Lockdown Nine (the most bored week so far…)

This gallery has the continuation of my ‘draw every day’ attempt, so far I’ve managed every day since the 6th May

and now through June since the 6th.

I continued with the scyulptures, making six maquettes last week.

These are using the cast plaster rocks and the steel rod. I managed to submit for the Cast ‘Scratch Night’, that might be interesting (if I get it) and continued working on the ‘et in arcadia ego’ models.

I finished this painting.

Still life with fox jaw, lemon and dried rose

There is now a set of five of these,

each 10 inch square, oil on board, an attempt to relearn painting by drawing directly with paint onto the board. The middle one is in the Doncaster Art Fair competition on line and I’ve got my fingers crossed.

I’ve tried gilding the first of the small sculptures, that and painting being the next step, and it looks like this now

 ‘Balby Garden No5 (June 2020)’ plaster, steel rod, paper; 1’x1’x1’6” approx.

‘Balby Garden No5 (June 2020)’ plaster, steel rod, paper; 1’x1’x1’6” approx.

 ‘Balby Garden No5 (June 2020)’ plaster, steel rod, paper; 1’x1’x1’6” approx.

‘Balby Garden No5 (June 2020)’ plaster, steel rod, paper; 1’x1’x1’6” approx.

 ‘Balby Garden No5 (June 2020)’ plaster, steel rod, paper; 1’x1’x1’6” approx.

‘Balby Garden No5 (June 2020)’ plaster, steel rod, paper; 1’x1’x1’6” approx.

Still thinking about the VR work and how to build a structure to house the experience. Also varnishing BGNo5 and finishing the others.

Still difficult to focus thoughts on the work as its impossible to get away from it!

 

Lockdown Eight (Too busy to think)

Another lazy post, been too busy gardening and prevaricating since the last one.

small painting gif ‘fox jaw’

I made this small painting, and I entered the last one into an online competition…

It’s there on the right, you can click this link to vote for it https://www.doncasterartfair.com/?pgid=kb84pw6k-c20b0fd7-b161-42b3-ac0a-0086832b9f2e but I don’t really stand a chance, the final 30 are picked through the online vote and half an hour in some of these had 500+ votes. I don’t know enough people online. It was free to enter though.

I’ve been continuing to work on the ‘gardens’ project, tentatively titled “et in arcadia ego” the viewer moves through a series of gardens, all the gardens I’ve spent time in. I think its about the pursuit of quiet spaces, the expanding and contracting nature of safety – mental and physical – and the chimeric nature of confidence (for a start).

This is the first space, the back yard at Glover Street in Birches Head, Hanley, Stoke-on-Trent. The spaces will eventually lead to the garden I used for geranium and I’m working on a post explaining the concept fully for a new funding bid (small funds but tech support).

I’m building sculpture this week, I’ll post it next week or on the internet as I go.

Lockdown Six (and on, and on, and on…)

Lazy post this week…

The gallery has been updated with the daily drawings.

I’ve also spent quite a bit of time working up the parts for some maquettes, the series of photographs tell the story…

paper drying in the sun

paper drying in the sun 25/05/20

mould making for rocks

mould making for rocks 27/05/20

mould making for rocks 27/05/20

mould making for rocks 27/05/20

finishing the moulds

finishing the moulds 28/05/20

Outdoor workspace

Outdoor workspace 28/05/20

Solid Castings

Solid Casting 30/05/20

Solid Rocks and half rocks

Solid Rocks and half rocks cast in plaster of paris 29 & 30/05/20

Outdoor workspace 31/05/20

Outdoor workspace 31/05/20

Plinths

Plinths 31/05/20

I’ve made a whole series of parts for the maquettes I’m planning.

I’ve also modelled the old backyard from the house I grew up in in Stoke on Trent for the VR piece I’m working on.

Onwards and onwards!

Lockdown Five (a continuing, if erratic, saga)

A bit of a mixed couple of weeks (12 days as I’m writing) doing a variety of different things.

Lots of gardening, lots of preparation for a series of small sculptures – nothing to show there yet – drawing, painting and so on.

Looking through Instagram, which I just rejoined, I came across #draweverydayinmay2020 run by ‘Marigold the Maker’ under the auspices of The Big Draw. Part of it is to use the additional hashtag #stillpointsketchingchallenge and place some creative limitations on your daily sketching. I decided to use Autodesk Sketchbook to produce all the drawings on my iPad, work between 9:00 am and 10:00 am each day and remain in my seat at the kitchen table.

painting of lemons

Teaching myself to paint

I also bought myself some boards, 5mm ply 25 cm square, to do some small paintings, just to keep my hand in. These lemons were started the same day I drew the two in the dish in the gallery.

I also applied for the Yorkshire Sculpture International Network 2020, which is a set of online meetings fortnightly from June until October where Each of the participating artists will be invited to contribute to developing the content of the network’s programme and to the research and development for the next Yorkshire Sculpture International festival. This programme will enable us to ensure we are building the future artists’ professional development in the most useful way for artists.” I should find out if I’m successful next week, I can’t imagine there will be many people my age applying.

ArtBomb Video  

Flickr Video

Art Bomb Video

I’m posting this again to remind myself, the arts group I did this with has done a zoom meeting with all the videos played, I wasn’t invited (or I missed the email?) I know it’s not great but it would have been nice to be asked.

More Lockdown (less success)

I’ve got the WebGL down below seven minutes consistently, with data caching, it’s still too long though. www.ian-latham.com/geranium/build_newmirror

Began thinking about meadow forms for sculptures.

07/05/20 tried loading the WebGL again, took 20 minutes to do nothing, 12 minutes to load, then twice seven minutes to load each time with no sound! Next step is to upgrade the Unity programme which means a complete rebuild. Love this game!

08/05/20 Too nice a day to mess about with Unity so I did some sketching in the garden and started to work a maquette for the meadow forms.

buttercup sketch

buttercup sketch

I’ve started to draw on the iPad in the mornings as well, posting them on instagram. [@latham_1959] The maquette is air drying clay and will be varnished and cast in plaster.

common orchid maquette

common orchid maquette

I’m thinking of different finishes, certainly mounted on a stem.

meadow forms sketch

meadow forms sketch

Since these, a couple of days ago, I’ve had to update Unity to try to resolve the load issues.

LOCKDOWN CONTINUED:

When I’ve spent time in the studio in the last week I’ve spent it trying to get the model to laod as WebGL from Unity. I can make it work in the programme and it builds succesfully but it will not work from the web! I’m typing this while I’m trying it again. If it works this time it will be here www.ian-latham.com/geranium/build As I type it doesn’t look like it will!

Otherwise this week I’ve been gardening, the bottom of my garden looked like this on Monday 20th April.

Waste Ground

Waste ground at the bottom of the garden

And like this on Friday 24th April

Mini Allotment

Mini Allotment

This film shows the WebGL build in Unity.

Spent another couple of hours trying to get the WebGL of geranium to work, it does work, it just takes 9 minutes and 41 seconds to load www.ian-latham.com/geranium/build

Studio Strike (Two weeks to leave)

Upstairs Studio Cleared

Upstairs Studio Cleared

The upstairs of the shop is now cleaner and emptier than when I moved in.

I’ll be leaving my studio next Wednesday, no prospect of a new one yet, everywhere is shutting up shop, and I’m hopeful my van driver will honour the contract. We live in interesting times.

Shop ready to empty

Shop ready to empty

So all of this is now here…

Stacked Garage

Stacked Garage

Apart from the bits that are here…

Attic Studio

Attic Studio

Ready to work in isolation!

For the sake of future reference ACE effectively canceled all the National Lottery Project Funding currently pending in order to create a support system for freelancers who are seriously compromised by the current closure of everywhere. So all my plans are on hold along with everyone else’s. What I’ve decided to work on now is a Web GL version of the VR world and see what I can do to finesse it.

Studio Strike (four weeks to leave)

I’ve got three weeks to pack up and leave the studio and, as these things do, it’s come at a time when there are other things to do. I’m losing two days for the Future Now conference in York (C-19 permitting) and two days with Barnsley College to help out and begin the NHS maquettes. I’ve also got to find a new place and I’m still working on developing new ideas and refining the geranium VR. This obviously calls for a diary, even if only because it will keep me focused on the things I need to do.

So the first thing is to take the studio apart and pack everything while I look for more space. The shop now looks like this…

One Days Tidying

One Days Tidying – Monday 9th March

I think I can pack everything up by the middle of next week, I’m in York on Thursday and Friday. On Monday I sent some emails, took down the exhibition and the walls for the workshop downstairs, and added more sounds and animations to the VR for geranium.

geranium_march_2020_medium from Ian Latham on Vimeo.

Also this morning, Tuesday, I got the acknowledgement of my next funding application to ACE, so I will find out if I’m successful at the same time as I give the keys back to Axisweb.

Wednesday Tidying

Installation Dismantled – Wednesday 11th March

Wednesday I took down the installation and started to disassemble the panels. I also took the opportunity to film the installation without a roof.

The first chance to see it with decent light.

Friday I finished the panels and started to pile everything up downstairs ready to move. Another day should see it done.

Upstairs Tidying

Installation Fully dismantled – Friday 13th March

Downstairs Friday

Downstairs Tidying – Friday 13th March

Leaving the Studio

I moved into my studio at 13 Scot Lane on February 6th last year, and last week I got notice to quit by April 4th. It has been a long lease for an Axisweb tenancy and very valuable to me. I got the ACE funding and completed the geranium project (R&D), so I have no complaints. I do have quite a headache though. I’ve three weks effectively to pack up and move just when I’m getting some interest in seeing the project from people who might think of showing it.

The shop the day I moved my gear in

Moving in Day 6th February 2019

I spent the week sorting out software licenses, meeting people to discuss possible exhibitions and planning for a project for the NHS in Barnsley. I really need to do some drawing!

I’ve got the Future Now conference at York St. John’s next week, Thursday and Friday, with a meetings with an ACE officer and a portfolio review. It was this time last year when I attended this conference and showed my work to Jane Bhoyroo from Yorkshire Sculpture International whose response convinced me of its viability and Denise Fahmy from ACE who gave me really valuable advice about making an application. Looking forward to hearing Cornelia Parker speak at this one.

Some links that are interesting and may potentially come up again in the next few months.

http://alittlepieceofland.org.uk/

https://access-space.org/

http://artspace.org.uk/

The Geranium Project (R&D) 33

The Geranium Project (R&D) – Philosophy

A couple of weeks ago I was challenged to come up with a ‘philosophy’ for my work, an accounting of, or for, its place in the art world. Establishing this philosophy will make it easier for me to develop the work and easier for the work to be marketed (for want of a better word). I also understand that I need to try to place myself in the canon in order to help direct the work to the right curators, competitions and galleries. So this is an attempt to find my location.

Space in the imaginary of the Geranium Project

Making virtual reality artworks is presented as a new frontier where there are no maps and the viewer is faced with charting their own course, exploring in a way that suits them and exercising agency in the encounter. The difficulty with VR as a medium is precisely that it seeks to be ‘like being there’ and ‘there’ must be somewhere, real or imaginary. It is regarded as a manifestation of Plato’s Cave and we are reminded of hisi instruction to return to the shadows to educate our fellow men on the reality that they cannot see. The clarion call of this new technology is immersion and agency towards gesamtkunstwerkii, but it might equally be thought to be  “a tale/ Told by an idiot, full of sound and fury,/ Signifying nothing.”iii As with any new tool there is a degree of evangelism inherent in its dissemination.

On a simple level Virtual Reality offers an opportunity to address the movement between transcendence and immanenceiv as consciousness moves between representations. In ‘the geranium project’ the photographic stands for the real (transcendent) object(s) and the drawn elements for the represented (immanent) objects. The environment presents as a field for the fulfilment of perception. The ‘player’ moves through the spaces, looking, listening, considering the changes encountered as they progress. As perceptions challenge the notion of existence the project is an exploration of the act of looking.

The act of “looking” is the foundation of any art work and is the immediate interface with the audience, and this is not in any way a radical viewpoint. The entirety of training in art is about looking in a way that breaks through the filters of perception that are accrued through living. VR offers an opportunity to present a work in a format that reduces the need to suspend disbelief as it tricks the brain into an assumption of presence. It must be noticed that this trick pales with repetition and is both less and more effective with people who play computer games. Any work using this expression has to be sure of the meaning of the perceived presence, in geranium that presence is centred on space.

Discussing the Chauvet Cave paintingsv John Berger remarks that

‘The thrust of an animal’s neck or the set of its mouth or the energy of its haunches were observed and recreated with a nervousness and control comparable to what we find in the works of a Fra Lippo Lippi, a Velázquez, or a Brancusi. Apparently art did not begin clumsily.[…] There was a grace from the start.’ vi

he argues that the difference between then and now is space, rather than finesse, the space, he states, ‘in which their images exist as images and were imaginedvii This connection between the space of the imagination and the physical space in which it is expressed is central to the thesis of the ‘geranium project’. Geranium’s space is composed of versions of a real space, a private space recreated in different conditions, and versions of that space reimagined as drawings and paintings by the artist. The ‘player ‘viii moves through the gardens from a cave like space within the artist’s studio, progressing from reality to reality through the imaginary a number of times during their immersion.

When entering a new space we are faced with a number of responses, curiosity, intrigue, anxiety, or perhaps even irritation. We spend our attention on the environment according to our preconceptions and our intentions within it, so that we may, if we have an appointment, search for signs and follow them trying to exclude distraction, or if we are there without purpose, or only to look, we linger over details allowing ourselves to be drawn into reveries. If this space is a museum we might aim for a studio or a particular collection or gallery, even a specific work, we might search for order, a chronology or stylistic guide to help us navigate, or we may just wander, a glimpse of colour or light catches our eye and we move towards it, spellbound. When the space is the artwork these same intentions direct us as entering a virtual space is essentially the same as entering a building.

The installation itself is experienced in both the physical and virtual worlds, it is a confined space, around two and a half metres at its widest and of a similar height, with illumination provided by a video projected onto a cloth at its end. The journey through the video is replicated in VR as the introduction to the garden spaces. The space has a soundtrack of birdsong that gradually gets louder with the interjection of thunder at some points as the audience passes. Additionally there is a representation of the birds from within the VR that can be viewed as Augmented Reality objects using an android app. The passage through the installation in its physical manifestation is replicated in the VR world as the player passes through (into) the video and enters the virtual garden.

Sartre suggested that imaginary objects are a “melange of past impressions and recent knowledge”ix and the virtual space in geranium explores this idea. The space is represented in a way that is clearly not intended to be ‘physical’ reality but is instead an ‘imagined’ reality requiring the same distance and suspension that we experience when we view a photograph. It is not the ‘thing’, but we accept a perception of it as the ‘thing’ without deep consideration (most of the time). Joseph Kosuth’s ‘One and Three Chairs ‘x is a more explicit expression of this kind of thinking. If we accept geranium as, on one level, a manifestation of conceptual space there are still questions of agency and intention within the space. Intention needs to be questioned from the viewpoints of the “player” and the viewpoint of the artist. Geranium presents itself as an exploration of the transcendent act of drawing, challenging the binary contrast with the immanent and the interpretation of the imaginary through the presentation of analogons as described by Sartrexi. The artist asks the player to view a translation, in the mind of the artist, of a photographic view of the garden into a garden rendered in a three dimensional representation of the garden as a drawing. The photographic garden is presented in three ways, playing with scale, weather conditions and intensity of observation, sparsely populated with birds that, upon closer inspection, are discarded drawings. Each of these spaces leads into a rendered garden presenting an interpretation of those differences. All of the spaces, photographic and drawn, are accompanied by a soundtrack of ambient garden noises with slight differences for each. The intention of the player is, hopefully, to explore. The idea of having any agency in relation to an artwork is difficult. On the one hand a work requires the application of imagination as well as the simple choice to engage or not. The structure of the work should coerce the operation of this agency in the audience.xii Against this the audience as ‘player’ in a VR work has to choose beyond this intial engagement and must exercise this agency within a tighter structure to fully realise the experience. In geranium’s gardens the audience choose their speed, and their direction as well as what they see. There are spots where they can stop to listen and there are places where they might find a secret.

Geranium explores the way engagement with all aspects of a space can be imagined and recreated as an immersive artwork.

Notes:

i Gill, N.S. “The Allegory of the Cave From the Republic of Plato.” ThoughtCo, Jan. 28, 2020, thoughtco.com/the-allegory-of-the-cave-120330.

ivWhere an experienced, represented, and remembered object (e.g., a tree) is inside consciousness (immanent), whereas the real object itself is outside the mind (transcendent).

v Chauvet Cave (also known as Chauvet-Pont d’Arc) is currently the oldest known rock art site in the world, apparently dating to the Aurignacian period in France, about 30,000 to 32,000 years ago. Hirst, K. Kris. “Chauvet Cave.” ThoughtCo, Jan. 28, 2020, thoughtco.com/chauvet-cave-france-170488.

vi Berger, J. 2015. The Chauvet Cave Painters (c 30,000 years BC). In: Overton, T ed. PORTRAITS John Berger on Artists. London: Verso, pp 1-6

vii Ibid p2

viiiThe term ‘player’ is used deliberately in the context of Virtual Reality, more active than ‘viewer’ whilst still, in effect, a witness.

ix Sartre, Jean-Paul,The Imaginary: A Phenomenological Psychology of the Imagination Translated by Jonathan Webber, (London and New York: Routledge, 2004)

xii In the social sciences there is a standing debate over the primacy of structure or agency in shaping human behaviour. Structure is the recurrent patterned arrangements which influence or limit the choices and opportunities available. Agencyis the capacity of individuals to act independently and to make their own free choices. The structure versus agency debate may be understood as an issue of socialization against autonomy in determining whether an individual acts as a free agent or in a manner dictated by social structure. https://en.wikipedia.org/wiki/Agency_%28sociology%29