Imagine


One of the potential locations is the windowsill in the flat kitchen. I've used this location for the majority of my projects. It got cracking light, which makes for excellent photo's. Think this location is also interesting because of all the objects that accumulate there over time. 
 

Objects in this image.
Tea Towel
My 5 books (not bound yet)
Carbon dioxide tester
12' steel ruler
Broken glowing Buddha from Tiger(shite)
Bambo strand(came with the flat)
Jacks Berghaus Jacket
Crate of Beer
 

This was quite liberating drawing what I want quite freely, the more I started drawing the more I started seeing. It was interesting because at Uni I had some time to spare so I did some drawings from memory! An they was actually pretty accurate! 

What really caught my eye during this photographs and drawings was the quality of the shadows! Really want to try emphasise these shadows some how! From one of my drawings I observed the line quality. This line quality reminded me of string. So am going to explore string and shadows.!!
 
The Window's Point of View
Very Reflective Surface.
Sol Lewitt
Sol Lewitt
Playing around with the string proved harder than I thought! Not a the number one seamstress and am not the best at knots either, here I was exploring the material, its a little harder due to it being quite fiddly. Had to get the tweezers out to help me tie knots!! Also the I think I was too heavy handed with the hammer and was bending the nails. 
Shadows offer a duplicated image. Very similar to the drawing with two pens.
After reflecting on this, I don't think it successfully communicates a shadow to me. What I found the most interesting about the initial shadows was that there was a varying range of shadows I would span from very dark to quite light.  I tried to show this varying level of shadows by grouping the string closer together and gradually separating the string.  
 
I think it is unsuccessful because a shadow is a very definite thing, it has quite a presence on a given surface, the string in its this stretched out nature is very discreet and unobtrusive. The question is can I now manipulate the string to be less obtrusive and have more potency on the surface. 
This is definitely showing gradient now, from a heavy tone to a lighter one. Also its a little more playful and less structured than the pins. Also relates back to some of the original free flowing drawings. When looking at the darkest section of the shadow i see typographic tendencies, due to the amount of string that is clumped together and the 'script' like curves.

Reflective Break.
 
Am happy with the way the work has progressed, interesting how it has all emerged from recording a space through drawing. Should defiantly try and record in this way more often, I feel photography is a useful and alternative way to record initially. But recording through drawing really helps you to open your eyes up and see the what you are looking at in more detail. Your observation of the given object or place also increases the more you record, you start to notice not just the obvious forms, lines, tones and colours. But I started to make visual connections, with materials, artists and contexts where it could also be placed or used in. These are all which are areas to explore further! 
 
Colour is an area I need to explore a little further at this point. I have worked in Duo-tone thus far. I made the conscious decision to work this way so that I did not confuse my self with the connotations that different colours may carry and communicate.
'A dark area' or 'a shape'- this is interesting. Due to my observation of shadows previously in my environment, the shadows seem to be built up of lots of shapes witch make constitute to the whole shadow. This is most likely because of more than one light source. 
Zeus
Zeus
What i thinks is quite interesting about Zeus is that he looks at shadows in a different way to me, he is not focusing on the shadow as a whole element, rather focusing on the outline. This would be good to explore, potentially looking at line thickness to convey the varying gradients of shadows.
I think the Zeus shadows are very interesting, but they are quite intricate, I think this level of intricacy lends its self to the outline of the shadows been exaggerated. This question that I want to look at now is there any way in which I can exaggerate a very mundane shadow, this would be an interesting place to start bringing colour in to the work.
Black and White, compleatly Saturated 
These colours are far to garish, they are very odd due to the brightness. Maybe if I saturated the colours even more, then it may start to look more 'shadow' like. I think we are so familiar with shadows been dark voids that  when juxtaposing with colour it starts to throw the eyes!
Really saturated the colour down to a minimal, looks slightly more believable. I feel like you may just dismiss the image at first, and return for a closer inspection. It also has a similar effect to that of a stain glass window.
After desaturating 
Stained glass casting garish colour shadows. Can take some influence from this. but I have to start questioning is this a shadow, or is it a projection of colour due to the staining of glass? Am sure i've seen somthing on colosal where stained glass has been used! I shall have a look.
Rashad Alakbarov
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