‘Pain’ Project Final outcome

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For this project I initially started off trying to create visually painful imagery by dripping water onto water soluble ink in an attempt to create an optical illusion like effect. I felt that it would be more effective if I created a piece that the audience would physically react to rather than attempt to create a piece that they would emotionally react to. I realised this was a much more sustainable idea from reading the introduction to the book; ‘Enduring Creation’ where they compared classic Gothic literature to modern day Hollywood horror films. This comparison talked about how we are no longer scared of Gothic novels because they are set in a fantasy world, whereas these horror films are set in modern day American suburbia and it is the realism and possibility of them actually happening to us that evokes fear. So this led me to think about how I could make everyday objects painful to look at. My research on Tracey Emin, Olafur Eliasson and colour psychology all helped my project develop in a completely different direction to where I thought it would go originally. After reflecting on this research I decided I wanted my project to help me deal with my own emotions in a constructive way, I felt that the key to doing this effectively would be through colour and when I found out in my research of colour psychology that yellow in large amounts can bring on feelings of anxiety and depression this changed the whole outcome of my final piece.  After some development of ideas in my journals I decided that I would create an everyday table setting that all viewers could relate to and recognise. I wanted to use a normal everyday setting in order to portray the fact that everyday routines and situations can be difficult or even traumatic for people with anxiety or depression, and this fitted in nicely with what I had found out about the colour so I then thought it would be appropriate for me to paint an entire table setting in bright yellow acrylic. The paint job on this was not perfect, as when I moved the objects to different locations some of them stuck together so taking them apart would remove some of the paint, and I had to do a layer of white first on any transparent objects such as glasses making the paint inconsistent in some areas. I also looked at Raphael Hefti’s work who turns glass into coloured filters that change the way the viewer perceives the colour of the objects behind them. This inspired me to make my own filter by printing black onto acetate, this was meant to physically embody the anxiety and depression that my piece is about, as I feel that most viewers will see the table setting and think it is about happiness and vibrancy whereas when they look through the filter and the setting is obscured by darkness they will understand the actual meaning of the piece. By doing this I am trying to change the viewers relationship with colour, I am using this filter as a translator to the audience, to raise awareness of how someone with anxiety or depression perceives everyday life. There is also another concept in here where I am trying to get the point across that although someone may seem happy aesthetically, if you were to look a little deeper you may find a much darker side to them. Over all I am pleased with the outcome of this project, I have found that I have learnt a lot about the importance of in depth research to make a successfully conceptual piece of work, and this self managed project has given me a little more confidence for part 3 of my course.

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Olafur Eliasson and Psychology of colour research

To get some inspiration and direction for my project ‘Pain’ I decided to look at Olafur Eliasson as I realised that the easiest way to create pain in the viewer would be through the use of colour. The most important part of this artists practice to my current project is the way in which he uses colour, in the form of vibrant room lighting to ‘toy with viewers’ perceptions and to probe the nature of seeing.’ I find this concept absolutely fascinating as it means that his audience have a physical experience by viewing his art in the flesh. For example in some of his works he fills a whole room with nothing but neon lights emitting one colour, which results in the viewers vision being physically effected as they stop processing this colour after a while, so once they leave the room the way they perceive colour is different. I think this is very clever as very little artists work has effect on its audience nowadays as it seems that we are immune to being shocked by art but Eliasson’s technique means that the viewer has a physical reaction, whether or not they like the piece or even understand it. He has also caused some of his viewers to have a sensation of seasickness when placing a rotating mirror at an angle from a gallery ceiling. I think (although this is not the meaning of his work) that this is an interesting representation of how far art has gone, as we can no longer be shocked by Gothic novels or gruesome images, only by things that physically make our bodies react. From this interpretation I decided to look further into the psychology of colour, to see what colours would create pain in the viewer subconsciously. From this research I found that surprisingly too much yellow can create feelings of anxiety, depression and even make the viewer suicidal, whereas most people would associate this colour with happiness and positivity. I am now going to do some drawings to decide how I will develop these concepts that I have taken from my research, which I feel has been very beneficial to my project.

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