculpture that combines oversized rubbish with other found urban objects – Ludovis/Weltschmerz (Easter in Milan) (2017). The combination of oversized and out external objects complement each other well. Emphasising the dirt we create and blatantly ignore on daily basis. Driving home what is around us.
The majority of the were his painting, which mixed media pieces, depicting food taken to an abstract level at times. A bold use of colour, emphasising the form of the food, which in-turn expresses the passion he has ir had at the time. All these are yearnings for what is on display, we are seeing his eye wandering over the food, longing to devouring it all.
My next show was over in the Bethnal Green area at Space Gallery to see Jonathan Baldock’s My Biggest Fear is that someone will crawl into it. If I’m honest I was expecting more, as in space for a gallery under that name. Moving on I did find the work inside inviting. A four-poster-bed covered in a hand sewn cover, with whispered audio coming from within. After watching the accompanying video by the artist explaining the bed piece it to be a very personal piece. Inviting the audience to lay on the bed and listen to a recording of his mother retelling her life. An autobiography for personal digest, and family record, to pass from one generation to the next. I found in inspiring as I am considering a documentary piece which looks at how past generations have grown up with Westerns, it’s how to exhibit those recordings that brings them to life. I felt even though I have no personal connection to the artist that I was in a warm loving environment, If I laid on the bed I would be recounted a family history from the mother with no prior judgement, a mothers unconditional love.
A day later than planned after my last day in the studio over the bank holiday. I have finally added paint to every part of the model miniature. Only spending a few hours in the studio now, as I’m only painting a coat a day. I need to keep track of how many coats I’ve done and where, at the moment its pretty straight forward.
I won’t be posting any studio updates for a while as I’ll only be painting, In the meantime I’ll be working on a few edits of the showdown that’ll be projected. If this works out I’ve been thinking about building a bigger model – of Minnie’s in The Hateful Eight (2015) it’s potentially more violet and the space is far bigger too. Still I need to see how this test works out and go from there.
A quick update today. I realised a few days after I was last in the studio, I needed to add more detail to the windows. So I returned today to the footage to find out what was going where. Then trimming some balsa to size I added the small pieces.
Leaving me with the rest of the day prime the floor of the model and add the first full coat to the rest. It’s a bit patching at the moment in terms over coverage, some is primed whilst there’s a coat in other places. I should be fully onto painting next time, I’ll just have to remember the order I’ve gone in.
It’s open studios today which has allowed me to talk to the public who have had a look at our studios in Leicester. I’ve still been able to achieve what I wanted to. Adding more detail to the windows. I’m concerned about the bay windows, as these are my first I don’t know how well fixed they are to the card, some pieces may stay in place more than others.
Also I have begun priming the model in places. I have left the windows and floor until next time as I don’t to affect the work I have been doing there. Otherwise I think I’m doing well for progress. I think I’ll be testing again in June. I can edit the scene a few times to have a few versions to work with, making the most of both the model set and the clip.
I’m starting to add just the detail now to this model saloon. Starting with the banister of the stairs which after some repairs is looking more complete. Simply gluing two strips of cardboard; one piece sits aside of the other, before sitting it on top of balustrades. It’s also a rare time I’ve used both my glue-gun and PVA in the same time.
Lastly I’ve made a good start on the detailing at the other end, the entrance and windows. I have boxed them off now and added detail in the bay windows. It will be interesting to see how that works, when I add the horizontal pieces to complete the window frames. I should have all the detail complete the next time I am in the studio. I’m really amazed at how fast this piece has come together, so many elements to consider and here I am almost ready to get the paint out and it’s not been a week since my Crit.
I feel like I’m going through a lot of cardboard at the moment, it’s all material that’s been stashed away for just such a piece that requires so much of it. The saloon is really taking shape now with not just the detail but the addition of a ceiling too. I began the day working on the stairs, which in reflection maybe too wide at the bottom, however it’s not a big deal. I’ve added the bolsters (please correct me on that if I’m wrong) before I add the rail later. I also blocked off the top to suggest that a door leads off from the landing.
The biggest development was addition of a ceiling, which I was, well I am still concerned about in terms of how it will affect the projection. It may block out light and distort the image. I am going slightly over what was probably built for Unforgiven however I need to see this as a saloon, a location and a space that was filmed in and expand it. It also has stairs which would/do lead up to another floor. At the moment the ceiling isn’t fixed and will remain that way until painting is complete, as posts will be going underneath to hold up. It will also prevent and even finish of paint.
The entrance has also been looked into, with the door now intruding into the piece. Whilst I have also made a start on the bay windows which I’ll be working on more next time. Lastly I’ve got the balsa out for the framing of the doors and windows. Soon it will all be about the detail before I get the paint out again. It’s come a long way in a few days, I’m sure I’ll be painting in no time and get the projector out to see how it all turns out.