One Whole Blink – sand sculpture

This is a stock motion video made from oil sand, a brief exploration of the presence humans have had on the planet. In the life of the universe, our existence as a species is only here for a matter of seconds. We have come and will go. In the process we built cities and life but encouraged by our rapid use of the world’s resources, we will return to dirt and dust once again.

I made this piece from oil sand, as if remnants of oil and desert are all that our future holds and all that we are made from. The crumbling, dust like qualities of oil sand lends itself to this piece, the sculpture broke down quite naturally and fell into positions I would not have been able to create myself.

It’s interesting how quickly the ‘sand civilisation’ stopped looking like a civilisation as soon as I started breaking it and knocking it. Is this the same for our civilisation in reality? It’s breaking down a lot faster than it was created? Good things always take more time than the bad. However, I think that the buildings and materials we have used to create our civilisation on Earth will be around for thousands of years to come unless the heat on the planet rises to extraordinary levels as a result of some sort of asteroid collision or major solar flare.

Reflection: The skill and technicalities of the video are very poor. I did not have a tripod therefor each shot is slightly altered and not exact. I will use a tripod for sure in the future. Also, the image quality is poor and part of the reason I changed the colour so drastically. But, the orange and red colouring was also added to give the impression of heat like the magma core of Planet Earth, it could also arguable look like glitter which is interesting because glitter is such a cheap, kitsch, tacky material that has no depth to it, no structure and no purpose apart from its materialistic attractive value. Often used when depicting magic or things that aren’t real or things ‘out of this world’. Although, I find myself easily mesmerised by the changing synthetic colours. This could be metaphorically reflecting western life; we just get too distracted by the pretty colours to see what’s going on behind.

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Human and Earth

This sculpture was something I created last term but it was mainly just to practise my wood-work skills. I took the shape of an abstract life drawing I did then recreated it using many layers of scrap wood, all individually sawn and sanded to mimic the curves of a human figure. At the time I became obsessed with this sculpture and it took me days to complete despite the corners I could have cut that would have been much less effort and time consuming.

Once finished and glued together I noticed my pleasure of holding it, there was something nice about gripping a heavy object around its thinnest part, it made me like the object regardless of its minimal relevance to my work.

I also became aware of its prominent layers of different colour and thickness, it reminded me of the layers of the planet, earth and sand. Simultaneously, since the evaluation of my last body of work and how interesting I found art relating to organic materials and the threat climate change has on our global, natural environment, I began realising the importance of this sculpture.

My research into the future of the planet increased and after watching the most recent series of Planet Earth with David Attenborough, I learnt that the “deserts are drying up and constantly expanding” meaning the polar ice caps as well. I had personally not given much thought to the sandy deserts of the world in terms of global warming and I found it quite scary to think that they are constantly expanding. It is a powerful and frightening concept that ‘the desert is coming’, and after watching a short film with the title ‘The Future Was Desert’ by artist Sophia Ann Maria, I really started giving the idea of sand a thought. In her film, she portrays the future as a hostile, sublime, lifeless place and draws inspiration from apocalyptic movies and ideas, using found footage and an eery commentary along with portraying our existence as something that has come from nothing and will soon return there.

I was highly influenced by Maria’s work especially due to the videos sometimes poor quality and production, it is raw and amature giving me confidence of my own to simple experiment with what little technical knowledge I have.

So, I got my hands on some oil sand which is what is used in the workshop for casting and combined my figurative wooden sculpture with a pile of it:

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Although very simple, thanks to the combination of the human presence from the sculpture and the organic earthy presence of the sand, it then gave me a platform to start thinking about the relationship humans have with the planet and there my project began.

 

Surrounding Inbetweens

This was my final piece of work from term 1 at Falmouth:

It was a piece aiming to summarise the ideas about repeatedly going within a moment of inbetween and then within it again where the materials I used (wood branch slices) are involved with many circular representations of being surrounded and within a moment of nothing or in between.

Lost in fluid surroundings

I surround myself with water collected from the ocean after filming my ‘Under nothing but ocean’ video about the ocean surrounding you and how due to the nature of the sea and its mass connection all over the world, you are effectively always lost as the same water particles of your surrounding will probably never come in contact with your existence ever again. As of this, I can conclude that this particular ‘after performance’ using water from the ocean does surround you in a similar way as the ocean does. I have taken the water particles from a bigger source (the sea) to present them as separate objects around me, the difference here however is that the ‘taken pieces from the lost in between’ were once all interconnected and were a genuine ‘piece’ from the forces of my ‘lost’ surroundings. The water particles are very difficult to obtain once released, therefor, it’s hard to ‘do’ anything with the water once it has been poured around me, unlike the solid objects from the other lost experiment I did where i could manipulate and position them as I pleased. This formulates  questions about timelessness and supports the idea of the momentary feeling of being lost that can’t be reclaimed, you can only feel it again if you get lost in another different new place and in this case it would be to collect a new selection of water.

Alone, lost ocean photos

I photographer a friend whilst swimming to try to capture the essence of the aloneness and lost reality of the sea but with the addition of a the conscious human experiencing it.

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I have found that the flecks of cold white skin and absence of the face share a vulnerability and mystery in the collection of photographs. The face of the person is the way we read and confirm the reality of them but by not seeing the face creates a mood of separation linking to my ideas of being lost and addressing the unknown of your surroundings. Also, feet and hands are at the very end of our limbs, the furthest body parts away from our hearts, most distant from the self and having these stand out being so white and so unprotected against the dark background of the ocean and black wetsuit evokes the same feeling of lost and obscurance of moment and place.

Under nothing but ocean

 

This beautiful video I’ve made is so simple yet captivating, the constant dynamic movement of the sea effectively leaves a person continuously lost when within its surrounding waters. Because of the oceans constant movement, the same particle is very unlikely to ever come in contact with your body again there for every moment is essentially a moment of lost because your surroundings are forever brand new and you would never have experienced them in the past and never will in the future.

In the video I swim far out to sea then tread water whilst spinning around raising the camera above the water level and below at random moments. As the weather changed and the sun began to set, the water change colour and streams of light lit up the surrounding water. Due to the poor quality of my underwater camera, these light beams became pixelated and unexpectedly beautiful. You can find these about 11 minutes in. The white gap you see appear above and below the water when facing the light ties nicely into my ideas about ‘spaces in between’. The harsh whiteness is like a void of nothing or glitch without explanation. It looks like a gateway that leads into the abyss of nothing.

Although this was difficult, I purposely swam far out in order to capture no other people or land in my footage. The shots of just the endless out to sea and nothingness of the perspective under the water are cooling and a bit frightening, the complete essence of lostness and being alone. You may find this peaceful or scary depending on your perspective and experiences but there is no doubt the video comes across beautifully eerie along with the slowed soundtrack which could sound like someone slowly drowning or a conversation stolen from cyberspace.

The visuals of the video are supporting my theories of the sea, they are obviously fluid and ever changing but because of the nature of the ocean, the first shot it literally directly connected to the end shot and every shot in between! Continuous brand new surroundings and pure fluidity.

Swimmers in Nothing

In this video, the water represents the space in between and the swimmers representing our experience within it. Within water, your body is experiencing new surroundings every single second; in the sea especially. The ocean is all connected and is constantly involved in fluid movement, therefore the particles in contact and around our bodies are always completely new, challenging the notion that in the sea you are always lost.

Reflection: Visually I wish I’d have held the camera much more still and maybe removed the sound from it. To improve this video and develop it I could arrange to shoot multiple shots at different angles all videoing the same swimmers but display say 4 shots all at once on loop, maybe on monitors in a cube shape so that all the monitor screens are facing inwards and the viewer would stand in the centre essentially being surrounded as well.