|Lucy Beech

Lucy Beech is an artist whose choreographed movements and gestures (almost dances) attempt to act out everyday emotional, economic and social problems.


Post tutorial with visiting artist Andrea Francke I was told I might find Lucy Beech interesting for her performance/sound/video work that is involved in the separation of action and sound/action and meaning/action and gesture and the process of synchronicity within the post filming editing process but also live action and how this can be done. as an extension of political ideas the gestures become not only beautiful movements performed in sync with other performers but they become abstracted and the context of the gesture itself expanded. Continue reading

|Texts cont.

The term ‘Mother’ is used to give a certain level of authority to what we experience as an external phenomena: nature. As we have named her ourselves this begs the question what is our role in this naturally occurring ‘family’ that feels somewhat disconnected from itself or at least divided – perhaps its contradictory long distance relationship. Contradictory in the way that we ourselves come from nature and are a part of it just as much as this ephemeral Mother figure which we categorize as the weather, mountains, hills, landscapes, materials from the earth (not synthetic). By calling her Mother we become subordinate to her suggesting we exist only side by side not intertwined. IF we’re children in this relationship you would think we would (still) have a close at one feeling with and towards the natural world. We both emerge out of a relational space yet the 21st century space is slightly different to a previous digital and internet focused space. The internet, and subsequently technological devices, allow us to be in more than one space and time at once, therefore to an extent diminishing control Mother nature or natural law has upon us. Technology has also provided protection/a defense against the wrath of Mother nature and in a similar way the arts provides an escapism but of a literary or creative one. Continue reading

|landscapes on a musical score

Gallery of photos from the collection of landscapes I or others have taken of landscapes but sections blocked out revealing more distinctly the horizon line. Can this horizon line be manipulated, what is in common in these horizon lines? AND what might happen if they were to be forced together and then (in tandem with the artistic approach of John Cage’s experimental scores) onto note paper to create a musical score in which the ‘notes’ may be lines or points of mountain contact and/or the points of interest our eye has when looking at the image. This would be the literature to the potential SOUND of the LANDSCAPE: another way of expressing our interesting and complex relationship we have to Mother Nature and landscape documentation.

To note: how playable will it be… is a conversation needed with a musician to learn more about the music writing process…

Collages…..to be put on a musical score:

for landscape score           landscape score 2            landscape score 3

|a painted horizon line between fact and fiction





A discarded idea: not sure painting with emulsion onto photographs is really working or even doing anything. It raises a bigger issue about what we witness in a photograph after the editing process and perhaps about how unaware we are of how images are transformed through digital means at the hands of corporations and their commercial motives, with us unaware.

My collection of landscape photos is growing and now involves family holiday photos and a recent trip my Dad undertook to Sante Fe (below are some of these images). I’m finding it interesting to see how other people/other amateur photographers take photos i.e. what they include and don’t, where they position the horizon line, whether they are ‘selfies’, the copies/numerous photos taken of the same thing to then choose the ‘best’ one. And perhaps a bigger question: what defines the best one and what characteristics is it made up on? All these questions I’m researching but i don’t think that this way of collaging and painting is the best way to work it out through visual means.

[Ironically] Photoshop could be a way of measuring and altering the horizon lines in order to find out the trends among these images and the subconscious decisions being made – even though I’ve been criticising the idea of digitally altered images and the affects they have on our mindset.

20140504_154633 20140504_154649

Below is a further experiment done after the initial videos of putty. Not sure how to take this one forward (as a still for a video or as an artwork in itself) bullet points below outline a few thoughts

  • 20140504_161042Made of the putty from a frog shaped toy
  • Abstract shape- material left to spread in whatever shape it formed after being poured
  • Placed flat the putty dried out in 3/4 days
  • Once dry the shiny wet quality of it transformed into dark matte unidentifiable material.
  • Compositionally its abstract but could look like a floating object or anthropomorphised thing
  • Phallic shape
  • Bright (unmixed) colours – complimentary
  • Could work well as a series or these unprovoked shapes could be made independent of a surface or background and placed around each other. Become compositionally conversational.



Looking back on the rough video sketches/short experiments using Adobe Premier pro, I think doing short experiments first: exploring the available effects will be a good way to work. As I don’t have a firm idea or narrative that I want this new video to take, the editing process is just as valuable a creative process to generate ideas as the filming of footage is.

links to videos from Narrative – Further experiments

– Video experiments with landscape


New footage 04/14

Stills from new video footage to be edited – Videos exploring textures and the role of hands within making, digital communication and non-verbal communication (gestures). Also some footage of changing landscape and interview (still not here) about our approach to landscape and the role of Photoshoped images. Whethere these two things come together in the editing process i am yet to find out.

One strength of the last video for the Narrative exhibition was the mix of textures, and the way hands interacted within the screen as well as with the textures themselves. Here I wanted to look at the materiality of textures and textural/malleable objects and use them as a prob to perform non-verbal communicator gestures onto or in e.g. play-dough, putty from a child’s frog toy, gel, liquid.By using matte backgrounds/painted board there is also the potential to ‘key’ out or green screen the background and again play with layers and the resistance of the different planes or windows you can create digitally – teasing with our sensual expectations of touch and that strange experience of seeing touch on a digital screen but not experiencing it.

IMG_9857 IMG_9862 IMG_9865 IMG_9866IMG_9867 Continue reading

|Multimodal interaction with technology

Gesture in technology development – think about the gestures we do everyday on a our phones and laptops to perform actions- they’re building a new ‘Language’ for the now. Yet this language is not taught, its rather ingrained, as spoken language is in the majority of countries. What are the implications of a dislocation between natural communicative gestures that is being adopted to technological instructional gestures. Will the instructional gestures (and devises) become a replacement for speech or for asking for something from a real life person.

In terms of a new video work, these motions could be applied to physical materials/textures. They could become more physical, MATERIALISED rather than IMMATERIALSED and unnoticeable. What occurs to the materials when we impact on their texture and surface with our hands. And can this footage then be manipulated via the editing process to perhaps then mean something else (Again i’m noticing this translation… and transformation of things, ideas and languages in my work and the art-making process in general- something i’m not so sure is a process which i want to continue to engage in as i feel there is this artistic mainly masculine ‘genius’ idea of the artists who is the one to alter and create anew which I don’t always think there is cultural value in  – just something I’m baring in mind)

I digress, these are the videos i found which related to multi-modal interaction and technology:

And this: multimodal interaction doc is a digital record of the scans made of the book ‘Multimodal interaction’ with the appropriate chapters read. Note very interesting diagrams and use of language that has been very influential on my process and in particular writing (the texts that have been a part of this exploration of ideas).

this i found really interesting – https://vimeo.com/50897981

The impressive developments in motion-sensor technology – https://vimeo.com/26900180

https://vimeo.com/45730596 Also LOVE the transparent screen