PPP

White Space

My recent project is a body of work exploring the notion of white space in the context of it being an unemotional colour. White space has been the basis of allowing me to explore an idea I am interested in - viewing forms just being. The development of my project means I have brought white space into the world and focused on if it can allow humans to experience just being and how I can graphically visualise this.

personal project proposal

Evaluation

 

White space was a project in which I wanted to explore if white space can create nothingness due to its unemotional connotations and allow things to just be or allow us to view something as a form. I think overall I have succeeded in this but in the process I have developed a focus on people’s experiences and creating a space to view human forms just as they are. 

 

I think I went through quite a developed process that explored each necessary avenue to explore if nothingness is possible with each outcome or experiment informing a new idea. Commune allowed me to view white space in the world and how they made things less busy. I then thought about how I wanted to bring white space into the world to allow me to communicate how it may be able to unemotionally communicate other forms. Ultimately this led me to create spaces for people to experience white space to fully understand the notion themselves of just being. It was important for me to create these spaces to understand if people really could describe their experience as what I was trying to create. However from this it was important for me to not lose sight of my role as a communicator and to make sure that I was able to communicate graphically the idea that I was interested in which was being able to view the forms as they are - in my case the human form just being and the interaction couldn't be the final. I really had focus on how I could capture this idea allowing my interaction work to support this visualisation of my concept. I think me being able to recognise this and refocus was the most successful part of my project and the well developed outcomes this created which then had a lot more depth to them. My previous work also allowed me to focus not only on one way to communicate this but different ways such as my prints to be able to visualise my concept from a different perspective.

 

Research also allowed me to fully support my concept and was really important throughout the process. Not only with the visual and practical aspects but also the theoretical which often came hand in hand with the likes of James Turrell’s work and works from artists such as Robert Rymans’ ‘ledger’ which were the foundation to my whole project showing me that white is an unemotional colour allowing you to just view something as it is. 

 

I think my least successful part of my project was perhaps focusing on on creating experiences for too long. Even though I managed my time well within each section of my project I would have liked to have moved on quicker so I could have focused even more on how to see the forms just being and created an extensive series for my portraits with more people. However in the beginning of my project I didn’t know the journey my project would take but this can allow me to perhaps develop my later outcomes in the future.

BIBLIOGRAPHY - full bibliography harvard referenced

LONDONERS FLOOD SOCIAL MEDIA TO HAIL AMAZING NIKE ADVERT CELEBRATING THE CAPITAL

In-text: (Evening Standard, 2018)

Your Bibliography: Evening Standard. (2018). Londoners flood social media to hail amazing Nike advert celebrating the capital. [online] Available at: https://www.standard.co.uk/news/london/the-nike-advert-is-everything-londoners-hail-incredible-film-starring-harry-kane-mo-farah-and-skepta-a3763166.html [Accessed 16 Apr. 2018].

 

THE SILENCE = DEATH PROJECT

In-text: (The silence = Death project, 1987)

Your Bibliography: The silence = Death project. (1987). London: Wellcome Library.

 

PARR, M.

Home Sweet Home

In-text: (Parr, 1974)

Your Bibliography: Parr, M. (1974). Home Sweet Home. [Photography] York, UK: Impressions Gallery.

 

RYMAN, R.

Ledger

In-text: (Ryman, 1982)

Your Bibliography: Ryman, R. (1982). Ledger. [Enamelac paint on fibreglass, aluminium and wood] Tate.

 

 

JIANHUA, L.

Blank Paper

In-text: (Jianhua, 2012)

Your Bibliography: Jianhua, L. (2012). Blank Paper. [Porcelain] Tate.

 

 

WHITEREAD, R.

Study (Blue) for ‘Floor’

In-text: (Whiteread, 1992)

Your Bibliography: Whiteread, R. (1992). Study (Blue) for ‘Floor’. [Correction fluid, ink and watercolour on paper] Tate.

 

MANZONI, P.

Achrome

In-text: (Manzoni, 1958)

Your Bibliography: Manzoni, P. (1958). Achrome. [China-clay on canvas] Tate.

 

KLEIN, Y.

Blue Monochrome

In-text: (Klein, 1961)

Your Bibliography: Klein, Y. (1961). Blue Monochrome. [Dry pigment in synthetic polymer medium on cotton over plywood] MoMA.

 

ROTHKO CHAPEL

In-text: (Rothkochapel.org, 2018)

Your Bibliography: Rothkochapel.org. (2018). Rothko Chapel. [online] Available at: http://www.rothkochapel.org [Accessed 16 Apr. 2018].

 

ANON

In-text: (Anishkapoor.com, 2018)

Your Bibliography: Anishkapoor.com. (2018). [online] Available at: http://anishkapoor.com/83/at-the-edge-of-the-world [Accessed 16 Apr. 2018].

 

CONVERSATION DOMES

In-text: (Paperhelmets.com, 2018)

Your Bibliography: Paperhelmets.com. (2018). Conversation Domes. [online] Available at: http://paperhelmets.com/artwork/3775123-Conversation-Domes.html [Accessed 16 Apr. 2018].

 

MCCALL, A.

Line Describing a Cone

In-text: (McCall, 1973)

Your Bibliography: McCall, A. (1973). Line Describing a Cone. [Film, 16 mm, projection] Tate.

 

TURRELL, J.

Selene

In-text: (Turrell, 1984)

Your Bibliography: Turrell, J. (1984). Selene.

 

 

SELENE (1984)

In-text: (James Turrell, 2018)

Your Bibliography: James Turrell. (2018). Selene (1984). [online] Available at: http://jamesturrell.com/work/selene/ [Accessed 16 Apr. 2018].

 

 

BLIND SIGHT

In-text: (James Turrell, 2018)

Your Bibliography: James Turrell. (2018). Blind Sight. [online] Available at: http://jamesturrell.com/work/type/dark-space/ [Accessed 16 Apr. 2018].

 

TURRELL, J.

Rondo Blue

In-text: (Turrell, 1969)

Your Bibliography: Turrell, J. (1969). Rondo Blue.

 

 

RAEMAR BLUE

In-text: (James Turrell, 2018)

Your Bibliography: James Turrell. (2018). Raemar Blue. [online] Available at: http://jamesturrell.com/work/type/shallow/ [Accessed 16 Apr. 2018].

 

TURRELL, J.

Breathing light

In-text: (Turrell, 2013)

Your Bibliography: Turrell, J. (2013). Breathing light.

 

DOUBLE VISION

In-text: (James Turrell, 2018)

Your Bibliography: James Turrell. (2018). Double Vision. [online] Available at: http://jamesturrell.com/work/type/ganzfeld/ [Accessed 16 Apr. 2018].

 

TURRELL, J.

Pullen (white)

In-text: (Turrell, 1967)

Your Bibliography: Turrell, J. (1967). Pullen (white).

 

PULLEN (WHITE) (1967)

In-text: (James Turrell, 2018)

Your Bibliography: James Turrell. (2018). Pullen (White) (1967). [online] Available at: http://jamesturrell.com/work/pullen-white/ [Accessed 16 Apr. 2018].

 

TYCHO WHITE

In-text: (James Turrell, 2018)

Your Bibliography: James Turrell. (2018). Tycho White. [online] Available at: http://jamesturrell.com/work/type/projection-pieces/ [Accessed 16 Apr. 2018].

 

 

 

TURRELL, J.

Deep Sky

In-text: (Turrell, 1984)

Your Bibliography: Turrell, J. (1984). Deep Sky.

 

 

DEEP SKY (1984)

In-text: (James Turrell, 2018)

Your Bibliography: James Turrell. (2018). Deep Sky (1984). [online] Available at: http://jamesturrell.com/work/deep-sky/ [Accessed 16 Apr. 2018].

 

ALINA

In-text: (Bettina von Zwehl, 2017)

Your Bibliography: Bettina von Zwehl. (2017). Alina. [online] Available at: http://www.bettinavonzwehl.com/alina.html [Accessed 16 Apr. 2018].

 

BETTINA VON ZWEHL PORFOLIO AT PURDYHICKS GALLERY

In-text: (Purdyhicks.com, n.d.)

Your Bibliography: Purdyhicks.com. (n.d.). Bettina von Zwehl Porfolio at Purdyhicks Gallery. [online] Available at: http://www.purdyhicks.com/display.php?aID=17#4 [Accessed 16 Apr. 2018].

 

BETTINA VON ZWEHL – REPRESENTATION

In-text: (Repimogenmurphy.wordpress.com, 2015)

Your Bibliography: Repimogenmurphy.wordpress.com. (2015). Bettina von Zwehl – Representation. [online] Available at: https://repimogenmurphy.wordpress.com/tag/bettina-von-zwehl/ [Accessed 16 Apr. 2018].

 

TONY TAKITANI UK TRAILER

In-text: (YouTube, 2006)

Your Bibliography: YouTube. (2006). Tony Takitani UK trailer. [online] Available at: https://www.youtube.com/watch?v=UL48aOyK5cg [Accessed 16 Apr. 2018].

 

GURSKY, A.

Rückblick

In-text: (Gursky, 2015)

Your Bibliography: Gursky, A. (2015). Rückblick. [Inkjet print and Diasec] London: 9 x 9 x 9, Bermondsey, White Cube Gallery.

 

DIJKSTRA, R.

Julie, Den Haag, Netherlands, February 29 1994

In-text: (Dijkstra, 1994)

Your Bibliography: Dijkstra, R. (1994). Julie, Den Haag, Netherlands, February 29 1994. [Photograph, C-print on paper] Tate.

 

JENNIFER PATTISON

In-text: (Jennifer-pattison.com, 2018)

Your Bibliography: Jennifer-pattison.com. (2018). JENNIFER PATTISON. [online] 

Available at: http://www.jennifer-pattison.com/projects [Accessed 17 Apr. 2018].

 

11/18 « MELANIE MANCHOT

In-text: (Melaniemanchot.net, 2018)

Your Bibliography: Melaniemanchot.net. (2018). 11/18 « Melanie Manchot. [online] Available at: http://www.melaniemanchot.net/category/1118/ [Accessed 17 Apr. 2018].

 

‘PORTRAIT 1986 (STOYA)’, THOMAS RUFF, 1986 | TATE

In-text: (Tate, 2018)

Your Bibliography: Tate. (2018). ‘Portrait 1986 (Stoya)’, Thomas Ruff, 1986 | Tate. [online] Available at: http://www.tate.org.uk/art/artworks/ruff-portrait-1986-stoya-p78091 [Accessed 17 Apr. 2018].

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