On translating structures and objects




Mapping what is happening


It's funny how things come together. My final exhibiton, may 2019, was titled Zoom in Zoom out. It was a represenation of looking closely into the artisits studio whilst also seeeing the bigger picture of what inspired the making process - the movement within the old factory/ exhibiton space Culemborg. 

Now it is clear that I am interested in the same concept - although more specfiic and possibly the inverse. The framing of a specific light environment (and the narative that can develop from an atmosphere  made of filter materials. Music, objects, colors, positionings) and, the ability to look behind, and beyond the frame so as to recognize the composition and construction of the scene inside that frame. 

I am now presented with the power to control this zoom in an zoom out process very specifically, funnily enough will the intention to use Zoom to do so. 


The photo on the right. 

Gathering her books and glasses - essential items to start writing - C searched for her green sock, the knittend one that would keep her feet the warmest. After surverying the floor she ducked down to the under bed. 

"There you are" 

As always one sock had lid off in the middle of the night leaving her with one naked foot, and one warm socked foot. The way she liked it, temperature control. 

Grabbing the sock, and standing up, her eyes met the porceline of the bedroom sink where the late morning light happend to be at that time. 


She took a photo. She would have washed her face but somehow it felt like blasphamy. 

Sock in had, she went to write. 


Can I using two zooms at once, show the framed and the process of framing at the same time? 

Like a camera to the backstage. 

Shifting Practice


In this altered period, I have to be flexible and creative in the way that I adjust my making practice. Conceptually and even physically no boundaries are stopping me from continuing. The work itself, site sensitive, based in every day, and with a limited audience lends itself to working from my home where fortunately many interesting reflections and refractions occur throughout the day. The light in my bedroom has inspired my work before, and I have experimented with translating the curious light that constantly pans around the corners of my living room. Now - for the first time - the hallway is sharing its character, brooding and a little mysterious, a pale orange mood from a panel of stained glass around the corner. Documenting, archiving, translating, and conceptualizing these moments into scenography can and will continue.  


Finding a new way to share this practice with my tutors and peers is the one truly unmotivating thing, its a pythagora switch of unmotivation. 

  1. I have an idea for how to do it. It involves either two zooms, or a zoom and a live feed. It actually excites me. 
  2. The time spent (although I know it will be short) figuring out this method, disheartens me. 
  3. The practice is seemingly analog and feels somewhat off being shown via a computer. 
  4. I now have total control over what the spectator sees. I feel empowered and unsure about it.   

The saving grace in this is me keeping a diary. In hopes that I can create a supplemental document of a live making process. Of sharing in real-time what it is like to research and make scenography. 


an investigation of  space

Relocating my practice 


Upon contemplation, I realize that I am worried about the wrong thing. Sharing my practice will need to adapt, but what is there to share if I have no content.
My current archive is made up of observations, translations, and Scenographic scenes created for the areas in and around Pastoe. The narrative atmospheres, backdrops, and materials are developed in and affected by that working space.
I need to re-locate.
My archive (photos/videos of observations of light) are filled will photos from multiple places, so archiving for me, I can state is, is not site-specific. However, is my process of archiving specific to time? Since the Scenes I will make will be at my house does my archiving process need to open a new chapter? Can I use observations outside of this time frame, or will the tone be off, the film be different?
Everything I made in Pastoe was influenced by my archiving which took place whilst I was in that work-flow, I never used old documentation.

I will start with what I know. Observing and archiving.

Meanwhile, the making process must go on.

I live in solidarity, isolated. The COVID19 quarantine has blessed me with time to theorize, to dig into my ideas as a researcher. Considering myself an extroverted introvert my life has not changed much at all and I have yet to feel the pang of boredom. Preparing a meal, cleaning a drawer, reading a book are simple pleasures that I thrive on with or without the order to stay home. The pull of the research and the enjoyment of my habitat can feel like convergent plates. They disagree with ferosity of pace and passion, and daily life becomes a balancing act. The researcher, and The hermit. It is in this analysis I realize that The Artist is what keeps the scale from tipping too much in either direction. Whilst researching and hermiting dominate my enviroment, creating and making art is north on the compass. It combines what I love to do and what I love to think about in a shareable form.

The question now becomes how to make and share from the isolation of my home. I offer a look into scenography as it happens within the context of my research. What is typically written about and documented precisely, now an insight into my unfiltered process.

Let's see what happens,

I created this diagram to support my writing on how I analyse objects and structures in space to translate them compositionally, and it got me thinking about time. This process of analysis lets me take a step outside of what I am looking it. It is a birds-eye view, a cartesian approach to something aesthetic. The reason? Because the content of the observation and eventually what I translate it into is based in a phenomenological approach, a belief that experience, atmosphere, seeing moments of light, etc. are all relative to the observer both in position and in mood. The transition between atmospheres, the transition between positions is how we recognize them. The moment of expeirence - concerning time - can feel different for each observer.
Take for example this quarantine. Some feel they have all the time in the world, some feel that the hours have become minutes. We live our lives in a series of scenes. Alone at a desk, cooking with the family, a brief escape from the family, a walk outside. How long did each of these experiences take? or feel like they took?
My practice/research is interested in how experience shaped by the sensory body in space, individual in physicality and history.

Notes form peers writings that insprie me.


The duality of feeling free at home and stuck at home.


Practice or practices. What is your role as an artists. Is it really only one practice? What responsibility do I hold myself to.   

We need to develop a working method outside the MA anyway. 

Can making be reflecting? Can my making practice now be a system of supporting what I have done? A quality over quantity question.