Monday, November 5, 2012

Figuring out shapes

While I was listening to my track I started sketching out some random shapes on the picture of my environment. The problem was that I couldn't really figure out how I should make it even more related to the dockyards besides the visual environment and the soundtrack. I just can't figure out how I should make it abstract and historicaly related at the same time.


  1. Hey Dom,

    Perhaps you should find a theme within the dockyard from which you can extrapolate shapes from? If you look at Joan Miro:

    He created very abstracted shapes based on the world around him, but they retain a cohesiveness because of recurring themes. Must be plenty of stuff down there which you could suitably source? Pieces of boat machinery, workshop tools etc?

  2. Thanks, Tom. I will definitely try doing something like that.

  3. Hi Dom - Tom is absolutely right in regard to 'shape sourcing' from the dockyards - and if you combine this with our recent discussions re. using textures to 'discuss' history, then I think you maybe onto something. After our chat on Friday it occurred to me that you need to start thinking like an installation artist - simple shapes/forms arranged in a space to conceptual effect. Again, I think the shapes themselves can be abstracted and simplified (from reoccurring motifs within the dockyard itself - the 'spiral' of the strands being brought together in the ropery for example...)

    I'm going to include now a bunch of links to art installation/kinetic sculpture examples to get you thinking more confidently about the objects/apparatus/relationship/kineticism of objects in spaces and places - so...

    Check out the mobile sculptures of Alexander Calder:

    Cornelia Parker:

    Xaiver Veilhan

    Kinetic Rain installation:

    The point is Dom - is that the individual cgi components can be very simple - very abstract shapes (derived from the idea of the ropery - its mechanics, its components, the act of small threads combining to make something more lasting?) - but you can place them into that long corridor space of the venue WITHOUT all the physical stuff that an installation artist would have to contend with (wires etc) - and then you can use your soundscape to 'activate' the elements in your space - as if the sounds are different strengths of wind that 'operate' the installation in a particular way - or as we've discussed before, the sounds 'trigger' changes in the individual components somehow - though a phasing in and out of textures. I think you need to ignore the idea that your original test (the cube) was somehow 'boring' - if you were to have multiple cubes floating along the length of your venue, all reacting to the sounds, it would be AMAZING - just look at the Kinetic Rain installation videos for a clear demonstration of the joy of transformation and sequence as expressed though the same objects being controlled and choreographed effectively...

    So - in simple terms - derive a simple vocabulary of forms from the dockyard - a shape that works as a metaphor for the whole site. Then identify a way that your soundscape (as derived from the dockyard in a pure way) can activate/trigger/transform/moderate this object. Then multiply object in your space and create something BEAUTIFUL and POETIC and MAGICAL (and minimal!).

    I want to see some coherence and some internal logic on here, Domantas - get your rules and logic and concept figured.