BOOMMMMMMMMMMMTING GIRL. YOU COMING ROUND. AHHHHH. DRUNK.
I tried to shave but it didn't work.
I'm going to grab your legs.
I can't lift you up. You need to lose weight.
Open your mouth. Open it! Keep it open.
Gaz. GAZ. I can't do it. Please stop. stop. STOP I can't do it gaz.
I'm really sorry but I am very drunk and I need to get some sleep so why don't you fuck off.
Fine I will.
Marie. Marie. Marie. Marie. Come give me a cuddle.
No.
Why are you crying. I dont want to upset you. I dont. I dont. I'm going to hurt you. You always make me feel so bad. Come lie here with me.
Wednesday, 26 May 2010
He cannot keep it up. He gets frustrated. Angry. He jumps of the bed and start storming around the room, demanding answers to questions she is unable to answer. He throws himself on the bed and the pillow flips up and hits the side of a girls face. The tension is building and the girl is unable to handle it. She does not like arguments, she cannot cope with anger. She curls up onto the side of the bed and cries. He begins to cool down, and after a few minutes realizes he has upset her.
She cries out of frustration and she is scared it is her fault. He strokes her hair and rubs her back, whispering quietly into her ear and declares how he finds her attractive, how he likes her, and how it is definitely not her fault. On the lives of his mother, his brothers, his friends. She does not believe him. The crying continues for a small period of time till she is too tired. She is sullen and sulky and he senses it. The atmosphere is tense.
He turns on the television and begins to watch a film on channel 3. She is not interested. She cuddles up to him and he places his hand on the small of her back. She takes in her surroundings : she adores his room, the lived in clutter, the creaky double bed and the cream and brown duvet that spells delicious, like washing conditioner. She wants to cuddle in the bed and never leave, she wants him to want her there.
She tried to speak : stuttering. She can sense him getting frustrated as she can never get the words out, and if she does, they always come out wrong. He threatens to tickle her if she does not tell him, he runs his fingers down her arms to reinforced this threat. She does not believe him. He climbs on top of her, pinning her arms and hands above her head, using his legs to hold hers down and tickles her until she is begging, screaming for him to stop.
Last night was awkward. It took me over half an hour to get out the words I wanted to say. I could sense your frustration.
I am waiting in a room. The atmosphere is uncomfortable. I am not the only one. A women is on the phone complaining about how long she has been waiting. One looks ridiculously relaxed : She is filing her nails and flicking through a glossy magazine. The last girl is Indian and no more than 15. She hugs her knees and the fear is apparent merely by her body language. She is alone. I wonder if anyone knows. Her face is blank and expressionless. I am fascinated by her. I study her features, she is pretty. She has slim wrists and I envy her long, dark hair. It is the kind of straight I have always wanted. Micheal Jackson is playing in the background. It does not suit this environment. I clock watch, 5 past, 10 past, 15 past.
I am led to a room. In the room is a row of 4 beds. A nurse leads me into a side cubicle and makes me wait there. She must be around 24. She is smiley and she has freckles, as well as a distinctive Irish accent. I immediately take a liking to her. I can still hear the other room - sobs sounding similar to ones I had made earlier. One women is screaming - the nurses are having trouble making her quieten down. They are all weary eyed and blank faced. None seem aware of their surrounding, or seem to know what they have done. Apart from the screamer. She is taken to another room, she is having difficulty walking.
I am unsure.
It is positioned in the middle left third of the image, but also on the middle right third. It has vertical stripes. A child can be seen at the window. The grain is unfocused, it is hard to see clearly the texture. The colors are not bright - the clouds are reflected into the window.
There is a man with a large stomach that is often related with pregnant women. There are 16 poles in the image, 4 wooden fences and I can see land in the distance. There are 10 other people in the image ranging from the age of around 2 and 50. The majority of the image is made up from sea.
Much of Fiona Banner’s work explores the problems and possibilities of written language. Her early work took the form of ‘wordscapes’ or ‘still films’ – blow-by-blow accounts written in her own words of feature films, (whose subjects range from war to porn) or sequences of events. These pieces took the form of solid single blocks of text, often the same shape and size as a cinema screen. Banner’s current work encompasses sculpture, drawing and installation but text is still at the heart of her practice. She recently turned her attention to the idea of the classic, art-historical nude, observing a life model and transcribing the pose and form in a similar vein to her earlier transcription of films. Often using parts of military aircraft as the support for these descriptions, Banner juxtaposes the brutal and the sensual, performing an almost complete cycle of intimacy and alienation.
Fiona Banner’s work has been included in a large number of exhibitions both in Europe and the USA. She is represented in many important collections including The Museum of Modern Art, New York; Philadelphia Museum; Walker Art Gallery, Minneapolis; The Arts Council of England and the Tate Gallery, London. She was short-listed for the Turner Prize 2003.
English sculptor and conceptual artist. She studied at Kingston Polytechnic, Surrey (1986–9), and at Goldsmiths' College of Art in London (1992–3). She had her first solo exhibition at City Racing, London, in 1994, and in the following year was included in General Release: Young British Artists at the XLVI Venice Biennale. Banner came to prominence with her ‘wordscapes', large text works that recount the plots of feature films or other events. The ‘wordscapes' led to the publication in 1997 of The Nam, 1,000 pages of continuous text describing the Vietnam war movies Apocalypse Now, Born on the Fourth of July, Full Metal Jacket, Platoon, Hamburger Hill and The Deer Hunter. This unreadable text points to the excess of violence in such films, the numbing of critical faculties, as well as the mythologising and fictionalising framing devices used to interpret historical events. Towards the end of the 1990s she became interested in the implications of punctuation signs, dwelling on their qualities as abstract marks that give structure to text. By selecting a variety of fonts, enlarging the full stop signs to 1,800 pt, and rendering them three-dimensionally, Banner created strangely dramatic objects, simple signs disguised as Minimalist sculpture. These were displayed together in Polystyrene Full Stops: Slipstream, Nuptial, Palatino, Times, Gill Sans Condensed, New Century Schoolbook (1998–9; Los Angeles, CA, 1301PE). The use of weightless polystyrene, which commonly functions as a packing material, points again to the paradox of the physical insignificance and semantic importance of these object–signs.
A current trend or obsession (particular amongst teenagers, young adults and men who enjoy exposing themselves to the previous) is Chat Roulette. This is a site in which you are connected with another user anywhere in the world, share live webcam feeds and are able to 'chat' virtually to them. I find that the this service is quite awkward, and you are exposed to things you may not necessarily want to see, this site is generally a bit of a gamble. You are never sure if you will be connected with a person similar to yourself, or a man whose intentions may be anything but clean.
The Lurid, low resolution, pixelated blurriness shared by the photographs in 'Cyberspaces' signals their origin as cheap digital images, in this case frame grabs from internet webcams. Enlarged from a 240 x 320 pixel video stream, the available photographic information - barely usable to begin with, degrades and flattens out, unable to meet the demands of a 50 x 60 cm Lamda Print. Seen live, in full scale, the printed images look over-saturated, tacky and weirdly beautiful. More than anything else, 'Cyberspaces' look overtly like 'art' on first view. Bright colours lend the work a perky and even decorative air, but only until you get past the pixelated surface of these unnervingly evacuated, intimately creepy scenes.
All of the images in 'Cyberspaces' are from sexcams but none of them are populated by the internet prostitutes whose working spaces they portray. Florid colours and low resolution initially lend the images an almost painterly, impressionistic quality and that briefly marks what is really going on here. The vantage point is up close, only one or two meters away and not much higher than the bed, chair or couch. Stuffed animals appear repeatedly, unsettling companions and stand ins for young women who we do not see.
Schmid began working on 'Cyberspaces' at a time where health concerns forced him to pass much of his time indoors, spending what he characterizes as 'too much time on the internet sitting in front of a computer screen.' He decided to make work about people doing what he was doing - normally sitting in front of a computer screen - as a way of questioning the nature of an authentic experience in a virtual domain. Hunting for situations featuring people who sit in front of computers, he eventually arrives at 'people who do it professionally - for sexcams. The first one I entered, it just happened that the women got up and left. I had a picture of an empty sofa and I said, this is exactly what I am hunting for.'
Schmid finds the resulting images of empty stages ' a strange, sad document of what is happening throughout Eastern Europe and Southwest Asia, a huge industry where young girls sell themselves for small sums of money... you look at the objects represented and you get an idea about the age of the young women working there. Basically, these are children's rooms.'
For people who cannot see, how do they communicate? The use of braille, a form of code, which is something I would like to explore, and I would like to experiment with the use of relief print in order to create this.
I also thought about descriptions - creating a mental image. I was reminded of the scene in 'Amelie' in which she describes the surroundings for a man who cannot see.
This monoprint is created using the Binary Code alphabet that I found on the internet. I like the idea of taking someone that is computerized and making it hand rendered, although I feel the content I used (which was just a statement explaining what Binary code is) could be improved. I would like to experiment with different sizes of monoprints, and perhaps making them in the size that the image is, and then using the description or similar for the content.
This monoprint is taking from the code I created from the Eiffel Tower. I think this idea could be taken a lot further and I do not feel that is works just as a monoprint like this on its own. I would like to move away from this idea and work more on the binary code.
I looked on Google Images and searched for touristy buildings and areas that people seem to constantly photograph. When looking through the millions of images for the Eiffel Tower I noticed that the images all seem to look the same, and the impact that they have is minimal due to this. I started to created a code -
SQUARE - Looking up CIRCLE - Black and White TRIANGLE - Straight On CROSS - View from tower DASH - Underneath DIAMOND - Far Away THROMBUS - From a Angle QUESTION MARK - Unrelated / other
I then started to write out the code, I did the first 5 pages from google images but I do not feel they work when done by hand, I feel using a computer and typing them would work better as It would relate to the fact that the images exist only on pc and it is much more clinical and would also relate to the coding of images, which is something I intend to research.
It was from this that I became interested in the Binary code.
The Death and Disaster series is a loose group of works by Andy Warhol that he produced between 1962 and 1965. The series include "Red Car Crash", "Purple Jumping Man"[1] and "Orange Disaster"[2]. The works transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
"who gave me the idea to start the Death and Disaster series. We were both having lunch one day in the summer [of 1962] … and he laid the Daily News out on the table. The headline was '129 die in jet', and that's what started me on the death series - the Car Crashes, the Disasters, the Electric Chairs…"
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![[1]](http://www.masdearte.com/imagenes/fotos/suicidePurplejumpingman63ok.jpg){kind=link}
![[2]](http://academics.smcvt.edu/gblasdel/art/A.%20Warhol,%20Oran.%20Disaster.jpg){kind=link}