With Illusions I’ve just been thinking about photographs as objects rather than as tools to record or remember.

Here I’ve taken a picture of the sky and printed it. I was going to fold it into a paper airplane, but that’s actually more complicated than it seems. The image of the clouds is only on one side of the paper, the other side is blank white. When I fold an airplane shape I end up with sky image and plain white images mixed together and I really want the entire paper airplane to be made up of cloud image. Until I figure the two sided thing out, I’ve simply placed the original photograph on the table and let the natural roll of the paper take over.

The cool thing for me here is that the photograph changes from an image into a shape or a sculpture. I’m fascinated by this. I’m also fascinated by what is in essence a three dimensional thing posing as a two dimensional image. The photographs below could simply be  two-dimensional shape, rather than a three dimensional curved piece of paper.

After uploading this today I continued to think about it and came up with the following complicated scenario that I’d like to try involving projection as an extension of the illusion.

For Projection I would shoot a photograph of something. It could be the sky image again. Whatever it is I’ll print it, then take photographs of the photographs on a black background.

Separately I plan to fold architectural shapes out of paper. These will be simple and relatively complex shapes but each will have a it’s perimeter delineated by a simple shape. My first thought is that these shapes would be varying quadrilaterals. Maybe other shapes are possible but that will take quite a bit of experimentation.

I then have to obtain a projector I can use to experiment and for the exhibition.

I’ll take the new digital files that are images of the physical photographs and from the computer I’ll project them onto the architectural paper forms. The light from the projector will be adjustable to just cover the architectural paper shape. I’ll be projecting images on to the blank “screen” of the paper shapes. Ultimately I see these small paper sculptural screens being put under glass on a plinth and the projector mounted in the ceiling. I could even further work the piece so that the position of the projector allows the path of the image from the projector to be disturbed by the viewers point of reference.

I think these projected objects can become film, sculpture, photography and illusion.

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I came upon the idea for Constructions as I rode my bike to work and thought about an image I had taken on Monday of this week (previous post) . As soon as I arrived at work and locked my bike up I started thinking about it more seriously. I’d originally thought I’d call it Found, Constructions is a much more engaging and applicable term. I’ve been thinking about it all week now. It’s morphed into thought and imaginings revolving around Nuit Blanche 2013.

I’d like to suggest a Chris Shepherdly-simple curatorial thematic for the all night extravaganza next year. “Constructions” would incorporate ideas of discovery, luck, happenstance, searching, loss, misplacing, inspiration, building, representation, illusion, labour, etc. In a perfect world I could submit the theme, curate a zone, and research and perform a piece.

I’ll work on creating a curatorial statement.

The piece itself would bring together the majority of my focused concepts. A combination of Vacancy, The Task, The Clock, Waiting, Transitions, etc. It would be performance, sculpture and photography based.

For “Constructions” I would seek out existing building sites in several Nuit Blanche zones, get access to them and then rearrange / move elements of those locations. In the same way I moved the cinder block in The Task

Each site would have an imaginary Visual Frame of reference attached to some specific location on the periphery of the site. The optimal vantage point from where the piece is intended to be viewed. I would build a sculpture with pipes, blocks, pallets, etc. so that when viewed from that reference point — at a certain angle and dimension– the composition would be optimally represented. I’ve also toyed with the idea of making the “new ” compositions reference famous painting.

Effort – This is an adaptation of the above. In this variation of Constructions I would remove the complicated and somewhat overused reference to painting history and concentrate on more on the nature of effort and the dynamics of “appearance”. In a construction site with various piles of material I’d take a photograph. Then manually I would move the material until a mirror image of it’s original location and layout was achieved. It would then be physically flipped. At this point I take another photo. In Photoshop flip the original photograph. The two “twin” photographs would hang side by side as a diptych. The result should be two identical or at least very similar images but each would have a completely different meaning.

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Street Art

The first thought was about basketball nets. I saw an advert on the sides of several Rocesvalles shops that depicted a person playing basketball.

Create hyper realist paintings or maybe stickers. Maybe actual photographs done to scale of things from learning; basketball backboards, water fountains, doorways, fire alarms, clocks, bell, blackboards, etc. print these out to size and then apply in odd locations, altering the reality of the world via illusion.

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Make these a series of seemingly simple portraits. They could be of Bill, Lorissa, Danny, Dan, Sarah…or better yet professional actors. Take the pics in the G44 studio using the blasted light effect. Ask each actor to imagine a scene and emote to suit. Creat the drama or narrative in their mind and take the picture as they relate. Crying, flinching, laughing, etc.This will provide the underlying layer for reflections. Shoot 2 more layers. 1 is the reflection of the taller lights on the glass of an empty frame. The 2nd would be the narrative scene mentioned that the actors are imagining. In photoshop this layer would be inverted and overplayed with the others to produce the entire composite image. The no 1 layer could be a film.

Create an empty shadow box. Hang it in an empty gallery. Create narrative scenes within the gallery space and film the reflection of the action in the glass of the empty shadowbox frame.

1.Create my next Bau-Xi show the same way I did learning and play back the created narrative movies over top of the regular images.

2.Show the movies in a series of empty shadow boxes

Create a sense of discomfort in the viewer. When the look at the piece the reflection should seem like action actually happening in the present. Create a sense of paranoia.

Formulated when I looked into Simon Rayner’s office and saw the il divo framed award reflecting his office

2nd thoughts.


Take pictures as if I’m going to simply do another Bau-Xi exhibition. Frame them in shadow boxes like normal but use regular reflective glass. Light the framed pictures in such a way that the room they are in is reflected on the glass. Create tableaus of people, or narrative occurrences in those reflections and reshoot the images or film them now with that “created” reflection in the glass. Print these new pieces with the reflected scene or project the film of these scenes in a framed “screen”.

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Somehow take pictures of people naked in a glass cube surrounded by green screen. Have them strain to push against as much of the cube as possible, which will in turn give their image a sense of the invisible cube. Then take that image of the body and suspend it in the middle of the frame of another landscape photograph. These should then resemble people in cube form suspended magically in mid air in various other scenes.

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