carousel project
week 1 - fashion
week 2 - Machines for living
Our task was to design and make a machine for living that solves problems. Instead of solving everyday problems, I decide to represent the wider problem of recycling. I used old recycled sprite and fanta cans and made them into ash trays in the shape of flowers, hence transforming rubbish into something useful and attractive.
week 3 - border, city, time
serpentine pavilion
Spanish architects selgascano designed the 15th Serpentine Pavilion. The award-winning studio, headed by José Selgas and Lucía Cano, is the first Spanish architecture practice to be asked to design the temporary Pavilion on the Serpentine’s lawn in London’s Kensington Gardens. In keeping with the criteria of the scheme, this is the studio’s first new structure in the UK. The Pavilion is an amorphous, double-skinned, polygonal structure consisting of panels of a translucent, multi-coloured fluorine-based polymer (ETFE) woven through and wrapped like webbing. Visitors can enter and exit the Pavilion at a number of different points, passing through a ‘secret corridor’ between the outer and inner layer of the structure and into the Pavilion’s brilliant, stained glass-effect interior.
Below are a few photos I took at the Serpentine pavilion that came out most successful. I experimented with different white balances which is when the camera compensates for different lighting for example inside light. Another example is incandescent which is more orange so if this setting it makes the image more blue in order for the colour to be normal and balanced out. Playing around with these settings brought out certain tones and colours producing an interesting final effect.
Below are a few photos I took at the Serpentine pavilion that came out most successful. I experimented with different white balances which is when the camera compensates for different lighting for example inside light. Another example is incandescent which is more orange so if this setting it makes the image more blue in order for the colour to be normal and balanced out. Playing around with these settings brought out certain tones and colours producing an interesting final effect.
Our task was to go around Camden and collect any interesting objects that we found and could be transformed into art. I took interest in an old rusty ironing board. I also photographed my journey around camden which is documented below. I combined my ironing board with my photos from the Serpentine Pavilion by hanging them from underneath the the ironing board like a mobile. I then found a place in school which had tiles on the wall giving the appearance of a kitchen which is where I thought the ironing board would fit in.
photos taken around camden
final product
week 4 - metaphor and simile
Our first task was to take photos around Working Men's College of anything interesting that could symbolise deeper meaning. Below are a few of the photos that I took. I began taking photos of obvious signs and symbols to do with fire which are symbolising safety hazards.
However I then began to photograph outside the school through the window taken from various angles and perspectives, acting as a metaphor for being 'trapped'.
However I then began to photograph outside the school through the window taken from various angles and perspectives, acting as a metaphor for being 'trapped'.
Below is a test video I made to experiment with how to use iMovie using 4 stills.
artist research
floriane de lassee
Inside Views
In the high insomnia megalopolis, splashed by stunning lights like so many islands of solitude, a heart beats, fragile, human. Alone on her balcony, Floriane, suspended above the city, never stops watching night falls. “Inside Views” are so many open windows on the outside. On the ravenous city sprawling. On the inside too, inside the silence of solitude. “No matter whether it’s Paris or Istanbul. I do not photograph cities, but an imaginary City that inhabits each megalopolis. It is the product of the Man’s excesses, his genius, his madness. The City exceeds the overflow. She is about to devour us.”
http://www.florianedelassee.com/en/portfolio/inside-views - (05.10.15)
Floriane De Lassee is another photographer who works with the concept of capturing landscape images from the perspective of being inside. She takes photos of beautifully lit up cityscapes taken from her balcony or through a window. Lassee is another photographer who takes photos of the outside word through windows, however the majority of her work focuses on cityscapes.
In the high insomnia megalopolis, splashed by stunning lights like so many islands of solitude, a heart beats, fragile, human. Alone on her balcony, Floriane, suspended above the city, never stops watching night falls. “Inside Views” are so many open windows on the outside. On the ravenous city sprawling. On the inside too, inside the silence of solitude. “No matter whether it’s Paris or Istanbul. I do not photograph cities, but an imaginary City that inhabits each megalopolis. It is the product of the Man’s excesses, his genius, his madness. The City exceeds the overflow. She is about to devour us.”
http://www.florianedelassee.com/en/portfolio/inside-views - (05.10.15)
Floriane De Lassee is another photographer who works with the concept of capturing landscape images from the perspective of being inside. She takes photos of beautifully lit up cityscapes taken from her balcony or through a window. Lassee is another photographer who takes photos of the outside word through windows, however the majority of her work focuses on cityscapes.
Gail Albert halaban
Out My Window
Her art explores the tension between public and private life, what is seen by all, and what is hidden. The series Out My Window is a collection of images taken through and into windows in New York City, she acknowledges unspoken voyeurism and exhibitionism, tells us to admit we all do it, and then pushes us to confront the hope, isolation and other emotions that lie behind the gaze. The pictures seem intrusive, but are nearly all posed. The residents are collaborators and their apartments are lit specifically to make these pictures, which explore a defining urban experience: becoming secretly familiar with the neighbors’ most intimate moments. In the end, the process of producing this series of images is a kind of performance that serves as a remedy for the symptoms that they portray: by ringing on doorbells, Albert-Halaban helps bring anonymous neighbors into each others’ lives. The set-up of the camera and the staging of the resultant photograph become an occasion for new friendships.
http://www.houkgallery.com/artists/gail-albert-halaban/ - (05.10.15)
Gail Albert-Halaban is another photographer who captures moments of strangers lives by taking photos through their windows. However unlike the previous artist Yokomiza, Halaban includes the inviduvals surroundings of the building and/or city as opposed to using the window as a boarder. Furthermore, the people aren't directly looking at the camera which makes the viewer feel a sense of intrusiveness as if they are spying on them. These photos are also taken through a window, with the window pane (either in focus or blurred) being included in the final images.
Her art explores the tension between public and private life, what is seen by all, and what is hidden. The series Out My Window is a collection of images taken through and into windows in New York City, she acknowledges unspoken voyeurism and exhibitionism, tells us to admit we all do it, and then pushes us to confront the hope, isolation and other emotions that lie behind the gaze. The pictures seem intrusive, but are nearly all posed. The residents are collaborators and their apartments are lit specifically to make these pictures, which explore a defining urban experience: becoming secretly familiar with the neighbors’ most intimate moments. In the end, the process of producing this series of images is a kind of performance that serves as a remedy for the symptoms that they portray: by ringing on doorbells, Albert-Halaban helps bring anonymous neighbors into each others’ lives. The set-up of the camera and the staging of the resultant photograph become an occasion for new friendships.
http://www.houkgallery.com/artists/gail-albert-halaban/ - (05.10.15)
Gail Albert-Halaban is another photographer who captures moments of strangers lives by taking photos through their windows. However unlike the previous artist Yokomiza, Halaban includes the inviduvals surroundings of the building and/or city as opposed to using the window as a boarder. Furthermore, the people aren't directly looking at the camera which makes the viewer feel a sense of intrusiveness as if they are spying on them. These photos are also taken through a window, with the window pane (either in focus or blurred) being included in the final images.
shizuka yokomiza
Dear Stranger..
'Dear Stranger, I am an artist working on a photographic project which involves people I do not know…I would like to take a photograph of you standing in your front room from the street in the evening. A camera will be set outside the window on the street. If you do not mind being photographed, please stand in the room and look into the camera through the window for 10 minutes on __-__-__ (date and time)…I will take your picture and then leave…we will remain strangers to each other…If you do not want to get involved, please simply draw your curtains to show your refusal…I really hope to see you from the window.'
http://theharlow.net/shizuka-yokomizo-dear-stranger/ - (05.10.15)
In this project 'Dear Stranger' Shizuka Yokomiza goes around London with huge telephotos lens capturing photos of people through their windows. After taking photos of people without them realising, she decided it was important for them to make direct eye contact at her. She sent around an anonymous letter asking strangers permission for her to photograph them looking at her from their window. The direct eye contact makes the viewer feel personally addressed and involved, adding another level of closeness. Shizuka Yokomiza's work links to mine due to the similar concept of photographing through windows. However mine is through the perceptive of being inside photographing into the outside world whereas Yokomiza's is the opposite. Similarly, the artist and I both use the window and window pane as a central part of the photograph.
'Dear Stranger, I am an artist working on a photographic project which involves people I do not know…I would like to take a photograph of you standing in your front room from the street in the evening. A camera will be set outside the window on the street. If you do not mind being photographed, please stand in the room and look into the camera through the window for 10 minutes on __-__-__ (date and time)…I will take your picture and then leave…we will remain strangers to each other…If you do not want to get involved, please simply draw your curtains to show your refusal…I really hope to see you from the window.'
http://theharlow.net/shizuka-yokomizo-dear-stranger/ - (05.10.15)
In this project 'Dear Stranger' Shizuka Yokomiza goes around London with huge telephotos lens capturing photos of people through their windows. After taking photos of people without them realising, she decided it was important for them to make direct eye contact at her. She sent around an anonymous letter asking strangers permission for her to photograph them looking at her from their window. The direct eye contact makes the viewer feel personally addressed and involved, adding another level of closeness. Shizuka Yokomiza's work links to mine due to the similar concept of photographing through windows. However mine is through the perceptive of being inside photographing into the outside world whereas Yokomiza's is the opposite. Similarly, the artist and I both use the window and window pane as a central part of the photograph.
arne svenson
The Neighbors
With Arne Svenson's new series, Neighbors, he has turned outward from his usual studio based practice to study the daily activities of his downtown Manhattan neighbors as seen through his windows into theirs. Svenson has always combined a highly developed aesthetic sense viewed from the perspective of social anthropology in his eclectic projects with subjects ranging from prisoners to sock monkeys. His projects are almost always instigated by an external or random experience which brings new objects or equipment into his life- in this case he inherited a bird watching telephoto lens from a friend."The grid structure of the windows frame the quotidian activities of the neighbors, forming images which are puzzling, endearing, theatrical and often seem to mimic art history, from Delacroix to Vermeer. The Neighbors is social documentation in a very rarified environment. The large color prints have been cropped to various orientations and sizes to condense and focus the action.
http://arnesvenson.com/theneighbors.html - (05.10.15)
Whilst researching photographers that take photos through windows I came across Arne Svenson whose photos directly link to my theme for this task. In this series he photographs the outside world and his neighbours through his window, giving an unusual twist to the perceptive of the photograph. My work is very similar to Svenson' as I too photographed the outside world using windows as a metaphorical lens. I like Svenson' use of blurring the camera to experiment with the focus of the final outcome.
With Arne Svenson's new series, Neighbors, he has turned outward from his usual studio based practice to study the daily activities of his downtown Manhattan neighbors as seen through his windows into theirs. Svenson has always combined a highly developed aesthetic sense viewed from the perspective of social anthropology in his eclectic projects with subjects ranging from prisoners to sock monkeys. His projects are almost always instigated by an external or random experience which brings new objects or equipment into his life- in this case he inherited a bird watching telephoto lens from a friend."The grid structure of the windows frame the quotidian activities of the neighbors, forming images which are puzzling, endearing, theatrical and often seem to mimic art history, from Delacroix to Vermeer. The Neighbors is social documentation in a very rarified environment. The large color prints have been cropped to various orientations and sizes to condense and focus the action.
http://arnesvenson.com/theneighbors.html - (05.10.15)
Whilst researching photographers that take photos through windows I came across Arne Svenson whose photos directly link to my theme for this task. In this series he photographs the outside world and his neighbours through his window, giving an unusual twist to the perceptive of the photograph. My work is very similar to Svenson' as I too photographed the outside world using windows as a metaphorical lens. I like Svenson' use of blurring the camera to experiment with the focus of the final outcome.
final video
Our initial task was to go around the college photographing anything that could be symbolic. Inspired by the artists above, I took interest in capturing the outside world taken from an inside perspective symbolising the idea of being 'trapped'. My photos include the window and window panes which act as a metaphorical 'lens' highlighting the feeling of being 'trapped' inside over looking the outside world. I decided to use 10 stills as opposed to video clips to I was able to portray more angles and perspectives around the school emphasising my theme. I'm happy with the outcome of my photos, I believe that they reflected the work of the photographers I researched and successfully portrayed my theme. To improve, I could experiment with the time that each photo was presented for in my video.