This was an experiment to produce a gradual gradient using coffee when added to water and see what effect that had. This was only partially successful as the coffee didn't dissolve as well as I thought it would and the coffee was still present to see on the surface! Next time, use hot water so the coffee will actually dissolve. |
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When working with a black and white colour palette, it represents the subject of life and death. I always find myself blending the two colours together showing that they come together and you can't have one without the other - acting as a therapy in itself, for me, as its helping me accept that after life comes death and it will happen to every single one of us. I also find it quite calming to blend the two colours together with a palette knife - spreading the point across the wood is soothing to me; becoming a way to cope with reality - a coping mechanism.
Taking abstractions from pieces of work is becoming part of my experimental process - I am taking the four following steps; planning the piece, making the piece, completing the piece and taking closeups (abstractions). This added in step is allowing me to see the work from a different perspective and to see the work in further detail that I wouldn't of seen in retrospect.
Again. I associate the use of coffee in my videos with my mum. The work is like an hourglass, as the sand travels through the funnel and lands in a pile on the other side; the coffee is coming out of the packet and landing into a pile on the surface. Time is limited. Time runs out, everything eventually runs out. Nothing lasts forever, life runs out.
For my next coffee experiments I'm using coffee as a symbolism to my mum; my mum loves coffee, and I associate her smell with it as she has it so much. My reasoning for using it, is due to my fear of losing someone I love, and I fear losing my mum the most. As shown in the diagram on the left, for this particular film, I poured the coffee in front of the camera to show the transience of life, of time passing, much like an hourglass. The film was edited to pulsate in and out like someone breathing, which will be a reoccurring theme in my films. Whilst making this piece, I found myself letting out my frustration on the paper. The colour palette I used, for me, symbolised life and death, black for death and white for life, so whilst making the painting I was thinking about how I have never lost somebody close to me or a family member so I don't know what it is like to feel grief, I became frustrated that I don't know how to deal with such a strong emotion and that scares me; how am I supposed to act?
As I was truly intrigued with the development of the tissue films, I decided to draw the organic form to show how detailed the piece had become whilst in the water, becoming unique and different than anything I've seen before. Upon completion, I got comments from my peers at university that it resembled that of an organ, becoming something different to what it was in the film, taking on a new identity. The process of abstraction could be taken further in my work and I should begin to do this after experiments or other area I look into, to get a different perspective of my work, yet still hold the same meaning.
Upon chance, I found out that adding tissue into water had an interesting effect on its form, transforming it into an organic, spirit-like 'thing'. This was am engaging procedure to carry out, especially with the ink bleeding out of the tissue and into the water, watching it evolve in shape and sink to the bottom of the tank, gave me a sense of tranquility. It was therapeutic in the way that I linked it to life and gradual death of a person, the tissue acting as a metaphor to life and the gradual sinking to the bottom of the tank resembles life coming to an end; helping me come to terms with the eventual loss of a loved one.
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Ellen HardyThis blog will outline my ongoing artistic practice throughout my second&third year at university. Archives
March 2016
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