Tutorial: Block 4, Week 3

David Somers bio photo By David Somers Comment

The group tutorial this week was an opportunity to show each other our “work in progress”. Clearly the Research Paper had occupied a lot of our time to the detriment of making art. But still, somehow we’d managed to squeeze out time to make a few things along the way. As I put it: research paper or make art… I needed a break from the paper!

Showing my recent works

To start off, I showed some of my recent practice.

Its really interesting to see how other people react to my art. I am too close to it, and outside perspective is useful and eye opening.

Jonathan was looking at Sequent 11 and made the comment that this would be interesting as a video, and that:

red and green being opposite colours create a movement anyway, in that the eye struggles with these colours next to each other so they kind of shimmer and ‘move’ — so some sort of animated movement would be interesting to explore

This was something I had thought of myself when I first out these this research book and scrolled down the page. However, instead of just a video, perhaps an iOS app too. It is the “the progress of the distortion” that is interesting for video.

It was the grain and texture in Acrylic 30 that caught a few people, and also the perspective (the result of me having to photograph at a strange angle due to lighting conditions at the time).

An additional comment about the texture from the photographs, and the [solid] colours from the digitals… is there a way to combine the two?

The choice of my colours. When Jason sees blue and yellow he sees Cezanne imagery. How do I choose my colours, is there a preference to certain colours being matched? I’m using opposites on the colour wheel and other combinations that work well.


Xavi presented How to, a project that takes the first bit of Los Caprichos of Goya (which talks about personal relations and interests, mainly) and confronts it with the book How to win friends and influence people.

The “intruders” that he adds are they are the “nasties”. Creatures trying to “do good” to “help out” following the rules of the book, but in a wild environment like Los Caprichos.

Los Caprichos — a satirical series of etchings were Goya depicts de vices and evil doing of the Spanish society of the 19th century.

Xavi’s process is hand drawn, scanned, photoshop, printed on tiles.


Holy Light loops, mediations on mortality and aging Figures trapped in a sort of video limbo Russell Miller, which led onto these works:

And those have led onto something I’m fiddling with now, kind of based on John Stezaker’s ‘Crossing Over series’. See Russel’s Instagram

As Russel explains it:

The actors have significance as they’re all either already dead or close to dying. But here they are trapped together forever, both as characters and as humans. No alterations to footage, just looped


It reminds me of Jamie Jenkinson at the V&A. Fans and movement. Like the Portishead too.

The drawing and the canvas: expects that the person is older on the canvas than on the fabric.

The use of fabric over the canvas, acting as a veil. And it is deliberately close:

The closeness of the fabric against the canvas worked well, because as it falls flat against the image, you start to see the layers become one and the picture emerges.


As a preamble, Jason provided some background information

My current project relates to my RP, which investigates persuasive narratives, particularly ones used in public information film (p.s.a./infomercials) form. As a narrative to explore, I’ve been researching the act of reading, its origins and how technology is now changing the shape in which we process information or to put it another way, how technology is increasingly affecting our ability to concentration for long periods of time. The concept came about when my daughter (Moe) told me about her English class teacher who was giving strategies for reading resilience in class at the start of the term. One afternoon I filmed Moe doing her homework. (the irony here being I’m distracting her at the time!) Using the footage, it’s transformed with painterly characteristics; loosely rotoscoped. The image where her face zooms is completely rotocoped. The distortion and fragmentation implying that break in concentration. No sound is required:

There’s a nice progression from boredom to abstraction.

Its a long process: the film took around two months.

If adding narration, Jason might do something in the vein of “Charley Says”.

And then the discussion descended into the world of cheesy, but informative, public information films from the 1970s and 1980s.

Interestingly, this rather scary film was remixed in a rave:

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