Throughout this phase, I have been looking at artists who achieve similar things throughout their own work. Lubaina Himid brought to life the traumas of colonised West African slaves through a large scale installation titled Naming the Money (2004), which placed audiences amongst life size wooden cutouts of enslaved people. Himid uses colour and patterns associating the ‘non-western’ and femininity while bringing to life the experiences of real and imagined historical figures.
I've had some difficulty uploading different types of media onto my page, I know that it needs to be displayed in a coherent way while fitting with the current style of my website. I am going to have to conduct some research to work out how to over come this issue but for now, my videos can be found here.
Along with verbal feedback, I also wanted to record feedback from people who may not have been comfortable in front of a camera. I did this by setting a comments book infront of the screen to allow viewers to jot down any comments they had when watching the animation. I thought it would be constructive to get feedback in this way as it allowed the viewer to remain anonymous if they wanted to while leaving their honest opinions. To my surprise a lot of the comments received turned out to be very positive which I was personally encouraged by. The only downside to recording feedback in this way was that the writing equipment did go missing towards the end of the private view which will make me think slightly differently about the way I record written feedback in the future, perhaps using a social media hashtag to make the experience more interactive or simply by securing the equipment.
"Well done! That's better then the filming cause it draws attention to what is said
rather than the focus being on [the] people who are actually talking"
In addition to creating a comments book for feedback and constructive criticism from my audience, I also had the chance to record the conversations I had. Here is an example:
While making preparations for our upcoming Renee and I visited a gallery showing the work of French street artist, Thierry Noir. At the time, I didn't know very much about the background of the artist but was drawn in by the use of vibrant patterns created by using bright block colours behind thick line drawings of cartoon figures to cover the entire venue. This made us think of possible ways to display our work in the upcoming shows.
South African artist William Kentridge (b.1955, Johannesburg) is renowned for his animated expressionist drawings and films exploring time, the history of colonialism and the aspirations and failures of revolutionary politics.
One thing in particular which took me by surprise was how the curator had used the space in the gallery. Each and every corner of the rooms where filled with work to create a completely immersive experience.
Just finished watching BBC's Back in Time for Brixton as part of their Black and British series and I am left feeling completely inspired by Tiana-Maria Irwin and her family. It's so exciting seeing girls like myself finding and using their voices after being silenced for years in school systems set up against us. For me, facing anything from micro-aggressions to outright racial remarks became part of everyday life during secondary school by teaching staff, fellow students and "friends" alike. While I am in no way saying that these problems have completely vanished now I'm in higher education, but speaking to other young black women like myself and reading the testimonies by young writers like Tiana-Maria have given me the confidence and tools needed to address the problems when they do arise, it's these conversations that keep me feeling hopeful and motived to make more work depicting the experiences of being Black and British.
I have never before planned to film anything that is completely unscripted so here is my best attempt. The questions have been worded in a way to try and get the most in-depth answer possible from the interviewee but if I were to revisit this task, I might have thought about making them more open.
Good Hair is a 2009 American documentary film directed by Jeff Stilson and produced by Chris Rock Productions and HBO Films, starring and narrated by comedian Chris Rock. -IMDB
Good Hair is known as one of the most popular black hair documentaries of recent years. As part of my research I have decided to watch it to find out why.
Overall I struggled to enjoy the documentary but that could mainly be down to the fact that now in 2016, the ideas put forward are somewhat out dated I have drawn up a list of pros and cons.
Range of shots in interview scenes
Talks to industry professionals
Looks at the [Afo-hair] industry as a whole
Makes some cultural links
Asks some probing questions
Comedic - mocks some serious issues
Mainly a mans point to view
Only looks at the surface of the topic
Out dated (2009)
Overall quite negative
When developing ideas and choosing colour pallet or tile, I wanted to keep the colours fun and girly to communicate my theme of childhood experience. I did this by using warm pastel colours.
Before I did any designs for my tiles, I played around with using squares I had drawn myself in photoshop but the pattern didn't turn out the way i had hoped. I think that the squares are too similar to the shape of the bottle in the foreground making the overall pattern look very plain in areas.
I revisted the self portrait illustrating the story of myself and the 'head wrap incident' building on the idea I connect bright repeated patterns with the feeling of safety and that during the incident that I was trying to illustrate, I was made to feel very unsafe.
I decided to take a much more digital and less expressive approach with the lines I used being more uniform as I though that the patterns here needed to take the viewers focus.