The third site which I've visited what's whilst I Was on holiday visiting my brother in Manhattan new York City. The site in question is known as Dead horse bay, and is located on the Southern most tip of Brooklyn. So like most of New York City, Dead horseplay has had a long history of changes. Over the years, lots of old New York has been torn down, replaced, torn down again, and replaced again by new buildings and people, allows of history are all but forgotten. However this is not true that dental Spain, where remnants of the past little beach today. Along millstone trail near the bay, a mill stone is left over from the 17th century, when Dutch settlers used the water for tide mills to grind wheat into flour.
The bay was given its name sometime in the 1850s, when Horse rendering plants still surrounded the beach. This quote comes directly from the New York Times." Dead horse babe sits at the western edge of marshland one started by more than two dozen horse rendering plants, Fish oil factories and garbage incinerators. From the 1850s until the 1930s, the carcasses of dead horses and other animals from New York City streets we use the manufacturer glue, fertiliser and other products at the site. The chopped up boiled bones were later dumped into the water. The squalid bay, Then accessible only by boat, was reviled for the putrid fumes that hung over head." As the car industry grew, horses and buggies-thus horse carcasses-became scarce, and by the 1920s there was only one rendering plant left. It was during this era, around turn-of-the-century, that the mosh of the dead horseplay began to be used as landfill. Filled with trash by the 1930s, the dress she was cat, only to have the Burst in the 1950s and the trash spew forth onto the beach. Since then garbage has been leaking continually on to the beach and into the ocean from dead horseback. The beach is covered with thousands upon thousands of bottles, both broken and intact, of which many are over 100 years old stop there are other hardy bits of trash pepper on the beach which include leather shoe soles, busty telephones, and scores of an identifiable pieces of metal and plastic. Throughout the beach the evidence of forces are still there as there are lots of 1 inch chunks of horse bone littering the beach. When I visited Dead horse bay it was just before lunchtime in early December. Sadly at the location it was high tide and upon checking when low tide was it wasn't due until 4 o'clock in the afternoon and it would have been dark. I am making plans to revisit the site again over the summer months with some other artists with the idea of crafting an object or objects which can be powered by the elemental forces found a dead horse bay. The most prominent of these forces is the sea and the wind however it will be interesting to see how much the beach changes depending on the season.
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The Second sight which I visited was a disused and abandoned tunnel. The tunnel was located near Goodrich Castle and it was part of the Ross to Monmouth Railway. The aim of the railway in its lifetime what's to link the town of Ross, with its Hereford, Ross and Gloucester Railway with the town of Monmouth. This railway would also connect with the ask and Pontypool Railway. This railway therefore had the opportunity to become a major North-self route and so enthusiastically rushed off to it and obtain its act of Parliament 1865. This allowed it to raise most of its planned budget before and an economic collapse brought on by the contractor on an adjacent railway in 1866 killed all prospects of finding people with large sums of money. The railway started construction to the south from Ross, it completed both its tunnels, all preplanned intermediate stations, two of the three propose river crossings and 12 of its 13 miles before funding ran out in 1873, Leaving it stuck outside the Mayhill Pub at Monmouth and wondering what to do next. It solution was probably the best possible option-it built a temporary set southern terminus(named after the pub) and inaugurated services between Ross and Monmouth. The following year he crossed the river, join the line from Pontypool at Monmouth Troy, and settle down to make money. The map below is of the routes of the railways on the Ross Monmouth railway.
The tunnel in question in which I was looking at was based at Lydbrook Junction(about a mile from Lydbrook. I chose a tunnel as I was interested in recording sound which would emanate from a drum which I had previously acquired and it was going to be powered by falling water droplets which fell from the entrance of the tunnel. Unfortunately there had been a tremendous amount of rain and the entrance to the tunnel at both the Goodrich side and Lydbrook Side were both flooded and access to the tunnel was very difficult, and I was also worried in concerns to safety on whether it was safe to enter the tunnel. We need to go and look at the bells which are in the metropolitan museum in New York City. These bells originated from Papa New Guinea. When the wind blows through these bells a wearing or spirit like sound is omitted.
R. Visited the museum and the bells weren't there. The exhibition had changed and this was checked with the curator. took plenty of pictures of the masks, staffs and items of clothing. Tim advised looking into an artist by the name of Joseph Beuys. In World War II he was a pilot and crash landed. He was rescued by Shaman and wrapped in fabric. After the war he became an artist and his principal interest an area of study what's with these shamanic peoples the fabric and the role they played. Joseph Beuys 12 May 1921 – 23 January 1986 was a German Fluxus, happening and performance artist as well as a sculptor, installation artist, graphic artist, art theorist and pedagogue of art. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterised by passionate, even acrimonious public debate. He is now regarded as one of the most influential artists of the second half of the 20th century. On 16 March 1944, Beuys's plane was shot down on the Crimean Front and crashed close to Znamianka, (then "Freiberg"). He was rescued from the crash by nomadic Tatar tribesmen, who had wrapped his broken body in animal fat and felt and nursed him back to health:From what I understand Tim and I both believe that there is longevity in this area of study and it is a very interesting journey which I am taking up. Mental note Oliver you need to regularly reflect when your thoughts and notes are taken on a daily basis. This will act as a formidable body of recorded data which can later be used for your theoretical underpinning of crafted sound. So where did the idea for crafted sound come from? I strongly believe that it originated and resonates from my subconscious. Oliver you need to continuously ask yourself why it is important to you to investigate, craft, create, evolve, understand this area of study within your life!? If the pieces were taken out of their original surroundings and displayed simply on the plinth supported by both photography and video with this freeze the ephemera? Start to look at beaches with debris, we can utilise the forces of the sea onto crafted objects. I have recently become interested in kinetic art forms. I have been looking into the early works by Marcel Duchamp. I do not think it is a specific interest in the artist but nor an interest in the idea and narrative which of the action holds.
I visited the Tate modern I looked firsthand at Marcel Duchamp’s work. The idea that a static object could move intrigued me. I then started to wonder whether you could have a static object which sat alongside a video that showed its movement. So I'm at the point now that I have chosen a title for my proposal. The title is crafted sound. I am off to visit some sites which are local to me where I hope I can both photograph and collect discarded debris. I am going to New York. Before going to the states I visited a disused hospital up in Wales but sadly couldn't be used because of asbestos caller I also visited a disused tunnel however it was flooded and I did not feel safe. I visited a place called Dead Horse bay. I completely fell in love with this site but sadly it was high tide and there was little debris which was accessible. I am going to return to the site in the summer with some local artists from Bushwick. We are also planning to visit to Detroit as they are and enormous amount of the abandoned factories which day designated as being safe for us to all visit. They work in a shared studio which I have been granted access to as well as an abundance of art intellect and opinions. I must say I really enjoyed and learnt a lot from this group the people and would have quite happily stayed. During the summer I have arranged to visit an art college in midtown which offer Artis residencies in the city. The longer I live the more I become to realise that it really doesn't matter where I live or reside and this excites me immensely. So today Tim and in his studio we talked about my work on the topic of Christianity and shamanism came to light. He asked me whether the Christianity Point was really that important to my area of study. He asked me how I felt about Christianity and it's effects on shamanism. Magic. The art of producing a desired effect or result through the use of incantation or various other techniques that presumably assure human control of supernatural agencies or the forces of nature. any extraordinary or mystical influence, charm, power, etc. This is a difficult one because I personally have had little or no magical experience. However I have been looking at sound which is created at the moment primarily by to specific tools. These tools come in the form of drums and bells. The mystical belief is that bells scare away spirits. This belief was adopted by Christians hence bells in church towers. The second instrument is that of the drum. The specific use for the drum was for the Shaman to embark on a journey to the spirit world to allow evil or bad spirits to leave our world and travel to the spirit world where they belong. I wish to look into this idea of looking at site which has a historical value and was born, grow, lived and then died. Ephemera. This word is probably the most potent all of the words. The noun if Ephemera relates to things that exist or are used or enjoyed for only a short time. They are often collectable items that were originally expected to have only short-term usefulness or popularity. Many of the crafted shamanic tools well then designed for one specific use. I came across an article where a shame and believed that you could slow down the ephemera of his objects. He also believed that when his objects eventually broke apart or decayed that the magical intent would still exist and to popular belief of other cultures this does not happen. I believe that my artwork Will freeze the ephemera and the narrative in time and will forever encapsulate the theoretical and magical intent. Auditory. This Word appeared due to the influence of the bells and the drums and also the Talisman and charms. All of these objects would emit sound of some type. I do not know my sound is so important however I'm starting to Believe that it would conform to a type of communication. Communication doesn't have to be signs, symbols, or many other words in the exorbitant category. I believe it is fundamentally important that any crafted object should resonate sound. Protection. Protection comes in many different forms. At the moment I am in a very strange place as I was baptised in the church of England and was raised with Christian beliefs. My grandfather was a rosicrucian and countless grandfathers before him were involved with similar practices. I was brought up to believe both. However I do wonder whether I am sitting on the fence, or whether there is a fence, and whether any of it really exists and whether it matters? Is the object all the idea or both something that can offer protection perhaps to the site from which gave birth to it? I returned to my words and started to downsize the collection. Certain keywords jumped out of me. The words where as follows.
Narrative. Within my work I believe it is extremely important to have a conceptual idea which is part of the story. At this point I am wondering whether the conceptual idea is more important and the crafted object. I feel that I am going to struggle because I do not have a strong conceptual thinking background to underpin I theorise my work. It also seems ironic that I'm not concerned with the visual aesthetic of a potential crafted object. Recycled. So back in the day when these shamanic creatures crafted their objects, they were in touch with their ecosystems. They would only take what they needed and nothing we go to waste. They collected objects would inform the construction of the things they crafted. It pains me to see that we now live in society that is full of waste. I intend to use and collect discarded debris which man has discarded. I am thinking that when I find a place or places which are littered with waste I will collect it up and its inherent physical composition Will guide and dictate it's crafted construction method. Exorbitant. I have always found it very interesting the clothing, instruments, and various other items are often heavily adorned with inscriptions, stories, signs, symbols and a whole host of gestures. I would like to synchronise this with my work. Now, is it exorbitantly adorned with the idea in concern with its visual aesthetic? Or is the conceptual idea exorbitant in its underpinning? The second museum I visited was the British Museum London. I specifically visited this museum because they had a Sami drum. Unfortunately when I visited the gallery in which displayed it was being renovated and the drum had been moved to the archives to be cleaned and looked after. There was no information on their website regarding the closure of the gallery. However when I was there I felt very interesting early 13th century Chinese bells which I photographed and displayed in my studio. I have found on the Internet a museum called Siida. This is a national museum of the Sami, and a national special museum in Finland. The Sami museum stores the spiritual and material culture of the Finnish Sami in its collections and presents it to the public through its exhibitions and publications. Its main purpose is to support the identity and the cultural self-esteem of this Sami. The museum as its main premises in in Ari. Its offices, Collections administration, exhibition production and other central activities I located at the site. The museum also has a unit in the western part the Sami Area. The museum has sister museums that document this culture in other Nordic countries and in Russia. The museum is also part of the museum network of indigenous peoples of the world. I plan to visit this museum over the summer. Hi my name’s Oliver and I come from a designer blacksmithing background. My research matter is based on Occultist practices and my focus is to craft from waste/ recycled materials. My aim is to create sound by forming relationships between crafted objects which i construct from materials and matter which are sourced at site specific locations. These crafted objects are then powered by elemental forces or geographical attributes/ characteristics and creating art phonography time based collections. I started by collecting core research images which interested me. These images were then grouped together. The images consisted of shamanic clothing, drums, bells and protection amulets. I then proceeded to write down up to 50 words which prominently provoked thoughts in my head when I looked at the images which I had arranged on the wall of my studio. I then took the words and looked up their meanings in the dictionary. Following this I wrote down what each individual word personally meant to me. I took various colours of cotton and joined up the images with the words. The images were also joined up to look at correlations and links that were present in my Collection of visual research. I also visited a Museum in Oxford called Pitt Rivers. I found the museum to be extremely resourceful. In the back of the museum there is a dedicated room to my area of practice and research. I must say I did feel very uneasy though respectful among the collections. I took many photos of similar objects which I have found in my Visual research. |
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