Thursday, 2 December 2010
Thursday, 25 November 2010
The female form, being bound and sexual issues can be associated with these kind of images, along with the documentation instantly being mediated by the music that i used for the performance.
It starts to become apparent that the documentation of my work can be problematic.
It may be that it is necessary for my work to be live performance.
Saturday, 20 November 2010
Tuesday, 16 November 2010
Over the summer my efforts to try and contact Sissel Tolaas ended in failure...for now. However I couldn't stop thinking about the way she handles scent and the transitions that they follow. From having Headspace technology in a lab, she is able to reproduce scents with synthetic components. So after collecting the fresh sweat of wrestlers from their soaked t-shirts in her fragrance, Violence, Tolaas is able to chemically reproduce the components which make up the sweat formula into a tangible object by bottling the liquid.
The final transition of the scent happens when she wears the fragrance at the opening of her exhibition.
She described the scent as being able to unnerve people whilst wearing it upon her skin.
I was interested in capturing this form of scent in relation to my own bodily odors, that may be produced due to how i had been feeling emotionally and psychically at the time.
Wrapping a piece of material around the area in which i sweat most, replacing them every 24hours, was my method for this.
Sunday, 1 August 2010
Co-founder of Lush Cosmetics, Mark Constantine and his son Simon Constantine conceptualised the form of fragrance by exhibiting their creations in Shoreditch Town Hall basement from the 12th to the 18th July 2010.
The exhibition consisted of a labyrinth, leading the viewer from one room, (and more importantly) fragrance to another.
Invigilators were contained within each space to explain concept, and the process of creation for each perfume.
'Orange Blossom' - Inspired by the Mediterranean breeze that carries the aroma Orange Blossom itself, the creation of this fragrance works to focus on the ingredient itself, using a carefully selected composition of other floral notes to emphasise this fragrance. Conceptually it is designed to be a motional scent, transporting wearers to a sense of traveling through and experiencing scents of orange groves.
The most important factor to take from this exhibition is the realisation of the such prominent role that the olfactory has in our lives. Being within such a confined space, unavoidably being intoxicated by the surrounding scents, entices, and sometimes, forces viewers to make begin making links to their visual surroundings, helped by the performance and stories delivered by each invigilator. In fact, the perfumes often had the effect of triggering and revealing memories for individuals (as scents often do), adding and expanding to the persons means of perceiving the odors at hand.
Simon's, The Smell of Freedom and Mark's Collection of The Three Ladies particularly exercise this method of creating fragrances by taking inspiration of scents and oils on located to their experiences, whether these be humans or locations.
Monday, 5 July 2010
Friday, 11 June 2010
Friday, 28 May 2010
- Prices range from £100 - £350 not including scent cartridges
- Though there are 1000's of scents to choose from none of these are my own scents i have been producing from essential oils (Attempt to collaborate with company to produce a customised scent? This will inevitably cost money I will not have)
- Spectators will be unable to take this scent away with them (bottled), which is a main part of the nostalgic/epiphany process I am interested in bringing to my audience...
Tuesday, 25 May 2010
Our exhibition at the Hazlitt gave us grounds for testing our ideas and practice so far with the work we have produced so far during the development stages of the course.
James Turrell (Ganzfeld) and Miroslaw Balka (How it is, 2009) often confront the viewer with a space and aspect capable of distortion to their perceptions due to low light conditions. Issues of heightened self-awareness come into play and we are often forced into relying on senses we are less familiar to using for navigation.
I have attempted to plunge my viewers into a darkness (as dark as the surrounding space will allow me), with only an extremely dim spot light to lead the spectator to the location they need to be in.
Ben and I spent time considering and working with the architectural aspects of the space, to create our sound.
As well as adapting the frequencies and tones to experiment with what was successful considering their physical effects, we were able to discover that two outputs of sound were not sufficient enough for this effect of immersion we were aiming for, as the scent being dispersed into the space and surrounding the viewer, we wanted the sound to take similar form so they are both able to resonate around the audience.
Placing speakers at different heights, at selected parts of the room, carried the sound to it's full potential. It also allowed us to discover that nearer to the ground was the most affective area in which to receive full qualities of the sound, thus providing the spectator with an area to sit within the duration of the piece.
Experimentation with the adapting the notes of sound (still basing it on Septimus Piesse's theory) lead to the adaptation of the oils used for the scent.
Peppermint and Rosemary were too similar in odor, and sound, so to add greater variation to the sound we replaced Rosemary with ginger.
The formula for the perfume now stands as :
- Sweet Orange Oil
- Ylang Ylang
Sunday, 25 April 2010
Attempting to formulate a scent using the basic principles of perfume making, composed of a Base Note, Middle Note, and Top Note (though I have two of these due to their properties that i feel appropriate for the feelings i want to attempt to induce.)
It is not that i am interested in creating a 'harmonious' (Piesse, 1857) orchestration of scent, that may be conventionally pleasureable to the trained perfumer, I have a greater concern for the affects of the essential oils, and to combine them to produce conflicting feelings on participants. Corresponding with the music being produced for the duration of the piece, I am interested in producing an indefinite feeling, similar when we experience notions of nostalgia.
Saturday, 10 April 2010
This is potentially one of the most intriguing concepts i have come across, and would like to adapt such a theory to incorporate into my piece, as a method of tying in the scents and music.
George William Septimus Piesse produces a theory of which to correspond notes of music to 'notes' contained in scents, thus, in theory, composing a'harmonious' formation of music, will do the same for the corresponding scents. This can also work in opposition to produce something of discordance.
BBC Radio 4’s, Remembrance of Smells Past (2010), guides us through presenter Ian Peacocks personal experience of the scientific experiments carried out to test the transitional, and inevitably nostalgic, and uncanny affects of smells. He asks questions as to whether we can use it as a tool to consciously influence and even manipulate our emotional states.
He continues to use writer Marcel Proust’s example of a sudden provoked memory produced from a Madaline cake, in his book Remembrance of Things Past. (1913-1927)
“No sooner had the warm liquid mixed with the crumbs touched my palette, than a shudder ran through my whole body and I stopped intent upon the extraordinary thing that was happening to me. An exquisite pleasure had invaded my senses with no suggestion of it’s origin. Suddenly the memory revealed itself. The taste was of a little piece of Madeline, which on Sunday mornings my Aunt Leonie used to give me, dipping it first in her own cup of tea. Immediately the old grey house on the street where her room was, rose up like a stage set, and the entire town, with it’s people and houses, gardens, church and surroundings, taking shape and solidity, sprang into being from my cup of tea.” (Proust, 1913)
Tuesday, 6 April 2010
When experiencing certain smells that effect us emotionally, it is usually the case that we are transported back to our childhood, as this is when we first experience such notions, and they can be the strongest.
This would be an interesting angle to approach this 'experience', but fear that everyone's version, can vary. It would seem that peoples relation to smells can be extremely subjective culturally.
Monday, 5 April 2010
With the room painted white, it provides me with a clean space to start from scratch. Combining the ambient sounds made by Ben Jackson (http://www.isaachimself.com/) posted here on the blog, with the aid of a smoke machine, and the best way I could think of to disperse Eycalyptus, Menthol, and Peppermint oils in the space, I attempted to create a form of displacement for the audience when entering the room.
-The sound reverberated off the walls affectively, but a much higher quality (and bigger) soundsystem is needed to be able to, pick up the frequencys being created.
-The scent certainly needs to be stronger, and even to be considered is applying it to audiences skin, so the smell emanates off them, and almost becomes in tune with their bodies....
-I would like to provide some form of strong light in the next test, and begin to correspond colours, with scent and sound...
Remembering from experience, the power smells can have in bringing back, feelings amongst many other notions, from certain periods of time, I decided to experiment with this, to see just how powerful the sense of memory can be when presented with a familiar scent.
Applying the strong smelling scent to each persons skin each hour, for around 4 hours, and leaving the bottles scent to disperse around the warm room, made sure that the scent was present at all times.
Going back to this scent myself, I feel an overwhelming feeling of being transported in some way, back to significant parts of that night, such as the dim lighting, feeling very fatigued and also the types of food we were eating copious amounts of.
I planned to reunite my subjects also with the scent, at some point, to see what notions they experience when having this particular scent around them again.
If this is successful in rekindling aspects of that period of time, this may be a method I use within my piece.
Could it be that I could provide visitors to my piece of work with a sample of the scent emanated around them, to provide them with a way of once again engaging with the experience they were having within that time.
This could be highly subjective but lead to interesting results as a consequence of this.
To be enveloped by a sense, to create a surrounding/atmosphere. To create a connection, a union with the given object/actor.
Similar to the way Suskind decribes the way his characters mind reacts to scents, in Perfume (1987).
“He saw nothing, he heard nothing, he felt nothing. He only smelt the aroma of the wood rising up around him to be captured under the bonnet of the eaves. He drank the aroma, he drowned in it, Impregnating himself through his innermost pores, until he became wood himself.” (Suskind, 1987)
Similar to the aims of Carston Hollers work, I endeavor to produce unfamiliar feelings or evoke a form of atmosphere ...
"Several thousand lightbulbs flash incessantly at 7.8 hz - a frequency that is synchronous to that of brain activity and thereby capable of inducing visual hallucinations in the viewer. [...] It is a work designed to dislocate and disorient" (Bishop, 2005)
Former biologist Carsten Holler, uses his former scientifc education, to transfer in his art practice to create works which can affect his audeince on a deeper physical and a psychological level.
His works aim to induce affects, such as disorientation in Lichtwand, and feelings including 'love', within such as the pieces, Solandra Greenhouse, where we are invited into a room containing plants containing, 'pheromones capable of inducing amorous feelings' (http://www.cmoa.org/international/the_exhibition/artist.asp?holler).
And Pea Love Room, a similar idea but with a stronger participatory intent, as the viewers are to get into the sex belts, and inject themselves with the chemical phenylethylamine (PEA) using the provided syringe.
Creating a form of disorientation for the subjects was acheived by blindfolding, and leading them down into a basement. I asked them to feel their way around, paying close attention to how they would respond to the forms on the walls.
To my surprise people did not show reluctance to touching and getting a sense of their surroundings (I thought there would be much hesitation).
What was most interesting, was that after a few minutes had past, and I had allowed them to take off their blind folds, some were in a position of feeling moderate disorientation, as they envisioned the space they were exploring to be vastly different.
Spatial aspects can be considered here, possibly look in to Gaston Bachelard's, The Poetics of Space.
From this process I have found that working with a space in which to contain things may be a constructive way in which to work. Also creating some form of experience for my subjects, is something which interests me greatly.