In addition to the writing of text I have been considering how it is presented. In keeping with my concept of text that is identifiable but not necessarily legible I have been looking at how light can affect our perception of visual language and motifs. When looking at the work of Mira Shendel light is frequently used in conjunction with her hanging pieces to shine through and highlight the text that she has trapped between sheets of Perspex. I thought I would attempt a similar approach with my typographic kinetic drawings. Initially I drew several ‘maps’ over the period of a journey with white pen on tracing paper – white on white. I then layered these drawings together and suspended them by trapping them between two sheets of sheet plastic. I am drawing from older ideas of encasing text within an object. The results are interesting; all of the layers are visible at different opacities giving the drawing an appearance of depth. What I also found was although the drawings are white on white, when held against a light source the lines change and appear to be darker – black on white. This has proved difficult to document, I have tried filming the pieced moving into and away from light to capture this phenomena but have yet to find a way of doing this successfully. I am also considering how to present the work – against a wall would be an interesting viewpoint of white on white, and playing with the concept of illegibility, yet the view from behind a light source is interesting. Ideally I would like to find a way of hanging it so that it can be seen from both perspectives, perhaps the piece moving so this can be achieved, or if I can find a way to film the pieces moving and presenting that instead. I have also tried the influence of light on my drawings by punching holes through an existing drawing along the drawn lines and then putting this against a light source to see the results. The effect of the individual holes is similar to a constellation, yet what I didn’t expect was to find such an interest with the texture of the holes. The process of punching holes has served a secondary purpose of creating a tactile version of my drawing – a virtual ‘map’ that can be touched to be experienced. I have already conducted research into Braille and have always found it fascinating, and perhaps there is a way I can incorporate this into my work as another form of translation or coding of data. Embossing has also appeared with my use of a typewriter, as it physically embosses the paper with each letter that is pressed. I have made pieces of blind embossing before using textured fabrics and twines, but I would like to see how I could turn my language investigations into some form of blind embossing, similar to Braille. Perhaps the lettering can remain as it would be written/typed, yet because no ink is used the paper can stand alone and it is up to the viewer to inspect and decipher the writing presented to them.
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AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
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