Category: Practice

alysia anne: visual artist

HOME.

9/9/2015

Shift preparation. I'll have more details about the exhibition and events soon.

In the space between wet & dry.

21/8/2015

The lighting plays an enormous factor on what you can and cannot see within the :spectre series. It's never been more noticeable than it is when they're still wet.

It's been awhile, no? It's just been more of the same through June and July, which is why I haven't really updated with any studio shots. I combined :spectre with the rest of the instant series last month and have been slowly building it into an installation. Looks a bit like a glitch, I think. Once poised on Laing's wall and allowed to breathe, I think there'll be little doubt what it's representative of. Anyway, since I finally made it over to the second wall, I thought now would be a good time as any to update my journal.

The close-up of the four photographs is really to focus on the bottom right -- I've been creating these for about four years now, and the method still leaves me pleasantly surprised.

I’ve stopped transferring the developer to tissue and started using it with hot-press watercolour to make prints. They don’t really translate well to digital media, so I have no examples as of yet. But perhaps when they’re framed they’ll be a bit more photogenic. In the meanwhile, they’ll sit patiently in the background.

Studio.

27/5/2015

Did a bit of rearranging today, so here’s some more studio shots.

:void series selection.

13/5/2015

A selection of images from the :void series.

Studio.

12/5/2015

Studio shots.

After 4'33".

8/5/2015

In 1951 John Cage stepped into Harvard’s anechoic chamber expecting to experience silence. What he heard instead was the sound of his body, the high pitched hum of his nervous system and the low bass of his blood circulation. I will never tire of telling this story.

After years of sitting idly knowing that Northumbria has an anechoic chamber, I was finally able to find someone to put me in touch with someone to give me access to it. It’s not quite the same kind of chamber as the one John Cage used; it serves its purpose as a dead-space for microwaves. Despite that, I still took the opportunity to witness something akin to what Cage had some 64 years ago.

I listened to my breathing and felt the tight pressure around my ears, straining a bit to hear the sounds Cage did. Because the chamber wasn't absolutely soundproofed, most of my efforts were in vain. It's interesting to note that I was more aware of the silence/lack of echo when the technician still had the door open than when he shut it. Something about the way sound travels had a feeling of pressure rest on my shoulders and back of my ears. Closing myself in felt like a release, almost as though I was enveloped, and therefore, unable, to experience it.

Northumbria's anechoic chamber.

Harvard's anechoic chamber.

After 4'33" (2015)

Laing exhibition.

2/5/2015

Laing - What's on.

This exhibition will navigate loss, death, and grief through photographic practice; using damaged and broken equipment as the language of mourning. Through destruction as a narrative, the exhibition will draw out and identify the seemingly endless melancholia of arrested grief, corrupted sense of self, disengaged memory sequences, and unfocussed wandering.