At the moment still trying to get on with paintings for Gilles’ film, Dreaming Istanbul, what with one thing and another, am having to work nights under the lights with the canvas (actually alternating between a photograph and a blue screen – as I’m doing each one twice) in front of the camera.
You know the technique, stop-motion, I paint a bit take a photo, paint a bit more ‘n’ take another photo and so on till the picture’s done and then when it’s played back as a film (at 24 frames a second) you can watch the painting grow and take shape.
There are 15 or 16 left to do – the animations break into the live-action as they did in Aldous in London like songs in a musical and the reason that I’m painting the images twice over is that the photograph I dub the painting on top of always has different qualities of tone and colour to the film’s which creates a visual discontinuity, a jump in the optical quality whenever an animation is about to begin, which if it doesn’t spoil the surprise is kind of irritating after a while. To get over this problem I paint the interventions that I put onto the photograph onto a plain blue screen which is later filtered out and turns transparent in post-production. So the idea is that there’ll be a smooth transition from the moment the frame freezes to the appearance of the first brush strokes.
Well, Gilles is onto that, poor fellow, he’s not just editing all the pictures into a fluid sequence but having to adjust them as well because now we’re doing this digitally instead of as before with a 35mm film camera (“It’s the way forward, Aldous.”) the Nikon D40 I’m using is always compensating for every tonal change I paint even though everything on the camera is switched to manual, so a patch of white paint makes the image go darker and a spot of black paint, lighter. Not to mention, tiny movements to the position of the camera (it’s fixed onto the wall at the top of the house) which means Gilles is also having to align the little bleeders. [Read more…]
DRAWING ON THE RADIO
The Artist Goes Outdoors to Draw with a Sound Recorder for Company
“A sound piece, performance for voice” is what I wrote on the flyer when “Drawing on the Radio” was broadcast in June 2006. Jonny Brown, the singer with the Band of Holy Joy, has a regular spot he calls “Mining for Gold” on Resonance 104.4 FM. He invited me to do something for his show. “How about drawing on the radio? Would you do that, Aldous?”, he said one day in my studio. That was the only clue he gave me. Make of it what I will. I toyed with the idea for a while. I wondered whether to be didactic. But then in what way? A lecture? How-I-do-it instructions? Recipes for looking? It was talking with Gerry Smith one day that decided me, when his suggestion “Just record yourself drawing” made me realise that it was going to be art, not documentary, a work in its own right rather than some kind of explanation. After all, Resonance is art radio, a station like no other, where everything to do with listening can and does happen. Something here to live up to. [Read more…]
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