John Cage experimentation

On Thursday morning I was set the task of producing a piece of ‘exploratory developmental work’ focusing on an element of an already established artists practice in order to contextualise the materials and processes that I have recently been using in my work. As I have recently been working with the intaglio printing process I decided to look further into the work of John Cage, in particular his print works made at Crown Point press from 1978 – 1992. What interests me most about Cage’s work is the way in which he creates and then uses systems that leave the work up to chance occurrences. With each print Cage handed the decision making of scale, materials, composition and colour, to chance by generating numbers from the Chinese book of wisdom; ‘I Ching’.

John Cage - Variations III No. 1 - 1992
John Cage – Variations III No. 1 – 1992

This was the element of Cage’s work that I decided to incorporate into my own practice, but I realized that in the two hours that I had it would be far too ambitious to try and create a system as complex as Cage’s, so I started off by deciding that I would use A2 paper, ice and acrylic paint as my materials. I then generated co ordinates using an online random number generator, I had to repeat this 3 times, one to choose the pieces of ice and then twice more to find the co ordinates on the 420x594mm sheet of paper.

After marking up the co ordinates I chose pieces of smashed ice out of a bag at random and matched them up to their given co ordinates on the page. In the first set of randomly generated numbers I set it online so that only 20 numbers from 1-10 would come out so obviously there were repetitions which I had to ignore which did not feel entirely truthful to the whole process so maybe this is something I think about when refining my own system. It also meant that not all the pieces of ice were used because certain numbers didn’t come up. Once the pieces of ice were positioned I placed a small blob of black acrylic paint on top of each one. This decision of using black was also made by me and I’m not sure it was the best choice, it would have been better if I had been restricted to a certain colour as this could have been more visually interesting.

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I tried to take photos of the ice melting every 5-10 minutes as first as the piece did transform much quicker as I had expected, as the pieces of ice were so small. I think the first photos where the acrylic paint first touches the ice are most interesting here as the way that the black seeps into the crevices of the small structures highlights the intricacy of each one. It may be interesting to see what would happen if the ice was put back into the freezer at this point.


This piece worked as I had expected it to, but I’m not sure if there is anything particularly exciting about it at this point, the fact that the ice has been placed on the page because of randomly generated numbers doesn’t have as much impact as Cage’s work because of the fact that everything else in the composition was chosen and controlled by me. I think for this to be a successful contextualized piece of work I would have to look more into making a system that allows everything in each experiment to be determined by chance. I do still think that combining ice and paint for mark making is an interesting technique that I want to continue with but because this pieces of ice where sat on a piece of paper the marks are not as interesting as on the canvas where the water spilled out and was able to mark it’s surroundings too.

Intaglio printing experiment

In the past week I was granted the opportunity to try out the intaglio printing process. In preparation for this I researched Dora Maurer’s work with printmaking as I had heard that she aimed to produce indeterminable outcomes from processes, which is what most interests myself. In my research I found her piece ‘Throwing the Plate from Very High” to be of most influence to my own approach to the intaglio print process, as I too wanted to catch something as fleeting as a moment of impact. My initial brainstorm in the workshop was thinking about how I could capture ice melting through this process, unfortunately this did not seem possible given that water softly shrinking would not mark the soft ground applied to the plate, but perhaps I may be able to do something with water, salt and vinegar that would arrive at a similar outcome once I have a better understanding of this process as a whole. In the end I decided that the best way for me to start using this process initially would be to mimic Maurer’s use of the process but instead of throwing the plate, drop a slab of ice onto it.

This made a much larger mark than both the technician and I had expected which was positive, but as a saw that there was still large pieces of ice intact I decided to continue smashing the remaining pieces onto the plate until there was none left. The spontaneous performance of this was quite exciting, being free to smash blocks of ice as an expression of nature felt liberating and almost therapeutic. The plate took around 40 minutes to get a good etch as I used steel with a very thin layer of soft ground. At first I found this process quite intimidating because of its complexity but once I had inked up the plate and created my first print I felt much more comfortable in the print workshop and I am eager to experiment with the boundaries that this process has to offer.

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‘Dropping ice from quite high’

Despite having got a final outcome from the plate I didn’t quite feel that this piece was resolved yet. In my other studio work I had been experimenting with a more common process of printmaking; photocopying. Using an A3 photocopier I have been manipulating colourful images by moving them sporadically whilst being scanned and working repetitively from those scans rather than the original image in order to expose the colours. I decided to see what would happen if I did the same to this black and white image, but I didn’t feel that it would be right to add more movement to the print as it was being scanned as the ‘action’ had already happened within the image. Instead I decided to see what would happen if I continued to photocopy the previous photocopy of the print as I was hoping that this in some way could visually resemble the process of ice melting.

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36 photocopies of photocopies

This is the result of photocopying photocopies of the print 36 times, although changes in the quality cannot be noticed when a photocopy of the previous photocopy are compared, the 6 diagonal copies in the middle show the disintegration of the process concisely. I am pleased with the development of this idea, what I was most interested in Maurer’s work was the way in which she exposed processes and I feel that I have achieved this to some extent here with the photocopies. The repetitive and tedious task of photocopying photocopies exposes the fact that this instant process of reproducing an image has its faults, every time a new photocopy is made the image is manipulated further away from the original and truthful image. For me this is important as I think it could be applied to the way in which society, especially western society, views itself within the natural world. Over the most recent period of history we have found ourselves progressively loosing touch with the natural world of which we are apart of, with the focus of our day to day lives slowly leaning toward technology and ridiculousness, instead of growing to understand ourselves and the world around us.

Recent work – Ebb and flow

My initial inspirations for my most recent work has stemmed from my documentations of Farnham park from October into December. After capturing this beautiful and vast location through its natural transitions from Autumn into Winter and day into night I started interpreting these natural phenomena’s into home made ice sculptures. My mould for these sculptures was simply a shallow bowl that came from a broken desk lamp but I chose this particular form as it resembled a perfect puddle and as the weather has gotten colder I have found myself fascinated with the way puddles freeze and the debris that gets suspended in them momentarily. I experimented with taking three of these sculptures, each one representing different times of day, into Farnham park to photograph and film recording in their natural surroundings but I found that the weather was far too cold and they barely melted. I then saw that it would be much more interesting to document how they melted through the marks made by them rather than a time lapse. So instead I got a canvas and left the sculptures to melt on it one at a time. The marks made with these sculptures were very subtle as I only added small amounts of water colours and ink to slightly alter the colours of the ice. My goal with this piece was to create layers of marks to represent the ongoing changes in nature and I wanted to use the canvas to capture my interpretations of these changes, just as so many have done before me. For a recent exhibition I decided to repeat this process but this time use only paint and use it thickly within the sculpture in order to make more striking marks.

Initial ice sculpture experiments photographed in Farnham park (December 2014)
Close up of ice sculpture and paint before it started to melt
Close up of ice sculpture and paint before it started to melt
Ice sculpture melting in the exhibition space (February 2015)
Ice sculpture melting in the exhibition space (February 2015)

In this exhibition I found that many people were confused by the materials I had used before the ice started melting, initially people thought I had placed a dome of brightly coloured resin onto a plinth, then they thought it may be jelly because of the colour, only when they touched it did they realise that it was ice. It helped that I had found a plinth that fitted my canvas perfectly as it made the fact that this was a painting quite discreet and left people to focus on the performance of states changing from one to another, which I hoped would be the most important thing about the piece. I feel that mainly this piece was positively received by my peers and tutors, with many of them commenting that it was the simplicity of the idea that made the piece successful. Useful criticisms were about my choice of colour palette, the lurid green was quite distracting and didn’t talk to the audience about nature or the history of painting as it was meant to, and also about the fact that the canvas was not clean before the ice started melting on it. I had chosen to use the same canvas as before as I liked this idea of adding layers to represent the ongoing changes in nature but I now see that a blank canvas would have been much more appropriate for the aesthetics of this piece. Another concern raised by my peers was how the piece would be displayed after the exhibition. There was concern that the canvas would be put up on the wall alongside other paintings and would then only be talked about as an automatic painting. I shared this concern so after the exhibition I dismantled my piece and found other ways it could be shown after the event of the ice melting, separating the canvas from the plinth and the plinth from the marks made by the melting water on the floor. This may be a more interesting way of showing this piece in an exhibition after an ice piece has melted, as it forces the viewer to piece together what has happened and realise that all objects are connected by an act of nature, just as everything is on earth. This is primarily what I want to talk about with art, but I think this could be done with more interesting objects which would make this idea clearer. Another way of presenting the work after the ice had melted which I found successful was taking close up pictures of the marks made on the canvas. These photos made the paint and canvas unrecognisable so that the focus is solely on the intricate and strange marks that was made by the combinations of natural process and paint, these images are so abstract that it is impossible to guess what they are of, but make for aesthetically pleasing images that show off the beauty of nature.

Close up of canvas detail
Close up of canvas detail

From here I want to continue to make work that talks about the constant transitions of nature, from day into night, winter to spring and life to death and become more in touch with the flow of nature and hopefully build up an understanding relationship with these natural events that I cannot get from our capitalist society and share them with my audience.

Paul McCarthy, WS SC at Hauser & Wirth exhibition review.

Before entering Paul McCarthy’s latest exhibition at Hauser & Wirth I noticed a sign on the blacked out windows of the gallery warning of the explicit content within. As I have grown up living amongst the capitalism of the modern Western world I shrugged this off, safe in the knowledge that from a young age mass media culture has exposed me to such absurd realities that anything fictional could no longer affect me. When I was to leave the exhibition an hour or so later, the only words of reflection I could write were; ‘shocking to the point of anxiety.’

Although McCarthy’s ongoing appropriation of fairytales is incorporated in the title of this exhibition, WS being a twisted abbreviation of ‘Snow white’, there is little visual inclusion of these comforting symbols of childhood innocence here. Instead McCarthy frames these abject large-scale paintings, with adverts ripped straight from magazines. In ‘WS, Dolce & Gabbana’ a D&G perfume advert stares back at me from it’s lustful airbrushed mask whilst unknowingly being swamped by the down pour of ‘sexy’ feces coming from an obscene lewd act above.

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‘WS, Dolce & Gabbana’ 2014

All of the paintings have a strange feel of stagnant voyeurism about them; once past the blacked out windows viewers are exposed to multiple scenes of awkwardly absurd sex acts limply played out by warped figures against pastel backgrounds. Each depiction of niche fetishes is devoid of passion, the characters aren’t sad or happy, they are indifferent, detached but yet seemingly aware of their own bleakness. In contrast, the collaged images of Internet porn tease us with the guilt and disgust that comes with looking at such literal exploitation.

In ‘SC, Luncheon on the Grass’ a young woman stares straight ahead from an A4 print out centred at the top of the composition, upon her head is a festive Santa hat, yet her mouth is agape with the feces smeared across her cheeks. McCarthy parodies this anonymous girl into an ‘updated’ version of Manet’s ‘Déjeuner sur l’herbe’ where sexuality is no longer subtle and secret but crude and cruel, highlighting the state of human compassion in the structure of capitalism we live in today.

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‘SC, Luncheon on the Grass (Déjeuner sur l’herbe)’ 2014

It’s not just consumer culture and famous paintings that are sexually parodied into McCarthy’s lurid paintings though. Hollywood celebrities native to McCarthy’s hometown of LA are also dotted around the exhibition, appropriated as embodiments of both fiction and reality amid these chaotic portraits, which imitate the blur of the virtual and literal in our technological society today.

Just as the Modernists revolted against the industrial revolution, here McCarthy revolts against the technological revolution. With his collective use of disturbing sexual imagery and the consumer porn of advertisements alongside the context of fairytales, McCarthy begins to build up a chronological narrative of how basic human instincts are affected by the uprising of technology. He points out that at a young age we learn morality from fictional characters in fairytales so that later on we can learn about sexuality from fictional relationships in porn. Ultimately this exhibition explores truths about the technological advance that we find ourselves in, and how obscenity has become our reality and will remain to be so for as long as our basic human instincts are exploited and manipulated by capitalist systems.

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‘SC, Brad Pitt’ 2014

Ai Weiwei at Blenheim palace exhibition review

In 1917 Marcel Duchamp caused controversy by placing a urinal within the white walls of the art world, a centaury later Ai Weiwei removes his creations, a combination of ready-mades and specifically made sculptures, out of these white walls and into the luxurious setting of Blenheim palace to spark a debate that undeniably puts art back into the service of the mind.

The curator, Michael Frahm, has described the exhibitions aims as ‘trying to give an insight into how contemporary art can look in a 300-year old building.’ But with Ai’s pieces being so politically charged, it is not so easy to read the contrast between setting and work as simply aesthetic, and the tribute to Duchamp hanging above Winston Churchill’s birth bed makes it near impossible.

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Chandelier 2002

Ai is most famous for his provocative destruction of historical Chinese artifacts so to see the largest UK exhibition of his work in a world heritage site that functions solely on the preservation of historical artifacts is dizzying to say the least. On entering the ‘green drawing room’, visitors of Blenheim are greeted by several Han Dynasty Vases that date back to 202 BC. Unlike the perfectly preserved artifacts native to Blenheim, these vases have been defaced, smoothed into a slick metallic gleam by auto paints. Within the white walls of a gallery space this act of destruction instantly transforms the vases from historical Chinese artifacts to an anonymous tribute to industrialization, highlighting the negative experiences that Ai has faced with the Chinese government, but the uncomfortable contrast that occurs when placing them in a historical time capsule achieves much more than this.

Not all of Ai’s pieces are so easily distinguishable from Blenheim’s extensive collection though, the grand Chandelier which opens the show spectacularly seems right at home within the confines of the 300 year old architecture, as do the beautiful floral plates in the China Ante room which are said to be inspired by the flowers that Ai puts in the basket of his bike everyday to mourn the freedom he had before his long standing house arrest in 2011.

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Han Dynasty Urns (202 BC) in auto paint 2014

In the finale of the exhibition, held in the Long library, Ai’s series ‘Study of perspective’ is impossible to miss. Whether the viewers focus is on the borderline explicit content, or the fact that landscape prints have been presented at a head turning 90 degree angle (an inevitable miscalculation caused by curating an entire exhibition from another country), these images are unavoidably confronting. This is where the exhibition really comes to a climax, the pictures hassle the viewers, whether they have come to see Ai’s work or not, with a semiotic view of authority, so much so that they obstruct access to the books that the library holds.

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Study of perspective 1995-2003

On leaving this exhibition my strongest impression was one of discomfort. Ai’s use of destruction throughout his work is heightened at Blenheim in a way that a white walled gallery could not achieve. Frahm’s curiosity as to what contemporary art would look like in a 300 year old building has not been successful because of its aesthetics, but because of the revolutionary discovery of what happens when you take art out of normality and into an interior that harshly contradicts the work, just as Duchamp did back in 1917. The conflict between preservation and destruction is on going here, it is mentally jarring to experience Ai’s work, which destructs and belittles the culture of his country in the context of Blenheim, which preserves and glorifies material objects that once belonged to the inherent elite.


A couple of weeks ago I was told that I needed to have a piece of work ready for an exhibition in my studio by this week. As I have arrived late to the course, after a brief month and a half of confusion at the University of Westminster, I have found it difficult to make friends in my new class as it is past the ‘freshers’ introduction phase. So I started thinking about who would be seeing this piece of work and how I could kill two birds with one stone, as such. I started this project by focusing on an unflattering but highly comical picture of me taken in a club. After looking at Shepard Fairey’s work with his ‘OBEY’ propaganda style posters, I simplified the image of my face to a simple black and white drawing and started adding simple text around it. I then went on to simplify this drawing even further in order to turn it into a stencil, as I found working in photoshop took away the humour of the piece but working by hand was too tedious and bland but I still wanted the piece to have a ‘hand-made’ feel to it. After a lot of development and fine tuning I came up with this A2 design:

                                                                                ‘THIS IS A SERIOUS ADVERT.’

This piece is meant to be many things, it is both propaganda and portraiture, performance and visual. The portraiture side of this piece led me to add in a list of my ‘qualities’, which flits between negative and positive descriptions showing both sides to my personality and desperate situation: ‘FUN LOVING LONELY COOL SAD FREE SPIRIT’. I didn’t want the final poster to be perfectly presented, like the experiments I was getting out of photoshop as I felt that the messiness of it was important to show the honesty behind it. I am hoping that this piece confuses people, I hope people don’t know whether to take is as a joke or to take it seriously and get in contact, the piece contains my own contact details so I am interested to see whether anyone does try to use them. The title I have chosen ‘THIS IS A SERIOUS ADVERT’ is also meant to disorientate people between fiction and reality, does the audience laugh or do they get involved? This was inspired by my recent lectures on semiotics which has made me more aware of the viewers interpretation of my work and therefore made me question how much control I have over the work once it is out of my bedroom and into the studio for all to see. I am not usually an ‘image maker’ so I struggled a lot with getting this piece together, I am thinking of maybe turning the portrait of myself into a tag to start putting around places that I visit frequently to start making this identity and advertisement I have made recognised by everyday people possibly even mapping my journey into and around university using these stickers.

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Original image.

Lance Nixon Review

The bike is said to symbolize human reason at work. To quote Angela Carter’s ‘Lady of the house of Love’, “To ride a bicycle is in itself some protection against superstitious fears, since the bicycle is the product of pure reason applied to motion.” Although here Carter is referring to the fear of the super natural, this theory can also be applied to Lance Nixon’s work.

I first came across Nixon in late 2010 with his publically interactive piece based in London, ‘Roadrunner 2’. Inspired by, or some may say in retaliation to the ‘Boris bikes’ installed earlier that summer. Nixon collected over 300 old bikes, saving them from scrap and placed them around zones 2 and 3, as the Boris bikes only covered zone 1 at the time. These bikes were chained outside tube stations, in bike shelters and on streetlights with signs attached giving the user information on how to operate the bikes. Nixon specified here that the bikes could be used for any length of time and could be left wherever best suited the user so long as they were locked up. This free alternative that was given to commuters on the 27th of September resulted in only 9,000 people taking out a Boris bike on that day in comparison to the usual 14,000.

Although most of the bikes where inevitably stolen by the end of the day, the aim of Nixon’s interactive stunt was achieved. He gave daily commuters an alternative to the faults of the Boris bikes which made, and continue to make, revenue from unavoidable late fees due to the docking station to bike ratio.

Nixon came into the public sphere of performance and interactive art in 2007 when he debuted with his piece ‘Roadrunner’ based in New York City, which worked similarly to it’s sequel in London. Nixon was criticized for critiquing such new systems but has since commented that he was simply trying to “expose existing problems before the general public comes to accept them as fact.’” With this statement we can apply Nixon’s work to a much wider context, going beyond the realm of city politics and into semiotics, proving that his work not only provides comment on existing systems but also challenges them.

Alongside interactive art, Nixon is also well known for creating sculptural pieces using bikes. His piece ‘Speed’ (2009) consists of two bikes warped individually in their centers, which come together to create a circular form, whilst still appearing to be functional. As Carter describes in ‘the Lady of the house of love’, bikes are a symbol of reason, and by warping these two bikes into a continual circle and titling the composition ‘speed’ we can interpret this as a juxtaposition between the way that companies use materials to make profit as fast as possible, thus creating and continuing a cycle of profit.

Ultimately Nixon uses the art sphere and the symbolism of the bike as a way of exploiting both truths and lies simultaneously, contrasting reason with unreason and creating opportunities where the ‘readers’ use of systems come before the ‘authors’ benefit of it.
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Show set up ideas

The original presentation for my final piece has changed a lot due to space restrictions. In my sketchbook I explored 3 different ways that my final piece could be presented, in the first I imagined that there were no restrictions to the space I could use, the second I imagined that there was very little space to present my work and in the third I found a way to incorporate both into a reasonable space. The third idea is the one I carried on to develop for the final show, and consisted of a small triangular space that would allow me to create a claustrophobic but comfortable space by placing it in darkness but setting up the installation space with homely furniture to lull the audience into a false sense of security by trying to create a universally familiar setting. Initially I had designed it so that it would be in complete darkness with the TV facing the corner of the room so that only one person could physically see my piece at once. Unfortunately the design of my final set up changed because of the space restrictions which forced me to turn my set design around so that the TV and cupboard where in the corner of the space, this means that more than one person is now able to view the piece at once, as any passer by that walks by will be able to see it easily.


Current exhibition set up.

This was disappointing for me because I felt that by making the space so small it would control the foot fall and limit it to one person at a time, and I felt that by having only one person viewing the footage at once it would make for a more intimate experience for the viewer and would be more overwhelming than viewing it openly in the exhibition space. I also planned for there to be a curtain around my piece to cut it off from the exhibition, this was largely so that no light would creep into my installation space, but also because I wanted to have this contrast between the light of the rest of the exhibition and the darkness of my corner which is literally tucked away as I felt that this physically describes my day to day experience, where I am prepared to hide myself away in a dark corner than be apart of the class that I was in. Unfortunately my piece will no longer be in darkness, as instead of a curtain I will now have a single board separating my work from the rest of the exhibition. This means that the piece will be in the same amount of light as the rest of the show which is a shame because it weakens the comparison of my installation to the rest of the exhibition, which I think is one of my most successful ways of showing how mental illnesses work when in a social situation, as this is a physical representation of how people tend to lock themselves away into a dark, horrible space. In this sense the darkness is a metaphor for the effect that mental illness has on the brain and the TV is the effect that these feelings have on our mind, and is a representation of the horrible imagery that these feelings can create, in this sense the maggot footage is a metaphor to thoughts of suicide and self-harm. I chose to present all 5 versions of the kaleidoscope footage instead of only one because this shows how differently one single situation can be interpreted by different people. I felt it was important to include the original footage as well, not only to signify the fact that 1 in 5 adults suffer from depression at some point in their lives, but also as a comparison between the edited footage and the original, to concisely show the different perspectives. The original footage stands for the way that I perceive everyday situations, whereas the kaleidoscope versions not only show how differently something so simple can be perceived but show how anti depressants work and also show how I believe other people manage with everyday situations, as I believe that they do not see the horrible things I see, but instead manage to take these horrible things and perceive them as something beautiful and worth watching. Although these changes have been made to my exhibition space, I still think that this is an effective way of displaying my piece. Although it is no longer in complete darkness, I feel that the layout of my final piece will cause awkward encounters within my installation space as people will go into it and not realise that someone is already sitting in the seat and I also feel that people sitting in the seat will feel uncomfortable as they will be conscious of people being able to see them interacting with the art. The board cutting my piece off from the rest of the exhibition will be used to display other peoples work on so I feel that anyone in my exhibition space will be conscious of strangers standing behind them and talking too.I also considered putting some of my blind drawings around my installation as I felt that these tied all the ideas that I have about perspective and disabilities together. I found it hard to document my experimentation throughout the project as the most crucial development was done on computers so I had to take a lot of screen shots of my work to put in my sketchbook but felt that it did not look like traditional development and experimentation. This was also difficult when developing more complex techniques in the film editing software I was using as I found there was no way of showing the technical skills I had used apart from using screen shots on my computer to show what I had done, but I do not feel that this evidence of my development does justice to the work that I did. Ultimately I hope, despite the changes to my installation space that my final piece will cause the audience confusion at seeing something classically grotesque displayed in a way that makes it seem beautiful, and I hope that the final set up is well thought out enough to create feelings of anxiety and discomfort in the viewer as ultimately this will be them physically experiencing what I, along with many others, experience everyday. 

How to make a Kaleidoscope in Adobe Premiere Pro

Earlier on in my project I considered looking at kaleidoscopes after watching the film ‘Media Magica’ as this film demonstrated how successfully mirrors could be used to make optical illusions. After my experiment with maggots and food and the feedback I got from it (which was mainly or disgust) I thought that it may be interesting to see how a kaleidoscope would work with maggots as kaleidoscopes are often seen as beautiful calming sequences. To do this I watched a Youtube tutorial on how to create a kaleidoscope in Adobe premiere pro, which was rather complicated and difficult to follow at times. For anyone looking at how to do this here are the instructions that I used:

  1. Apply mirror effect to your footage (which you should have dragged into your timeline) with an angle of -45 degrees and a centre point of 1525, 1080
  2. Right click on your footage in the timeline and click the ‘Nest’ option (the clip should show up in green in your timeline)
  3. Copy the footage and paste it but make sure that the timeline marker is not in the middle of your footage because it will paste the footage where the timeline marker is (both should still show up in your timeline in green).
  4. Next drag the pasted footage on top of the original and make sure they are the same length and start and finish at the same time.
  5. Then apply the following to the pasted nested sequence (the one you have dragged on top of the original nested sequence):
  • Horizontal flip
  • Crop at 50% on the left
  • Mirror at 90 degrees angle and a 1544, 540 centre
  1. Then apply mirror at 90 degrees with a centre of 1544, 540 to the bottom clip (you may also want to apply a 50% crop to the right but it is not necessary unless you are planning on changing the opacity of the kaleidoscope sequences)

All of the effects I have mentioned such as mirroring, horizontal flips and cropping can be found in the effects tab in the bottom left hand corner, and these effects can be edited in the ‘effects controls’ tab which should be in the top left corner.

I hope these instructions are helpful for anyone that is looking to experiment with this process in Adobe premiere pro, here are some of my own results from using this technique: