Thursday, 3 July 2008

SCRATCH FOR MA SHOW!!! camera obscura- too obscure a link to storytelling?

ok- so am struggling a little having spent years researching sheds in time for the scratch, and now having decided not to go ahead and get sheds in place for the scratch (what if they weren't the right size, needed different windows etc) and instead am doing a mock up in the portakabins for first scratch tuesday at WCA of the first half of my MA show, simulating a shed.

i'm wondering about the relevance of my cat wreath story now to the shed- maybe its a new story needed or just needs to have details added? I'm still keen on the suspended mortality of the flower idea which happens in the second half one-to-ones. have decided i'm unsure so tomorrow afternoon will be about making the camera obscura and playing around with ideas inside it with mirrors, tracing paper, lenses, to then work on the story over the weekend.

i need to reflect why i like the camera obscura idea for these particularly chosen reasons, linked to my last post on aberlado morell- which are annotated now;

  • 'a cityscape becomes the rooms torment or its wish'
i like this as it suggests a human relationship between the internals and external worlds- very shed like-dens, secrecy,public,private
  • outside world inside
  • a spy on the surrounds
this is nice as i can think about this relationship in terms of why- something afar from you is occurring and you can see it but it can't see you? why and what is this-spying on me in the little shed or i communicate non-verbally through the image to the big shed, maybe beckoning them to come out to me
  • low budget, endlessly repeatable
this works with the idea of the suitcase full of all the objects i use for the story being set out and put away upon leaving, and temporality- shutting the door will cause the image to appear, opening it, the image disappears.
  • being present in the moment unfolding real time before you layers of meaning
no video camera or pre-recorded, just light:)
  • interesting juxtaposition and dialogue between the internal and external contents, subject, composition, layering fleetingly
the actions outside casting an image on the things inside-people, objects, the textures of the shed walls, tracing paper screens maybe?

however, the most pressing issue is finding a coherent link between sitting in an upside down image inside a camera-obscura-shed and storytelling??? or should i be inverting the image?

possibly a story about things that go on in sheds (and boy, do i know a few good tales from my research) including building a camera obscura with granddad in his shed on a sunday afternoon or is this too obvious?, or can i build this into my story-maybe using my little camera obscura, passing it round, leaving, then the shed-camera-obscura happens? or shall i try to invert the image? think about the 45 degree mirror principles of the SLR?

the other thing bothering me in devising is that every option i'm working through requires another person to help facilitate it (pulling up blinds, holding things outside in front of lens) -or is this a bad thing- do i actually need someone else to be of benefit, building in another person as an usher/assistant/facilitator, and if so, who?)

so...i'm thinking that i need to play in the portakabin camera obscura and take it from there....

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