Felt Development through Identification of Colour and Transcription

 

The process of making felt:

Colour

Below are images of my installation from lent term, that I have inputted into Photoshop to define a colour palette for the felts I will continue to make for the textural aspect of my footage.

I have used the colour-dropper tool to identify up to 18 colours in each image, of which I have matched felt fibres to, and will use to make felt that I can incorporate into the footage I will display for my installation.

Below are the colour palettes aside their original pictures for clarification. The colour-dropper tool is extremely helpful as it aids the identification of colour within the image that I could not see with my own eyes. I really like working to a colour palette that I have subconsciously created with my work, as I feel it brings my practice back into itself, constantly creating layers upon itself that inspires the next layer.

I have created some felts in response to the textures mentioned in this blog post, and the colour palette pictured above. I think they are very successful and also appear as an abstract landscape themselves. The colours work really well, the smaller balls of felt heighten the entire appearance of the felts, and the texture of the surface appears to be alive, slightly moving even when stationary. I think they will look so so good in my installation footage, as they will cut through the monotonous appearance of Skyrim’s virtual world and will peel the audience’s eyes away from the landscape to steal the attention, which I think will add to the immersive elements of the installation.


 

Exploring Textural Options & Directions

Exploring textures

Felts;

volcanic dirt.png

After studying the above image from the Skyrim texture pack, I began adding smaller balls of felt and felted them into the foundations of the felt to create a sense of depth and texture within what is already a particularly flat material. This worked really well and gave it an almost organic appearance, indicating natural textures within it, aside from the colours chosen. I am going to explore the smaller balls further as I feel they will add to the felts and heighten their appearance within my footage.

 

Monotypes;

I printed out many copies of the OG Skyrim texture pack and chose natural and organic looking colours to monotype with, in acrylic and oils. Inside the oil paints I have included some small sand/rocks from a beach to add to the texture of the surface and further imitate the appearance of the texture pack pictured above. This did not work as efficiently as I had hoped, and as of current the felt appears to be the route that I will continue further down for my textural footage.


 

Alterations: Advancements

Advancements

I have decided to add back in the tactility of my previous artistic practice and encourage textures to be used in an aid to immersion within an installation. I’ve decided to include more of me and the things I enjoy doing.

I am not changing my concept or diverting from my path, as I am still looking at immersion and immersing participants within my installations, which is further exploring the concept and practice of this entire 3rd-year. I am going to add more content into the footage that I project onto the perspex with the inclusion of textures; most likely coming from handmade felts, embroidery or monotypes. If I were to collage in the textures to my existing footage of Skyrim, I could make them into cinemagraphs? I actually would really like to make a texture pack for Skyrim made of my textures although this is a lot more advanced than making a texture pack for Minecraft and would take a significant amount of time to learn how to execute efficiently. I have decided to spend just one day trying to make a texture pack for Skyrim, and in the event that I’m not successful, I will move on.

I want to look at juxtaposing textures within my footage, with the monotypes I can print onto preexisting Skyrim textures from the OG texture pack – this would actually tie in with my idea for the exhibition of my work in the Peter Scott Gallery, as noted in this blog post.

Cinemagraphs


 

Identifying Issues and Alterations

Rectifying my dislike for my practice

Installation from Lent term:

What I DONT like:

  • The cloudiness of the plastic sheets,
  • the footage is too boring.
  • I want to focus more on the content of the installation and make my practice to focus on this, instead of my practice being about the installation and the content not being of such an importance. – notebook notes on this rambling.
  • I want it to be more tactile and have more of me in it.

Works that I’ve enjoyed

Texture packs in Minecraft from 2nd-year lent term;
The high coloured and plastic look of the acrylic paint on the ‘natural’ landscape of Minecraft played with the abstracted landscape and was just really interesting to explore and navigate through whilst within the virtual world.

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My handmade game from 2nd-year summer term;
The entirety of this game was made from handmade felt that I handmade and embroidered then scanned in at 1200dpi, before clipping onto the sprites for my game.

What made me interested in video game manipulation? This is what helped me get into Skyrim, as Minecraft was too square and making my own game in 3D was too extensive ad time consuming for me to convey what I wanted: a crazily abstract and interesting world for people to explore virtually and bridge reality with virtuality.


 

Final Immersive Escapism Installation

Footage:

For my installation, it is necessary for only one person to experience it at a time. Once each participant has seen it, they can then experience it together, however, at this point it will not become an immersive installation, but something they look upon together and share merely as an experience.
Below are the videos that will be projection mapped onto the perspex sheets and back wall.


 

Reflections

The immersive installation I have created is not what I wanted it to be. Due to this, I am unsure whether I’m not a fan of it because it’s not how I imagined it in my head, or because it’s actually terrible. I’ve been very absorbed in everything this term, therefore I’ve not been able to give myself time to be as reflexive of the work as I usually am. Because of this, I am extremely blind sighted and apprehensive about the participants receiving my installation.

In my head, the plastic sheets were going to act like glass (I know I know) and NOT reflect so much light into the back of the room, that the glass panes from last term absorbed. Because of the refraction of this white light into the back of the room, it brightens the entire room, therefore impacting the quality of the projection. This is something I will attempt to combat over the Easter break hopefully ready for next term.

With regard to the polygonal rocks, it would obviously be so much awesome to have them as BOULDERS, that take up large amounts of space, for others to walk around and simply add to the immersion of the installation. This falls under the category of ‘too expensive’ for me, in terms of plaster, somehow creating a mold to cast this in, as I do not want to make them from MDF, although I might have to. I don’t want to make them from MDF because papering them may warp the sawdust-y wood; Pat Flynn (the one who makes large ones mentioned on my research blog) makes them with MDF and poster-like images of the textures, which I might have to attempt, however, with the plaster and smaller scale for this term, I think that they have turned out well. At least a lot better than the cardboard attempt.

It’s been weird to see my passion for art deteriorate due to the mental health problems I experience. Actually, I don’t think it’s my passion that’s dwindling, or my enthusiasm, it’s just my ability to get up every day. This has impacted my work over the course of this term, which is why I wanted to put the mental health aspect into my installation, via the excerpt from Neilson and the ‘enabling’ hours I’ve spent on Skyrim. Because no world is perfect, and by adding this into the immersive world I have created within my installation, perhaps it adds to the realism of the world. Skyrim is my enabler for my habit of escapism and when I disassociate, therefore at face value it may not even occur to the participant that the subject of mental health is weaved into the installations’ foundations but it is because it came from me. It’s a product of my consciousness, therefore my emotions and life will inevitably be weaved into it, no matter how much I try not to. I don’t know how I feel about this.

As a whole, maybe I can change the way I install my work next term and make it something a little more interactive. It’d be interesting to see others interact with my world I create within the Skyrim creation kit, maybe I can be inspired by literature again. I really liked the bridging of my work with a play, especially as I connect with it personally and it’s also an immersive virtual world in itself. And I do love my research.


 

Audio for my Immersive Escapism Installation

The audio accompaniment to my installation for submission that the participants will hear through wireless headphones as they explore the virtual space.
This will also be available in my studio prior and post my installation on my iPod with headphones attached.

There are four layers of audio:
1 Audio recorded in LICA woods that will play into the right ear
2 Audio recorded in Skyrim that will play into the left ear
3 The hours I have spent on Skyrim per day over the last month
4 An excerpt from The Wonderful World of Dissocia that I personally connect with

PLEASE LISTEN WITH HEADPHONES

I have decided to explore the possibility of binaural audio to aid the immersion of my installation to;

“reflect the way we receive sound in real life, creating vivid and rich soundscapes you would experience if you were actually there”

I have included the audio from Skyrim and the woods in order to further create the space as a bridge between reality and virtual worlds, alongside the speaking of the numbers of hours I have spent on Skyrim over the month leading up to the submission, and also the excerpt of the play The Wonderful World of Dissocia, in order to culminate all of my personal experiences and connections to both the real world and the virtual world alongside the escapism and dissociation within video games.

I have created an immersive installation. The participant should hopefully become immersed in the installation itself, inhabiting the installation for a small period of time; as opposed to being immersed in the Skyrim world or the real world. I want the participant to become immersed within the installation.


Immersive Escapism Installation #3 – The Final Composition

FacadeSignage Player 15_03_2018 13_35_25.png

The installation looks so much better with the plastic sheets hanging over the images, I’ve also changed the positioning of the projector and elevated it so that the shadows cast from the plastic interfere with the back wall image more, in order to aid the clear intentions of my installations’ emotional concept.

I chose to use transparent perspex sheets to project onto to represent the turmoil I feel around virtual worlds and reality. When the participant walks through my installation, they will see a moving image of exploring and travelling through Skyrim on the two plastic panes hanging, to represent the running away and towards reality I feel when thinking about my dependence on escapism, as the participant will see this from both outside and inside the installation. (For reference, I refer to the inside of the installation as the space between the perspex sheets and the back wall)

The front two panels are featuring footage from Skyrim and the back wall image is from LICA woods; this is to indicate the steps made towards reality, by stepping past the virtual reality that I inhabit. The plastic panes also feature multiple instances of footage contrasting with the lone footage on the back wall, displaying the limitless possibilities of a virtual world and the virtual world that I inhabit in Skyrim.

The hanging plastic takes the form of portals allowing access for the participants into the virtual world that I inhabit, hanging suspended in the air floating alike to the connotations of the image of a portal appearing in the thin air awaiting transportation to a virtual world throughout literature.

Once the participant walks between the hanging plastic and the back wall, they are able to see the world on the plastic sheets in a much vivid colour scheme, with the light shining through it, indicating the appeal of the virtual world in comparison to the real world.

When the participant walks into my immersive installation, they become a piece of the artwork also, capturing my blend of both virtual and real worlds upon their clothes. Embedding them into the world themselves.


Exploring Possibilities of Narratives or Spoken Word

Spoken Word or Narrative

Research is at this blog post: Art and Literature

I think it would be interesting to have audio that speaks about escapism and dissociation, as when I’m playing video games I disassociate quite badly. Could this be statistics? This could be the hours I spend on Skyrim per day? Could it be a piece of literature?

Looking at Narrator types;

An objective narrator is an observer
and describes or interprets thoughts, feelings, motivations, of the characters. Details such as setting, scenes, and what was said is stronger with an objective observer”

If I were to have some form of narration or story I wouldn’t want it to be from my own voice, in that it wasn’t my emotional connection to something or anything overly personalised. I’d want an extract from a book or poem or something. I don’t want it to sound anything like my journal from last term.

I have stressed about writing an emotional response to the installation for about a week and a half now. I’m not going to do that. I don’t feel comfortable doing that therefore I’m going to do something else.

One of the plays I read at a-level I connected with on a personal level was called The Wonderful World of Dissocia, which was about a girl who had dissociative identity disorder (what I have) so I could read an extract from this.

 

After rereading this play I’ve connected with it so so much more since I was 17, probably because I’ve grown up a lot since then and gone through the hardest years of my life, but Act 2 Scene 11 has ignited my fire for it again. Lisa’s sister is just being a piece of shit towards her sister, it’s a fucking illness, not something she can opt out of like her vitamins for god’s sake. The speech from her sister is what I have chosen to use as a narrated excerpt over my installation that will play for the participants. I want something like this to be included to add my own personal stamp on it and elevate my own personal attachment to the piece so that I can connect to it and not dissociate from the work like I do the majority of the time.

Hours

 

I’ve decided to use the tracking of the hours I play of Skyrim every day as an accompaniment audio to the installation, as I think the jarring nature of numbers being spoken into the earphones would add a sense of tense and curiosity to the piece, by not necessarily understanding where the numbers are coming from at the start or the fact that they aren’t counting down which is what people may assume.

 

 

hours data

skyrim hours


Polygonal 3D Rocks – Mass Production (Mainly Next Term)

I eventually want to have many rocks littering the floor of my installation, in order to add to the immersion of my world, by bringing the virtual into the real. To experiment with this, I made a cardboard model of what I wanted my rock to look like, following this, I poured plenty of plaster into this mold and waited for it to dry out. Once it had dried, I remembered that cardboard is absorbent, therefore the plaster had soaked into the cardboard, meaning I had to chisel out the shape of the rock by hand in order to make the surfaces smooth.

I researched multiple possibilities to cast from my rock with, including alginate, although most routes became dead ends due to expense. Then out of a matter of sheer luck, Sophie had the vinamold that the department owns, and she lent me it. To prepare the plaster for the vinamold, I coated the rock in multiple layers of PVA glue to protect the porous material from creating air bubbles in the cast.

After many many attempts, I finally managed to cast the rock properly and gained a mold! It was solid enough to withstand the plaster and still hold its shape, therefore, I began casting with the mold.

Pictured below are the multiple casts I made using the vinamold, all with different ratios of plaster as it’s still my first time using plaster for anything. There were a few surface bubbles on the plaster casts, but they were easily sanded off.

I then began papering the rocks with textures from Skyrim ready for my installation. I also coated them in a layer of PVA after this, so that they were waterproof. I really think that the variety of texture works well with the appearance of the landscape from Skyrim. They are also solid enough that they are not as delicate and unrefined as the cardboard chair from last term, so they can be held and touched and interacted with, as per my immersive installation.