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TimeIn this film I wanted to explore movement in photography and found the perfect opportunity in my bus journey home. The dizzying lights of the night-time traffic lent themselves well to slow shutter speed photography. By exposing the photographs for slightly too long, I was able to create the impression the cars were moving and accompanied this with recorded audio to further enhance the experience for the viewer. The abstract light photos that make up the end of the film are close up sections of the reflections of street-light in the bus windows. Although originally an unintended by-product of the photographs I took, I found the colours and shapes enticing and so featured them in the film.
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SiteAs part of the course, we were required to produce a site specific piece in response to a visit to Berlin. The bag in this piece is modelled on the bag I carried with me everywhere I went whilst there. It was covered with my own experience of Berlin, the places I saw and explored and with the history of Berlin. The photographs used in the piece were those that I took whilst out there and also those discovered during my research into the city's past. Coming out of the bag is a timeline covering from when Berlin became the capital to the present day. This project also relates to my 'space' project in that it explores themes of carrying your past and the things you have seen and experienced with you.
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These photographs demonstrate how I created some of the paintings for the final piece. For these I mixed pigment with refined linseed oil to make a base paint. To this I added washing up liquid, which allowed the paint to flow in a slow, cloud-like manner whilst wet. I used paper touch transfer to obtain a copy of the paint shapes and left these to dry. Other substances I experimented with using as binding medium include flower oil, white spirit, egg yolk and PVA glue, some of which worked better than others.
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SketchbookThese are some extracts from my sketchbook showing how I work. My sketchbooks consist of notes on my techniques, thought processes and reflections. I find that I work in a scientific manner and so my sketchbooks are often incremental records of experimental progress, with notes on key successes or failures in developing and exploring techniques. When looking at artists that inspire me, I find I analyse and look more thoroughly at the techniques rather than their history or motive.
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