Back inside where I can control the light and wind! I’ve been given the keys to The Project Space at CACSA to begin installing my exhibition. I’m so excited! For this event I’m converting the space into … well, that would be telling. It does have the blinkenlights. Opens on the 2nd of November 2012, 6pm ( that’s in 4 days!) & everyone is welcome (of course!). It’s also the CACSA Christmas Doo – I’m hoping that means really good cheese. :nekopan:
The Marino project is on a brief hiatus while the tides are high.
Phase 1 of the installation
The Marino project was off to an excellent start – I’ve enlisted the expert help of Adelaide aerosol artist (and sister extraordinaire) Delana Carbone whose advice has been superlative. On Wednesday night we marked out the spot and made one enormous
stencil. It was a beautiful warm and still evening – we were done in no time at all & very pleased with the results.
Unfortunately there was a big change in the weather overnight & Thursday morning brought strong winds – much too strong for precision spray painting – so the project is now on hold 🙁
Our Plan B for poor weather was to continue at the next dodge tide (the 9th of November), but we are too excited to wait & hope that conditions will be kinder on Sunday the 28th of October, just after high tide. If anyone out there can put in a good word with the weather on our behalf it would be much appreciated! Cheers!
Achieving the final photograph involving brainstorm took three photo shoots … each time purely because I made silly film-photography errors. (I use a 4×5 Horseman monorail camera and sheet film.) In the first shoot I forgot that the orange colour would turn out nearly the same shade of grey as the stairwell in a black and white photograph. On the second go I neglected to compensate adequately for the red filter I was using to bring the orange out from the stairs. Lucky for me third time was lucky and I achieved the image that had been floating around in my brain since 2010.
There were some images from the ‘fail’ shoots that I really like that weren’t quite right for the project, but are much too interesting to hide away in oblivion. I’m calling them ‘fail cakes’ because they are similar to baking mishaps -lopsided and not really fit for company, but delicious nevertheless.
The spooky factor was amplified in the fail cakes photo shoots. My sister Delana was helping me for the first attempt, that’s her in the foreground.
ghosts in the stairwell
I love the shallow depth of field. It’s pure photogeekery, but one of the things I adore about using a 4×5 camera is tilt – being able to make the plane of sharp focus run up the stairs – but having everything else out of focus. Unfortunately the optical illusion gets lost in all the photography tricks.
Underexposure in this instance looks spooky as all get out. Why is that boy reading on the stairs in the dark with bare feet? No amount of fiddling was going to get past that the shot is much too underexposed to make a good print at the enormous size I’m working with for this series.
reading in the dark
- from the series Honest Magic
Ta da! This is my latest in the Honest Magic
series which forms part of the artefact component of my Masters of Visual Art by Research studies.
This image was the reason for my sudden divergence into art in public places with the optical illusion installation brainstorm. That’s a lot of work for a photograph, I know. It’s just the way I roll. In actual fact brainstorm took less time to make than hand embroidering the the illusion in the image world building (also part of Honest Magic).
There’s always a risk of “ruining the magic” of an artwork when the artist tries to explain what it’s about, and I’m really reluctant to tread that fine line. Because this work is part of my research project I really do need to explain myself. This as-yet-untitled photograph is my interpretation of the mind-altering effects of reading any kind of book as a pre-literate child. Luigi Serafini also attempted to recreate this feeling of the edges of understanding (for adults who learnt to read long ago) with his acclaimed Codex Seraphinianus.
Many, many thanks to my very patient and helpful son Orlando for continuing to be good natured about appearing in my photographs, my husband Brian for the one hundred million ways in which he is helpful, and James Jean for the inspiration behind the image.