Exhibition Layout for Photo Synthesis Coventry

My work will be exhibited as part of the Photo Synthesis degree show (see the website here), which will have two showings – one in London and one in Coventry (see the events page here).

For the Coventry exhibition I have decided on the following selection and layout of work. Three prints from the two-way mirror work – the third a contact sheet of selected images from the shoot, and alongside these will be the two-way mirror video camera delay installation (click to enlarge). See also the photograph in the 1:15 scale model gallery.

Note that this is primarily just a display of the work relating to the two-way mirror project, rather than showing all aspects of the Self-indulgence of Gorgeous George project. The reason for this, is because for this particular show I feel it is better to deliver less with greater clarity, rather than more with the higher chance of incoherence. Also there is an issue of limited space in the Coventry gallery. In London at the Rag Factory there will be more space, but also that exhibition (with the inclusion of other artists and photographers) will have wider range of work, and I think be more accepting of a 'mixed' showcase. And hence I will be able to physically exhibit the Pixel Portraits and Gorgeous Georgeo videos in that space, as well as the Two-way Mirror images – in other words, the complete project. 

Above is a pencil sketch of the full exhibition (how my work will appear in London). Note that the two-way mirror work is essentially the centre piece of the show, with the pixel portraits and video blog adding depth to the two issues of mirror-image and self-indulgence, respectively.

Final Edit Decisions

The selection process with the two way mirror work for this exhibition, was very challenging. The best approach was a step by step one. I knew I wanted the faces to appear oversize – to give impact to the impression they would have on the viewer – I arrived at a size close to A0, about 46 inches wide by 30 inches high. With the available wall space this meant I could have three prints. I felt that the best way to utilise these three and still deliver the meaning of my work, would be to have two as individuals – to give the 'big hit', and one as a mix of several images from the shoot – to give a description of the variety of poses and expressions produced. 

For this mix print I had to decide carefully about the number of images to use – too many and it would become a large pattern and be awkward to read individual images, too few and it would fail to highlight the rich variety of the facial performances. After much testing and imagining with dummy prints, I decided on a 5 by 5 grid. I also decided on no white borders and no frames, as I wish to display the photographs as directly as possible – I feel that there should be more emphasis on the content of the image, than the prestige of the print. 

To then choose these 25 for the mix print, I had to start and edit down from the 100 or so that made up the whole shoot, this was a simple case of whittling down those that were similar, those that were a bit placid etc. I was also keen to include some of the more varied poses (inclusion of arms, twisted faces etc.) in order to break from the repeat view of straight-on head and shoulders, and keep the overall image 'fresher' on the eyes. Following this was then the matter of choosing the two images to be printed as individuals at full size. The emphasis I placed on this decision was balance – I wanted a pair which suggested both humour and extremism, and which were different enough whilst still remaining related.

Final Two-way Mirror shoot

The previous shoot granted me technical success regarding the lighting and the reflections. But there were a few things that needed addressing before I tackled the final shoot. The framing was a bit too tight in the previous images – sometimes just cutting off the top of my head (part of this is due to the fact that some of the poses involve a tension throughout the body, and hence my head tends to vary its position within the frame). The simple solution to this, was to zoom out for the shoot and then crop back in tighter, in post-production.

The other issue with the previous shoot was that my performance felt a bit ad hoc. It was essentially just a test shoot - but it drew my attention to the fact that I needed to plan my poses. I was aware that I had already rehearsed the poses (without really meaning to) in my engagement and play in front of a normal mirror, and there were certain expressions that I wanted to capture. I wrote a list of my ideas: 'make the face as vertically stretched as possible', 'as squashed as possible', 'every feature big and swollen', 'small and thin', 'this side up and the other down'; and then drew up a quick guide with simple diagrams or words to represent my ideas. This then served as a rough guide and reference point for the performance. It wasn't a complete instruction manual, because spontaneity in front of the mirror ('going a bit wild') was a useful method in this production.

Here's a contact sheet of the majority of the shoot (minus some errors and repeats). The difficult decision-making process of which ones to exhibit now begins.

I also shot some video on the day. The first is a video performance alike to the photographs. It is a combination of the rehearsed expressions from above, and spontaneous play acting similar to that found on the Gorgeous Georgeo video blog. The second video is a technical explanation (or 'making of'), of how the two-way mirror images were produced. 

Pixel Portrait - the real(?) starts to appear

There was a big step between this and the previous pixel-portraits. That difference is down to the use of blending and shading. Until now I have mostly painted using block colours (because I initially needed to determine the principal areas) and of course this colouring is not particularly realistic. Now that the face layout has been defined, I have been able to mix these colours – by varying the opacity of brushstrokes between colours, and then overlaying them – to give a gradient of tone to the skin. This then allowed me to begin utilising shading, which in turn gave depth to the features, and advanced the level of realism of the image.

Pixel-Painted Self-Portrait #6

As the portrait progresses, its development is slowing. The sessions now take the better part of a day, and the level of detail (now working with brushes as small as 2 or 3 pixels in diameter) means that the changes are increasingly subtle. When I started the project I had no completion date in mind, as I was aware that the process of this task was very much an unknown, and to aim for a realistic looking photograph made by painting pixels could take an incredibly long time.

Hence for the upcoming degree shows, I will present this project as a work in progress. I see this as a good thing, better in fact than if I were to present a final and resolved piece. If I can find a way to neatly exhibit the six successive pixel portraits in an online gallery (see below), then an audience can engage with the project's evolution. And then there is the potential to generate interest in the subsequent development and outcome of the project - an opportunity for the work to acquire a following and have life after these upcoming shows.

(adding shading to the eye area)

Self-Portrait with Mirror and Pixel Canvas (after Johannes Gumpp)

Johannes Gumpp Self Portrait with Mirror and Canvas

An effective presentation of the pixel portraits for now, is as a short slideshow, with a a slow cross dissolve between each image - which becomes especially effective towards the end when the transition is less noticeable. Enjoy.

Mirror Video Delay Installation

Recently I had the idea to add an installation piece to accompany my planned exhibition work. In short this piece will consist of a tall plinth/box, mounting in one side a two-way mirror, behind which is a video camera, which gives a delayed output of 1 minute or so to a monitor on the other side of the plinth to the mirror. In other words it will allow a viewer to look at, interact, confront, pull faces to etc. their reflection and then have the opportunity to watch it moments after, from the mirror's/camera's point of view.

There are several reasons for this decision. My self-portraits made using a two-way mirror, will appear, and may be thought of, as simple direct studio portraits. This would be a shame considering the effort applied in that setup, and the theory behind the work which is strongly connected to the mirror and the reflection. Including the mirror as part of an installation will then help in elaborating the process and motives of producing this work. An interactive element to a show is almost always a good idea, it gathers the audiences interest and helps them to feel involved, and hence more connected to the works on the wall. In the case of my two-way mirror images I feel that this installation, if accompanied by a suitable and simple explanation, could encourage the audience to participate in a similar self-mocking behaviour to my own. And furthermore, this participation could then greatly assist the audience in understanding my rationale for producing this project.

This diagram shows the design of the installation piece, including an internal layout. The plan has been submitted and approved by the wood workshop technicians at University, and I will proceed with construction next week. Arranging the video delay aspect of the piece has proven a bit more challenging. Such editing effects, are best done through a software program called Isadora, which was designed by performing arts practitioners to use in multi-media and video installation performance pieces. It is an incredibly powerful and complex program, utilising a sort of flow chart design of any 'scene' you wish to create, and with a huge number of 'actors' - each of which produces a different effect. Thankfully a video delay is quite simple and can be seen in situ below. There is also a 'capture control' actor, which in line with setting up power scheduling on the computer, means that the installation will be fully automated, turning itself on in the morning and off at night (hopefully), and therefore saving me the need to unscrew the side panel each day. 

The Two-way Mirror Project

The initial test shoot with the two-way mirror rewarded me with little, but taught me a great deal. The most significant lesson learnt was that it's all about the light, of course!

A two-way mirror is essentially a normal piece of see-through glass or acrylic, but with a sort of 'semi-coating' of reflective foil (a normal mirror has a full, light-impenetrable coating), which means that it has the ability to allow light to pass through, as well as reflect it. The function of a two-way mirror is dependant on the ambient light on either side of it. The side intended to behave as a mirror needs a lot of ambient light, so that it bounces back an image, and the see-through side needs to be dark, so that the image will pass through. Another explanation is provided by the very helpful people at mirrorworld.co.uk (where I purchased mine from):

In reality this means that the two sides must be isolated from one another and the difference in light needs to be dramatic. In fact, if I wish to produce pictures which will appear as straight portraits, then the 'window side' needs to completely dark so that the camera doesn't see itself in a partial reflection.
My solution to this - bin bags. And clothes pegs.

This way the camera sits in a completely unlit environment, and as far as it is concerned the mirror is effectively a window. Meanwhile the subject (me) is well illuminated by the studio lights, and experiences only a mirror. And what does this particular subject do when he encounters a mirror...

Gorgeous Georgeo begins

The Gorgeous Georgeo video blog is now running. In short this aims to be a regularly updated diary of webcam performances - displaying a general indulgence of trivial aspects of my personality, experiences, thoughts etc. The motive of this is to investigate the desires (of me/of everyone) to be celebrity/revered/known through attempting humour.

The larger project is titled The Self-Indulgence of Gorgeous George, of which a detailed explanation can be found here. Also relating to this work, is the research I conducted into self-mockery within self-portraiture, which is summed up here.

Still from Face Rub

Stills from Arrow Shot, Self Videos

Studio Test with Two-way Mirror

Today was the first session with a two-way mirror in the studio. The experience is best described as a learning curve. Two-way mirrors do not easily provide the clean unhindered visual trick as seen in the movies – they need coercing into behaving correctly. Today I got close, but there is still a significant problem with reflections on the camera side. However I have a cunning and very much 'home-made' idea to solve this – we'll see from the next shoot if it succeeds..

Determining exposure was also awkward, because shooting through a piece of partially transparent acrylic reduces it by approximately two stops – as I found out through trial and error (pre-visualisation can only do so much in this case).

As well as progressing with this test process, I also managed to get a bit of 'behind the scenes' video thanks to my course mate Mino being on hand to shoot it. And this gave me the chance to explain some of the thoughts and motives behind the project, and also provide a peek at the set-up (accompanied by cheesy music and everything!)

Bedroom Self-portraits

This work arose almost without intention. Through the researching and planning done as preparation for the major projects, I found myself drawn to make self-portraits in a manner that any photographer, or even just camera user, might do: simple self-contemplative images, taken in a personal space, and utilising mirrors, timers, remotes, and webcams. I've come to title and know the work as 'The bedroom self-portraits'. Its earliest incarnation was in my initial experimentation and expression using a standard mirror.

 

 

Although these pictures are not part of my planned production. They do speak of the themes I want to address, which I suppose is why they have arisen. For instance the idea of an enigmatic duality between a public and private self. The images are made privately, in a private space, but them shown publicy, and hence undoubtedly contain some conscious altering of the presented me. Do I produce and edit the images to show me as attractive, thoughtful, mysterious? Or do I disregard those desires and go for something 'honest'? Or is it somewhere in between?

The images led me to think of Airyka Rockefeller's self-portrait series – Between or Before. I can't say I was inspired by the work as I made the association afterwards. But I feel that there is some parallel within the personal introspection of our self-portraits.

Airyka Rockefeller After the Acupuncturist 

Airyka Rockefeller Between Flesh and Stone

Progression of Pixel Portrait

The pixel-painted self-portrait is a long term project, making slow but steady progression towards equalling a photographic image in its appearance and pixel construction. A detailed explanation can be found on the proposal, and the first two pieces in the series can also be seen there. The next two are below.

Pixel-Painted Self-Portrait #3 

Pixel-Painted Self-Portrait #4

The time scale of the project has brought up a few issues, I've had a haircut, and my skin has got slightly darker as summer approaches. The way around this is, rather than attempt to match what I see in the mirror in each session, it would be better to use the reflection as a starting guide but at later stages work the pixels already there into a more realistic appearance. 

The fourth portrait was a big step in closing in on an accurate facial shape – the jawline was thinned, eyes slightly enlarged, and nose lengthened. It was at this point that I had the first notion (faint as it was) of the portrait taking on my character – for a brief moment the canvas was alike to a mirror. This gives me the encouragement to press on. 

Richard Brilliant discusses the captivation of viewing a portrait as an oscillating experience: identifying and relating to the subject - feeling their presence; whilst also accepting their absence - replaced by a subjective image with a degree of likeness. If at some point a viewer (who knows me by sight) can feel that they recognise me or my character on the canvas, perhaps even feel that they are looking at the real me, whilst still being aware of the images 'painted' creation – then that would be a very intriguing experience to incite in an audience. It's a long way off, but it would mark this project as something of a success. 

The Proposal

Below is the proposal I recently submitted for the Photographic Practice module. It's rather long for a blog post - the first part explains the theoretical approach and reasoning, the second half goes into detail of the practicalities of producing the work. If you want to know simply what I will be doing, and see sample images of those intended projects, then scroll down to the 'Plan/Schedule' heading.


Name

‘Gorgeous’ George Rippon

Title

Me, My Reflection and Him

or

The Self-indulgence of Gorgeous George

Description of subject to be investigated

I am interested in the persona that we present in order to display our desired qualities. Our relationship with our reflections and the images of ourselves that we experience, are significant in the conscious creation and adjustment of this public self. I’m seeking to examine the response of the individual to their awareness of their own absorption with their presented image. This response includes self-mockery, self-indulgence, narcissism and an admittance of a need for recognition. Moreover, I’m interested in the manner in which this performance is continued, and what relationship then ensues between the ‘reflective-private' and the ‘performed-public' selves.

Context

“I love acting. It is so much more real than life.” Oscar Wilde

Within the field of self-portraiture there has always been some kind of exploration into identity. Because we are aware of the capability of an image to depict (in the case of portraits) a person’s character, we are then conscious of the level of performance that manifests from the subject. Since in self-portraits the artist is both subject and creator, there is often an analysis and manipulation of the performance from both angles. When artists use self-portraiture to question the different versions of presented ‘self’, their approach is fundamentally relevant, due to the insight they hold of ultimate knowledge and access to the subject.  

The following practitioners form the context to this study because they are engaged in the variance that exists between a conscious performance and a natural behaviour. The works of Cindy Sherman and Yasumasa Morimura, are concerned largely with masquerade and elaborate performances; however, in consistently using themselves as the subject, there is an element of their own character underlying their play-acting. Alternatively, Nan Goldin’s The Ballad of Sexual Dependency, and the collaboration of Patrick Tsai and Madi Ju’s My Little Dead Dick, are both strongly autobiographical works, although a sense of performance (or the possibility of) to the camera can be inferred. Claude Cahun’s work has a strong case for illustrating the perpetual (and destined to fail) efforts of artists to discover their true self behind recognised personas: “Under the mask is another mask, I will never finish lifting all these faces.” (1930, cited in Bright, 2010). Anita Khemka obfuscates what is staged and what is spontaneous by taking her self-portraits in public places, allowing the environment and people around her to contribute to the result. Bas Jan Ader appears to give the rawest insight into his personality in I’m Too Sad to Tell You, and yet by using photography and video to document his expression, still leaves the viewer questioning to what extent his behaviour is genuine or performed.

The following issues are also relevant: the philosophical debate of the notion of ‘self’ – suggested to be an entity that merely perceives (Hume); the psychological arguments concerning the ego and alter ego (Freud) and the ego, other, Other, and subject (Lacan); the anthropological discussion around the use of webcams and Youtube for self-performance (Wesch).

My standpoint on this investigation is an inquisitive one, attempting to unravel and perhaps ameliorate a complex I have with my continual introspection: I’m always thinking about myself and wondering why.

Plan/Schedule of work

1.      1. A set of self-portraits using a two-way mirror, so I look at and interact with my reflection rather than a lens, but line up the eyesight to give the impression of a straight portrait, aiming for high clarity and minimum background detail (similar lighting and composition to Emma Sailah’s  Mirror Mirror). I will then re-enact the extreme facial performances as done to the bathroom mirror - to investigate: my altering of presentation; relationship between inner (thought) and outer (visible) selves; attempting humour; challenging attractive appearance.

‘Hannah’ and ‘Minh Ai’ from Mirror Mirror by Emma Sailah. 

Test images using normal mirror with a hole in its centre for the lens. One diffused light above camera. Poor focus is an error, background will have no detail, composition is suitable, lighting needs to improve. Images ©George Rippon. All Rights Reserved.

2. A similar process to above, with others in front of the mirror – where I photograph them attempting to copy my extravagant facial contortions, as a means of continuing the humour, and exploring the universality of the face (relevant to physiognomy). Perhaps also ask them to photograph themselves, to make their own self-portraits, with cable release or remote – to see how they respond given the opportunity to present a desired look.

3.      3. As a continuation of my Self Videos, produce a regularly updated diary of webcam performances - displaying a general indulgence of trivial aspects of my personality, experiences, thoughts etc – investigating further the desire to be celebrity/revered/known through attempted humour.

Self Videos (still)

Forehead Letters (still)

4.      4. A self-portrait of pixels (I can't paint) – using a mirror, and Adobe Photoshop – ‘painting’ with various colours, various brush sizes, producing several pieces – forming an overall progression, striving towards a realistic portrait (eventually looking like a photograph). Inspired by the Johannes Gumpp painting of himself in the act of painting a self-portrait (likewise Norman Rockwell’s Triple Self-portrait), I plan to investigate in what manner and with what adjustments I will reproduce my image.

Self-Portrait with Mirror and Canvas by Johannes Gumpp

Pixel-Painted Self-Portrait #1 and #2

Making of Pixel-Painted Self-Portrait 

5.      5. I’m a ... (artist) - a series of videos in which I attempt to prove my creative multi-talents (musician, actor, painter, etc.), but which ultimately highlight myself as a failure and fool, wanting appreciation – inspired in part by Bjorn Veno’s promotional videos for PXSnatch.

6.      6. A video piece based on my Body (own) collage where each image is moving rather than still. However the movement will be very subtle, aiming to give the impression of a still image on first glance, and then following with the realisation that the body is moving/breathing/alive. Similar motive to the original piece – to present own body in unflattering manner – but with heightened representation.

Body (own) 

Body (own) (still)

Audience

·      Fine art/gallery community – aiming to attract attention at exhibition in London held during a week where photography is highly popular in the area due to degree shows. This to be at a gallery (The Rag Factory) which is establishing itself as a popular venue at the time of these events. The intention is to involve other established practitioners, to elevate the exhibition above a student degree show and encourage a larger footfall, and also the potential to make connections with curators/gallerists etc. There is the chance of the exhibition being reviewed owing to the supporting factors above, which will further enhance the publicity. Additionally, there has been a recent growth of interest in contemporary self-portrait photography with the publication of Susan Bright’s book Auto Focus.

·      Online – a personal blog, George Rippon Photography which is updated regularly with latest work, ideas and research; combined with a Twitter account as a means of spreading the work to a remote audience (aiming to increase interested following, particularly those based in London in lead-up to the exhibition). Utilising social media to present and build up a recognised brand name – YouTube channel, Twitter account, and a video blog, all as ‘GorgeousGeorgeo’.

·      YouTube viewers – humour is popular, short videos, a homemade aesthetic is well accepted. There is a potential to go viral, although this seems to be down to chance and is very much a snowball effect. If popularity is found on YouTube, then considering the nature of the project and its delivery, an interest could follow from the fine art community.

·      Academic – as the project is based on the reflection of photographic imagery in self-portraiture, its content may be relevant in the study of photography theory/behaviour. There is also a relevance to research in the fields of philosophy, psychology, anthropology and other areas in which the notion of ‘self’ is questioned.

Anticipated method of presentation

Gallery:

·      Two-way mirror project (1.) – large prints of oversize face, to give impression of “Ah it’s a big face!” – so as to show off their absurdity, and impress/oppress my image upon others.

·      Potentially include a two-way mirror as a means of involving the viewer. Place a large rear-projected print behind a two-way mirror, with the projection light triggered by motion (similar to a burglar light) so an apparent mirror turns into a picture as viewers pass.

·      And/or a video camera concealed behind a two-way mirror, with the footage output delayed and shown to the side - so people can play to/with their reflection and then view it moments after.

·      Video projection – of selected ‘self-videos’ (3. & 5.).

·      Medium prints (40x40cm) making a progression piece of pixel-painted self-portrait (4.).

·      May have smaller prints of mirror portraits of others (2.).

Online:

·      Blog of videos (like diary updates) and a YouTube channel – refer to Ask A Ninja/What I Wore Today – comical, intending to have the potential to develop a mass following.

·      Simple web gallery of mirror portraits (one for self-portraits, one for others) (1. & 2.)

·      An interactive view of the pixel-painted portrait, with a slider so it can be quickly seen how the portrait developed. See Girlpower –Retouch  

Budget/Resources required.

·      Two-way mirror – £44.48

·      Wood and construction materials for mirror stand – £40 - £50

·      Construction tools and assistance – provided.

·      Loan of Hasselblad H3DII with 50mm lens from Calumet for 2 days – £530*

·      Prints for ‘Two-way mirror’ project:

Option 1 – 3x 110x110cm prints on fibre based paper, mounted on 5mm Foamboard (from The Print Bureau, Coventry) at £69.58 ea = £208.74.

Option 2 – 3x 101x101cm Giclee prints, mounted on DiBond with battens, and acrylic seal, incl. delivery (from The Printspace, London) at £326.54 ea = £979.62*

·      Prints for ‘Pixel painted self-portrait’ project:

Option 1 – 6x 40x40cm prints on resin coated paper, mounted and laminated on 3mm Foamboard (Print Bureau) at £8 ea = £48

Option 2 – 10x 40x40cm C-type matt prints, mounted on 3mm Foamex with acrylic seal, incl. delivery (Printspace) at £63.68 ea = £636.80*

·      Blog space and YouTube channel – free.

·      Web domain and hosting – already owned.

·      Projection equipment with audio – provided.

·      DSLR camera, studio space, lighting equpiment – provided.

·      Video camera and editing software – provided.

·      Normal mirror, Adobe Photoshop software, Apple iMac desktop computer incl. webcam – already owned.

* indicates a non-essential but ‘ideal’ expense.

Total minimum (essential) budget: £341.22

Total maximum (ideal) budget: £2,240.90

Some additional images relating to the 'context' section of the proposal:

Self-Portrait on the Rocks, Levanzo, Sicily by Nan Goldin

Claude Cahun and Marcel Moore by Claude Cahun

Travelling by train from Bangalore to Mumbai by Anita Khemka

I’m too Sad to Tell You by Bas Jan Ader