Art School: Presentations and critiques

This year the school of fine art is changing the way crits are going to be presented. This is perhaps more pertinent to moving image work as generally the proposed changes already happen in other mediums such as painting or sculpture.
The work to be critiqued now has to be installed in an environment as close to its intended space as possible. (gallery space, theatre etc). The reasoning behind this change actually makes sense – Students get to experience the technical challenges they might face during an actual install, how the work operates in space, additionally consideration of how and where their work should sit along side that of there peers.
Meanwhile taking part in crits should become more of a fluid, dynamic experience.

The problem of media based crits has always been in the presentation. Students bring their work on USB stick where it is projected onto a wall. The audience sit, corporate style, on rows of uncomfortable chairs watching a succession of work for hours on end. One cannot emphasize enough how tedious this becomes as proved in the presentations that took place this week.

Firstly I must say that the quality and range of work is generally very high – that is not where the problem lies – but the whole process has been the most tedious art related experience I have ever been involved in, turning what should be a vibrant, dynamic medium into an absolute snorefest.
Sat for hours at a time on uncomfortable chairs watching a continuous stream of projected quick time files does not, in my opinion, deliver an engaging experience. Contrary it actively dis-engages the viewer until the medium itself becomes the most mind nummingly boring thing they have ever witnessed.

We are supposed to be emerging artists working with a medium that is animated and can be viewed in a number of interesting ways. If I wanted to sit in a sterile, corporate environment with faceless droning presentations I guess I would have chosen a different career path. I have literally had more interesting experiences watching paint dry.

Let’s hope that this new format will not only give practical experience to those showing work, but also provide a more relevant way of experiencing our art.

Shortwave Tester

News Update

Principle photography for my forthcoming Black Country film almost complete.

Busy working on my MA Thesis (amid long bouts of procrastination)

Very pleased to have had my short “Merry Melodies” screened at Centrala as part of their Points of View International Video Weekend, Digbeth, Birmingham 26 – 27 July

New film “Lost Angel of a Ruined Paradise” just finished – Screenings coming soon

I am pleased to be Co-Curating Light and Matter: Painting and the Moving Image, a group show featuring 8 international artists. Coming to London and the West Midlands October – December 2014…More details to follow.

On the Radar Vol1

On the Radar Vol1

The first volume of On the Radar, showcasing Midlands based artists is out now.

Featuring Yours truly (amongst others) 

Guide to Reading Deleuze’s Cinema II: The Time-Image, Part I: Towards a Direct Imaging of Time to Crystal-Images

Originally posted on Networkologies:

An early crystal-image in Welles’ ‘Lady from Shanghai’

[Here's a continuation of my series on reading Deleuze's Cinema I & II . . . ]

If the greatest impediment to understanding Deleuze’s concepts in The Movement-Image is confusion over what he means by the word image, then a similar roadblock occurs in The Time-Image in relation to his use of the word time. Understand what he means by the word image, and Cinema I is a massively easier read; understand what he means by the word time, and the same thing happens for Cinema II.

Bergson’s Critique of Clock-Time

Deleuze’s conception of time in Cinema II is taken almost directly from Bergson, and with Bergson, it’s easiest to start out by describing precisely what time does not mean for both of them. Bergson’s philosophy finds its genesis in the critique of clock time, and in favor of…

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Brief reflections on a difficult year

So the first year is almost over and it’s been difficult.
It would be easy to say that really I have achieved nothing, learned nothing and made next to nothing -certainly what I have made has been without much meaning. I guess everything that I’d hoped would happen before starting the MA has happened. My practice along with my confidence in it has been ripped apart, questioned and generally left in pieces – trouble is it’s very hard to remember that this is a good thing when it’s actually happening to you.

On reflection I feel that my practice is on the verge of becoming much stronger, I am excited about what I’m (admittedly very slowly) making, and feel like it has meaning.

The most important realisation is that NOTHING else matters except the WORK. Everything else is in secondary.

Looking back at all the top artists I have been fortunate to hear/meet this year the one thing above anything else that all share is the professional quality of what they do. Not just the work but everything that surrounds it. Everything is done to the highest standards in order to make the work as good as it can be. It’s simply not enough anymore to have what may be a great piece of work and hope this alone will take you where you need to be. The whole package that surrounds the work has to be as good if not better. A good thought to take into my final year – Be the complete package.