Adapting and Videoing


It does not look as though I shall have the kiln connected in time for the ‘final show’. No matter, the change in circumstances due to coronavirus offers tactical opportunities to develop strategies post MA. In any case, displaying fired and finished works in the studio is not really satisfactory as the images or videos would fall short of what I would consider a fair representation of the works. However, taking each component of the exhibition as a model for digital works is catalysing a wealth of ideas, time being the only constraint.

Visual artworks today are most commonly revealed in the first instance as images or films. This kind of imagery often misrepresents the reality of the works in some way and serves more as an illustration of some alluded to idea. They are entry points into the work itself which may surprise or disappoint but almost invariably present very differently. I wrote about this some time ago in another post. Therefore, to create works for online or print presentation using the physical works as far as possible is the obvious way to go. Not in an attempt to replace their physical presence but as a way of exploring the world they inhabit and discovering new processes and meanings along the way.

The beauty of creating works that stand alone in print or online is that I am embarking on a dual approach over the next three months. One, I continue to make and finish (as fas as possible) the physical works which in turn become enriched by their online reflections. This is both an artistic and professional enrichment, extending the meaning and context of the works as well as building a platform for wider distribution and promotion.1 This ties in with the idea of creating different open levels of interpretation whilst offering the viewer a way in for their own narrative building. The temporary, possibly permanent, loss of the physical show may, in the long run, bring with it positive outcomes.

By not having to install a physical show, the time spent testing, packing, travelling and transporting, installing and curating the work, can now be spent representing the work variously. I will miss the excitement of the ‘real’ exhibition, of meeting people and showing the work and ideas, but there is no use in lamenting the fact. Fortune has dealt a different hand which may end up being a winning one. I will of course still document the detailed planning for a hypothetical show and its curation but parallel to this, I can create a whole new experience within the limits of the time available.

The obvious way to go is to create videos. I have decided against scanning, photogrammetry, 3D rendering. Why would I want to create a facsimile of the works when I have them in the flesh? I do not have the time to make such works, let alone develop the skills, to create something worth looking at. But why not try to create a virtual world that is powerfully engaging, perhaps more so?, I might hear someone say. This question, I imagine would be asked by someone who has a higher level of skills in the relevant software than I. I am an expert in what I do, it is a time to work to one’s strengths.

So videos and photographs, drawings (digital), words and sound it is. But what sort of videos? To produce something worthwhile as a straight video I believe would require equipment and facilities I do not have. I have come to the conclusion that animating films using stop action capture provides the control I need for smooth movements, camera angles, pacing, dynamic lighting, green screening and so on.

In the next post, I shall go into more technical details as to how I can approach this and what equipment and facilities I have and might need.


  1. At this stage I am not so concerned with promotion but it is good to keep it in mind[]