Saturday, 2 December 2017

Poems and Shorts

I found some quite adult and more complex interpretations of the original fairytales and they're quite horrific at times.

Little Red-Cap

At childhood’s end, the houses petered out
into playing fields, the factory, allotments
kept, like mistresses, by kneeling married men, 
the silent railway line, the hermit’s caravan, 
till you came at last to the edge of the woods. 
It was there that I first clapped eyes on the wolf. 

He stood in a clearing, reading his verse out loud 
in his wolfy drawl, a paperback in his hairy paw, 
red wine staining his bearded jaw. What big ears
he had! What big eyes he had! What teeth!
In the interval, I made quite sure he spotted me, 
sweet sixteen, never been, babe, waif, and bought me a drink, 

my first. You might ask why. Here’s why. Poetry.
The wolf, I knew, would lead me deep into the woods,
away from home, to a dark tangled thorny place
lit by the eyes of owls. I crawled in his wake,
my stockings ripped to shreds, scraps of red from my blazer
snagged on twig and branch, murder clues. I lost both shoes

but got there, wolf’s lair, better beware. Lesson one that night, 
breath of the wolf in my ear, was the love poem.
I clung till dawn to his thrashing fur, for
what little girl doesn’t dearly love a wolf?1
Then I slid from between his heavy matted paws
and went in search of a living bird – white dove –

which flew, straight, from my hands to his hope mouth.
One bite, dead. How nice, breakfast in bed, he said,
licking his chops. As soon as he slept, I crept to the back
of the lair, where a whole wall was crimson, gold, aglow with books.
Words, words were truly alive on the tongue, in the head,
warm, beating, frantic, winged; music and blood.

But then I was young – and it took ten years 
in the woods to tell that a mushroom
stoppers the mouth of a buried corpse, that birds
are the uttered thought of trees, that a greying wolf
howls the same old song at the moon, year in, year out,
season after season, same rhyme, same reason. I took an axe

to a willow to see how it wept. I took an axe to a salmon
to see how it leapt. I took an axe to the wolf
as he slept, one chop, scrotum to throat, and saw 
the glistening, virgin white of my grandmother’s bones.
I filled his old belly with stones. I stitched him up.
Out of the forest I come with my flowers, singing, all alone. 

Carol Ann Duffy 1999



The Little Mermaid

by Anne Widdowson


The Little Mermaid began to chop
Her shimmering tail in two,
And squirmed beneath the axe’s head.
Blood spread across the clammy flesh,
Wet tissue sprayed about her chest,
As she maimed the sticky limb.
The cleft drooled, alien matter,
Not only to us; the girl was sickened
By the mutant fin, felt hatred
For her mongrel blood.
But time for alterations and tweaks,
To correct this monstrous flaw.
She grasped the fragile nerves and snapped;
Scales scattered where the water lapped
Her stinking slab of meat.
Scraps of sinew licked her wrists,
Slimy, hot beneath her frenzied touch,
Her shaking, grisly hands.
The child admired her work, unfazed
By the carnage, the carcass, the sight,
Hefting the chunks like a cripple might.
The pieces oozed and bulged,
Her figure, in her eyes, much improved
Compared to that dreadful tail.
With a sigh of respite and release,
She regarded the newly botched legs
And smiled. Fillets replaced the fin she had,
Hardly equipped to walk on land.
What a pity she’d never stand
On her two new stumps.

Saturday, 18 November 2017

A New Direction

So, I found myself struggling with my project, as I was beginning to get bored of it, finding it uninteresting and not having and plan on how to develop it further. 
I decided to explore an alternative direction with the common theme of combining movement and stillness. 
Instead of using my illustrative drawings which, while good practice and I enjoyed doing them initially, were quite flat and I was very uninspired and didn't know where to take them next. After spending a long time trying to force some sort of idea of what to do next I eventually started to look at doing something a bit different.
I began thinking of using paint as a medium in which I could work for my project. I used to paint a lot and I loved it, and it would be an opportunity for me to develop my skills further. I have already been looking at artist Paula Rego who's work has been influencing me since the beginning for her use of fairytales and symbolism in her work.


So my new plan is to create a series of large scale paintings based on iconic fairytale characters such as Alice in Wonderland and Red Riding Hood. I want to incorporate movement into my work digitally, in ways which I am still trying to figure out. One idea was to use projection, or maybe projection mapping, to add movement to my piece... I was also considering having a soundscape or somethings. 
I want to think about how in my work I can figure out the different nuances of the lead women from the tales and how the women are perceived compared to how I could possibly interpret it in my own way. 
Interestingly, I have found some really interesting rewrites of fairytales by different poets such as Carol Ann Duffy, and in Angela Carters 'The Bloody Chamber' which I am looking at for my dissertation and am thinking I can pull from those versions of the traditional tales and use them as inspiration for my paintings.
It's been a while since I've properly painted so I have done a few practice pieces at home, testing out different techniques. 


RESEARCH

These are some research films I found on vimeo when I was looking for inspiration and sort of did some work that was vaguely similar to what I was thinking of doing. It was tricky as I couldn't find a lot out there.

Five Moving Paintings from Anete Melece on Vimeo.

I enjoyed this piece, the artist used projection mapping over their art piece and it looks amazing, and is definitely something I am considering looking into.

Mono Amor - Projection Mapped Paintings from Nate Siggard on Vimeo.

TJ's concept art

Another film I am doing storyboards for it TJ's Alt Du Gjør, and have done some concept art.
TJ and I had a few meetings to talk about what he wanted and he showed some examples of other films that he liked the stop motion design for to give me some inspiration.

TJ's film has both stop motion and live action parts, which are visually very different. The stop motion part of the film is full of bright colours and natural scenery, contrasting strongly with duller tones and cold brick walls of the live action segment. 
I tried to make the stop motion concept art full of bright colours and have a more childlike quality similar to Kubo and the two strings and other stop motion children's films.

Concept art for stop motion segment of film



                 

In comparison, the life action concept art is dull and boring and full of negative space. I tried to consciously tone down the colours and make the characters small in the frame.

Concept art for live action part of film




  



Billies Storyboards

As part of my learning agreement this year, I have joined a few other groups in the position of creating their storyboards for them as I enjoy drawing and I like to collaborate with other groups. For Billie's project, we had several meetings and talked through what it was she wanted, which was imagery of symbolic objects and actions for her experimental film. She had come up with a thorough shot list of what she wanted and I came up with the first draft of the storyboard. Through other meetings and communications we have added/are adding more shots in as her film develops.







Wednesday, 15 November 2017

Moving Drawings





Practice 1 from Chloe Debonnaire on Vimeo.

After Effects

Drawings

I've been practising my drawings for a while now as I am out of practice, and I've been trying to figure out where I want to go with my project. I initially was trying to force a super in depth plan about what I wanted to do but I didn't like anything I was coming up with, so I just decided to start making things and see what came of that.