Epilogue

Language has been paramount to this module. Alongside careful communication, learning the Arduino basic coding has bridged my disinterest in technology by realising that this is simply another language to learn, adding to the list from other lands. With a view to publish in the future, co-writing the presentation script has reinforced my editing skills. Despite cutting a quarter of the length of the introduction, Caitlyn struggled to see the difference as the essential narrative remained intact.

I feel I have shown a strong capacity to conceive connective possibilities. Such as making space for Olivia’s docu-photography and Christine’s topical Beauty and the Media campaign, to be situated in ArtBar as the ‘earthly grounding’ of the Human Story vestibule. Matching the opportunities to link Aqeels 3D artwork to motion sensor software. Putting together dishes for the food menu, concocting body/art referenced cocktail names. Seeing project concept enhanced with use of lighting in the Create Lab. Is Creative Direction the ability to see the whole picture?

“Creatin texts, artefacts, sounds and images that CONNECT US” (Clear, N. (2023) p31)

I have learned that Action Research is vital to the collaborative process and have enjoyed group activities and involvement, sharing progress and the significant benefits of group reflection and feedback has made me want to work with others to achieve goals. I believe I would work well as part of the creative direction of a team.

In the time travelling thoughts of hindsight, what would I have done differently?

Even though our concept was strong, and most of the group were in tune with the aesthetic ethos, I would have produced a crystal-clear contractual brief, that could be referred to consistently. Rather than having blind trust, this would have aided an assertion in requests to gain knowledge of processes such as how to convert photographs into a 3D image. I would have pushed harder to use the project planning tools in the earlier stages of a project which may have kept more of the group on track. I also gained humility in my graphic design capabilities and would have discussed the presentation and what we wished to achieve earlier on and assigned this to the graphic designers.

The collaborative process has enabled a telescopic view into creative possibilities, what could I achieve with a team of skilled participants in the visualisation of a project? The cogs of mental ideation circulative in producing idea after idea, connection after connection. A fractal dissemination forming networks of artistry amongst disciplines to expand innovation. Artist working with architecture, photographer as publisher, graphic designer as artist, pattern cutter as journalist, designer as sculptor, artist as photographer – the possibilities are limitless.

References

Clear, N. University of Huddersfield. (2023, January, 10). Convergence [Presentation]. Arts and humanities

Images

1. Co-written Script, Matthews, C. Sivinska McCartan, C. (2023) [Presentation Slide]
2. Co-written Script, Matthews, C. Sivinska McCartan, C. (2023) [Presentation Slide]
3. Zadi Batool. A (2023) 3D Motion Sensor Artwork [Digital Art] Huddersfield.
4. Menu Curation, Sivinska McCartan, C. Witkos, D. (2023) [Presentation Slide]
5. Create Lab Lighting, Strettle, O. (2023)
6. Matthews, C. (2023) Fancy [Digital Art Video]. Huddersfield.
7. Sivinska McCartan, C. (2023) BodyDraw [Digital manipulations of Drawings and Photographs]

Appendices

Visual Podcast, Cathie Sivinska McCartan (Original Script)

Hi welcome to the visual podcast for EP publication.

Approaching the parametric forms on the skyline it feels as if I am about to walk onto the film set of an epic cinematic sci-fi 3production, the air of mystery and anticipation is strong.

 The vastness of the space seems slightly daunting, the asymmetry of the interior disorientating. Yet the Initial impressions are of surprise as the visual pull is towards the impactfully curated colour behind the monochrome drawings of Cathie Sivinska McCartan. The hues and blurred textures complement and enhance the sense of movement in the semi -abstractions of the female form. Turning in the sharp corner of the triangulated lounge area,  the atmosphere shifts to the even sharper slightly dangerous electricity of Sivinska’s digitally manipulated artwork, derived from photographic documentation of her obtuse use of pattern cutting as an art form.

As the wall progresses, pure colour is replaced by a vibrantly busy texture, mounting the work of performance artist Caitlyn Matthews. The imposing scale of the imagery feels sensual, awkward, vulnerable, and strong all at the same time, as if exposing in synchronization, the damage to self and your own sense of awkwardness about the body.

On the opposing side of the room the dichromatic glass wall casts a flesh of dimpled light down the stepped amphitheatre where the podium placed ‘out of this scale’ art/fashion pieces from Sivinska have an opportunistic view from above, besides, and beneath. Alongside the works on the vertical planes, their place is deserving in such an immense diorama, taking in a holistic view of the artists collections. No play is being performed here, except the play of a people’s engagement in Place.

The ergonomy of experience synergizes an anatomy of artistic expression within the bone structure of Contemporary Architecture. The result forms an aesthetic of Nouveau Surrealism, not an attempt at ugly radicalism but a subtly subversive confidence in questioning the commercial and cultural ideologies of the Creative industries. Gone are the white walls of the gallery, the glass boxes of the museum as the artists ideate the 3d and 2D exposition, totalitarian curation becomes the art itself.

In the waterfall refreshment space of the bar area, my body is cupped by the bodily forms of furniture and I contemplate, Is there no end to the continuous movement around the space and curated engagement? One would think that taking refreshments would be a full stop, comma at least, in the narrative of this scripted experience?  But viewing the menu choices; it is evident that no element of this visit is in stasis.  An open call for artists of social consumption of cocktails and bar food, keeps alive an idea of constant flux and renewal. A regeneration that is not limited to the visual but engaging all the senses of sight smell, taste, sound, and touch.

This space gives time to the gallery visitor. In the figurative lounge area, the loveseat configuration encourages adjacent conversational connections. Taking in the open view to commune  around the chandelier lit canteenesque table, chance meetings are encountered whilst consuming cocktails or contemporary cuisine. Each section has a space to stay, to sit, to visually contemplate and leisurely absorb the atmosphere and artwork on show.

At first glance Aqeel Zadi Batool’s digital artwork doesn’t appear as entrenched in ergonomy as the work of Sivinska and Mathews. Yet the fantasia thrown geometry, is sensorily manipulated by the passersby, the spectacle of spheres and lines performing an off-kilter mimicry of gesture is a surrealistic engagement that is continued into the interactive art wall.

Caitlyn, how do your immersive projections connect your practice with the public?

Leaving the heady concoction of bodily immersion of the interactive art wall, there is an earthly grounding as we enter into ‘The Human Story’ vestibule. The docu-photography of everyday human connections displayed by Olivia Strettle, is a comforting capturing of the human condition of experience. On the ceiling suspended digital billboards, the powerful non subliminal messages topically endors the latest on point ethical marketing campaigns which slide through amongst the listings of upcoming events and exhibitions. The ArtBar Zine is tangible copy of the experience being able to curate your own catalogue by choosing content from the exhibition archive.

With the openness for members of the public to have an otherwise refuted opportunity to exhibit or make their own artwork on the interactive art wall, Egalitarian opportunity in the open call ethos is powered by the connectivity of global social media marketing campaigns, web connectivity and even an ArtBar situated withing the Second life AR platform – the whole world can partake in the experience.

The wit of this collective ecology leaves no malady of failure, only an organic growth of experience. The major stakeholder investment shows innovation and vision, a trust in the creative minds of this hybrid business model of art and hospitality, that maintains the circulation of public engagement. Thus, inviting a user group that spans art and design lovers, sociability, activists, and humanitarians alike. Who would not want to visit such a chemistry of creative synapses?