Tag: Kirsty Taylor

The Instagram effect

Jessica Jarvis / / Concealed Illusions, Development

In today’s discussion, we were talking about how make-up can be described as a mask. How we put make-up to hide imperfections  filtering our natural look.

Is what you see is what you get? We have seen the connection between the painting (John Carmichael) and make up, picking up that what we see isn’t necessary truthful representing a idealised place.

This particular question got the discussion going:- What do we want to achieve?

The audience question reality through art, the traditional paintings looking realistic giving the illusion which is concealing reality. The development of art through time has become concealed, people are also concealed, filtering is what you see is what you get? Creating evolution of concealment.

Audience question modern art due to the abstract/contemporary approach towards society, which can be criticized not displaying anything ‘obvious’ when actually some modern arts pieces can display real life things, than what some paintings represent linking to the ‘grim’ body that is in the usher gallery.

The connection between the two rooms will highlight and define the impact of idealism and the honesty between the two exhibitions making our message clearer and emphasizing the naturalistic look of society and the image which is perceived.

 

(Group discussion with- Kirsty Taylor, Samantha Mckenzie, Tom Baines)

Author: Jessica Jarvis

Our Artistic Statement

Samantha Mckenzie / / Concealed Illusions, Development

Inspired by the painting of  ‘The Brayford Pool and Lincoln Cathedral’ (1858), hanging in The Usher Gallery, we intend to challenge the boundaries between traditional and contemporary art to convey a deeper meaning of the painting. An idealistic approach has been used in the creation of the painting and we wish to remove this mask to explore the differences in the audiences reaction. We question whether they will appreciate our honesty and understand our aim to unveil the ‘pre-photoshopped’ version of the painting.

We intend to use technology such as: projections, voice recordings, music and picture images to succeed in our vision. We will also require the use of traditional costume, masks and various props to bring to life the busyness inside the painting and also express our new found interpretation of the piece of art.

Through our performance we intend to leave a lasting imprint of the actuality of the painting and the city in the minds of our audience. We hope to alter peoples perceptions and views on the initial look of a painting.

 

‘First Impressions’…

Tom Baines / / Concealed Illusions, Research, Space

From our first impressions of ‘The Collection’ it is apparent that there are a large number of spaces, both large and small, that a “Professional stranger” (Govan 2007, p122) can interact with and view with a fresh outsiders perspective.

We began to look at conventional ‘spaces’ from the site such as:

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and

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However we found these to be too stereotypical of an actual theatre space, although their architecture was intricate, interesting and very abstract. We then decided to look at the places within ‘The Collection’ which were less obvious:

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Here we can see even the structure of the building itself poses abstract and interesting thoughts to us as performers. The architecture of the walls continue past the window, instead of the window framing the building. Also the display cabinet is not pushed up against the window which in turn creates an unnoticed and empty space. (modeled beautifully by Sam!).

We sat in this space and listened to the environment around us which was surprisingly loud and vibrant considering a museum is a space for thinking and observing. This small space was filled with the echos of conversations, footsteps and even voices coming from the wall itself. The sound wall stretched across the width of the building with speakers positioned along it; however some of the speakers were hidden in the small, apparently unused space that we occupied behind the cabinet. Which poses the question, why are there speakers placed in an area unused and unnoticed by the public?

From this we are starting to look at the museum’s potential as a performing space and the usual places that are unknown to a stranger’s eye and are asking ourselves, what could happen there?…

 

Works Cited

Govan, Emma and Helen Nicholson and Katie Normington (2007) Making A Performance: Devising Histories and Contemporary Practise. Routledge: London