Silent Light Pole Videos [UV]

I wanted to manipulate the original UV videos that were displayed in Sound to Light. All of these had a backing of Feminist Poem 3 Audio, 4 Speakers, which I used for timings on the pole, and also partial set up of each performance. I cut the clips in order for them to only show the performance. I also deleted the sound within the video, which gives an eerie silence to each of them.
In the ’00’ videos, where the camera often could not focus on the subject [myself], it creates an extra glow around the main body. Also, specifically within these videos, you are able to see the UV glowing top and shorts, as well as my body performing the moves. There is something that unsettles me about this, as it is simply the glow from the clothing, and yet it allows you to concentrate on the movements of the body. Although I did not want viewers to see the body and the movement of the extremities within the first two videos, but it allows to you focus on the body, and not the small slice of daylight in the background.
Within the ‘DSCN’ videos, there is a clearer definition of the clothes versus the body. This is what I wanted to achieve within the clips of the performance. The focus of the camera allows the clothing to be seen, and nothing else, giving an appearance that they are moving of ‘their own accord’. The light of the clothing is also less garish, compared to the ’00’ clips where it is somewhat obtrusively bright. Within the third set of videos, in the third performance, I put scraps of white material around my wrist, arm, ankle and foot, creating four more objects for the UV light to catch and for the audience, or viewers to concentrate on. I feel like I preferred the last videos as it allowed the viewing of the movement of the extremities, which is a key aspect of pole and shows the manipulation of space better compared to the other two performances.





Sound to Light

I enjoyed using sound within Feminist Poem [Extended] Audio and all the audio work leading up to Year 2 Spring Exhibition. I was particularly pleased with the way in which you could not visually see the work, but it created an invisible sculpture. I wanted to move away from such a sound-heavy piece, to having parts of the work available to view. This is not the large juxtaposition between Pole Performance and Feminist Poem 3 Audio, 4 Speakers, however it still leaves some questioning for the viewer. Bringing back some of the visuals, I am still able to show the manipulation of space and movement, and also discomfort for the viewer.
Playing around with light, I wanted to create a moving sculpture of myself, that is perhaps only visible at split seconds. Through inspiration from Heather Cassils, and her work with large blocks of clay and the camera flash as the only part of the performance that is seen, I wanted to look at strobe lighting.
WARNING: the videos below contain flashing images. They have been identified to potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.
Unfortunately, the cameras were unable to pick up some of the flashes, and only kept up with half of the flash for the majority of the time. It was very disorientating being on the pole while this was happening, but I managed to position the strobe light so that it did not directly point at me. One of the cameras that I used could not keep up with the darkening of the image and came up blurry.
I originally used a strobe light on the ‘iTorch’ app on my phone, as I thought this was relatively bright and also gave a stuttered strobe. This was not as bright as I thought it would be, even when standing in the room, and I was disappointed with the turnout of the video footage. I had in the background Feminist Poem 3 Audio, 4 Speakers in order to gather how long that I had been on the pole, however I was unsure as to whether to keep this audio in the background. These below are the original videos, and edits are to come.


I then moved onto using the strobe light, which was more effective and turned out brighter, which is what I wanted. As mentioned before, I felt somewhat disorientated when on the pole with this light, however it encompassed the room, which is what I wanted it to do.


I realised after capturing the Strobe DSCN Original footage that I had the pillar, and doorways in the background. This was unprofessional of me, however it did allow me to see the effect of the strobe light on the opposite side of my body. I re-captured the footage in the original position of the camera.

I also decided to have a faster strobe light as this may have created a different effect with further disorientation. This is primarily where the camera struggled, and you can only see the top half, and rarely the whole of my body. The strobe light itself was positioned just behind the camera, meaning there was no flash directly into the lens. However, it still struggled significantly.

I preferred the outcome of the slower strobe in Strobe 00 Original, Strobe DSCN Original and Strobe 2 DSCN Original. This is because there is much more mystery to the piece, and creates the effect similar to Heather Cassils; where you are unsure where the performance, and the performer are going to be next. With the movement around the space, and around the pole, it is easier to confuse the audience, or those who are watching the video. There is a small part of me that wants to add something else to this, as I feel as though it needs something more.
Instead of hanging up on the missing piece of the strobe pole pieces, I decided to play around with other effects and lighting, including that of black lighting, or UV. I wore a white top and shorts in order to capture the footage for this, and positioned two cameras in the room in order to see the effects of the UV light on my body and clothing. Again here, one of the cameras struggled with the lighting, and often appears blurry. Although this is annoying, I took it in my stride when editing.
I was inspired by the modesty and innocence of John Poppleton‘s paintings, and the use of black light by both Poppleton and Bogi Fabian. Fabian also heavily manipulates the space that she works in, somethings that I want to continue to concentrate on while using UV lights.
Within the first performance, I noticed that the UV lights were lighting up the right hand edge of the footage. It adds an eerie glow to the video and adds almost a supernatural vibe to the piece.


After realising the mistake of putting the UV light too close to the camera shot, I moved it to another plug socket in the room, and began filming again. Once again, one of the cameras struggled to focus on my body. I was enjoying the effects of the UV lighting on the body and clothing, and how it created another version of minimal viewing of a performance, or video.


I wanted to change things up a bit from the previous two performances and sets of videos. There was a certain pleasure to seeing the body and how this moved throughout the performance, however a key part of pole is the extremities. You hands and feet, along with your arms and legs, move around in order to create shapes and moves. These movements were not seen through the use of the top and the shorts, so I decided to put a piece of white cloth around my wrist, arm, ankle and foot, in order to capture these movements and to further manipulate a wider circumference of the space.


I enjoyed using both the UV lights and strobe light in order to create new effects on and off of the screen. There was a certain level of manipulation of space that was achieved, that I believe could not have been achieved by other means. By manipulating the lighting, I was able to control the parts that the audience and viewers see of my body, of the performance and of the space as a whole. I was also able to successfully create the middle ground between the visual juxtaposition between Pole Performance and Feminist Poem [Extended] Audio.

Bogi Fabian

Bogi Fabian is a European artist who became popular with her unique fantasy UV and glow in the dark paintings. She took a few years to master this ‘multiluminous’ technique that allows the creation of a unique ambient space, where you can appreciate the artwork both in the daylight and in the dark. It has been said that Fabian wanted to create spaces when relaxing and living becomes an experience.
I am intrigued by Fabian’s work and the technique used as there is a great manipulation of materials in order to gain the desired affect. It is this manipulation of materials that I would like to bring into my practice, perhaps through the use of UV and glow in the dark substances within the manipulation of space.
 

John Poppleton

John Poppleton uses black light to create beautiful ‘Bodyscapes’, strange paintings and intriguing photographs. Poppleton says on his website that he has ‘always been in awe and wonder of the beauty found in nature’ (Poppleton.com). This awe has led him to include nature in many of his works. Much of his career has also been involved with brides and weddings, showcasing his earlier portrait photography passion.

“Black Light Bodyscapes combines the beauty of the female form with the splendor of God’s creations found in this world and the worlds beyond. Using temporary fluorescent materials the scenes are painted directly on the skin and photographed in modest poses to create a piece of art that is a unique as you are.” – www.poppletonportraits.com

I am inspired by the use of the fluorescent paint and both the camera and bodily manipulation that takes place. The modesty behind the portraits that he takes implies a sexual nature, but is innocent, especially when the model has a beautiful UV portrait on their back. I would like to bring this modesty and innocence, along with the possible use of UV into my own work.

Tino Sehgal

Tino Sehgal can be considered a choreographer, organising performances that are the ‘dance for museum settings’. His performances are organised wholes, bringing large groups of people together, often in order to break the fourth wall. In the Tate, Sehgal directed people to sing in harmonic chorus with each other, walking backwards through the large Turbine Hall. These performers then broke the fundamental fourth wall between themselves and the audience, coming into conversation with them. This break in the fourth wall was intense for those who experienced it, and the audience were confused, bewildered and unsure how to act.
Using the experience of breaking the fourth wall and making those watching feel uncomfortable, he is able to choreograph very interesting and captivating performances.
Sehgal does not document his own work, but rather lets the audience do this if they so wish. One of the main elements of being at a performance of his, is to be present, to have the full effect of the uncomfortable upon you.

Year 2 Spring Exhibition

The Spring Exhibition was a little controversial, as some believed that we should have not had this because of the minimal support we had over spring term, due to lecturers striking. The exhibition, however, went ahead. The poster we used [below] was created using the top titles the year group voted for, as many of them had the same number of votes, and was created by Clémence Muller.
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I placed my sound piece in a room with several other pieces that looked at feminism, the body and identity. Instead of clashing with the artworks that were already in the room, I felt as though my sound piece enhanced them, and created an invisible sculpture in the spare space around the works. Although this connected the pieces within the room, I also felt that the room wasn’t particularly inviting. There was a piece that covered much of the door, and although there was a sign saying for people to duck in, many peered in and then moved on. This barrier meant that they were unable to listen to my piece and the impact it had on travelling around the room.
Within these, I also uploaded them to YouTube with images of my Pole Performance. I did this, as I found it links the movement that you can hear in the audio pieces, with that of the movement in the performance and in the accompanying videos. I also put these on for ease, as I wanted someone to listen to them, and to associate my previous feminist work with this audio. When showing these, however, I did not show the videos, but rather audio only, meaning that many people would not have this association, but they would still be able to grasp the concept.


Even though this had occurred, I still felt that the piece, and the curation of the room, as well as the exhibition as a whole, went very well. I was able to stand in the room for quite a while to listen to the piece. There was some unintended overlap of speech, however instead of sounding weird, it just sounded like an echo. This echo gave the perception that the space was louder than it was. The use of smaller speakers in the corners of the room gave the effect that no one was there, even though there was always a sound.

Feminist Poem [Extended] Audio

I lastly created an extended version of Feminist Poems [15 Minute] Audio to display at the Year 2 Spring Exhibition. I decided on this as I did not want people hearing the same poems in quick succession over, and over again. The break allowed a calm and serene blanket to lay over the room, but still gave the eerie presence that I wanted to keep. I decided to practice in a larger room, but found that with this extended version, the room felt very empty much of the time. I then moved into a smaller room before the exhibition, creating a much more personal atmosphere.




Feminist Poems [15 Minute] Audio

I decided to bring all the aspects together that I preferred from Feminist Poem 1 Audio, 2 SpeakersFeminist Poem 2 Audio, 3 Speakers and Feminist Poem 3 Audio, 4 Speakers including; 4 speakers in a medium sized room, the audio circling around the room to create disorientation, something uncomfortable, and also the audio making an ‘invisible sculpture’ within the space. I was able to mix all three of the poems together into a longer audio piece, which successfully worked around a room, bouncing back and forth between each other. There was no documentation of this, as I did not want to capture or destroy the atmosphere that this created. I did, however, find that the piece was very ‘squished’ together, meaning that the poems came in quick succession, and I felt that this detracted from them.




Feminist Poem 3 Audio, 4 Speakers

I finally came to the conclusion that I should complete a sound piece on four different channels. I found this to be more successful than Feminist Poem 2 Audio, 3 Speakers, as the audio was able to encompass the whole of the room, making you feel as though you were surrounded by it at all times. I experimented in a smaller room, making it feel very enclosing and uncomfortable, which are the sensations that I wanted people to feel (this stems all the way back to Guitar Performance). In a larger room, on the other hand, there was the sense of someone running away, and then towards you again. The audio was not oppressive, and yet it was always there. I wanted both of these aspects together if it came to presenting this as a final piece.




Feminist Poem 2 Audio, 3 Speakers

Following on from Feminist Poem 1 Audio, 2 Speakers, I decided to continue onto producing a sound piece with three channels. This didn’t work as well as I hoped it would in a square room, and unfortunately I could not find any unusually shaped spaces. The set up also meant that there was one random speaker in the middle of a wall somewhere. I believe that if I were to do this in a triangle, or circular room, however, I would like to utilise three speakers in order to create the invisible sculpture with the sound, and an uncomfortable sensation of listening.