08/02/19 Tutorial Simeon Barclay
Adam offered me an opportunity to talk to Simeon Barclay
about my work, as a tutorial. I don't feel I have enough solid work to talk about but I'm on this tutorial trip so I thought it would be good.
It was excellent, better than I thought it would be. I feel as I talk to more people it'll get easier and tutorials will also become easier. I spoke to someone afterwards about my work and had a very different account so I'm not there yet. I find that when you know what your intentions are it's better because then the other person doesn't have to make false assumptions, which I either have to deny or just go with because it's easier.
Notes:
I should have written this as soon as I'd had the chat! Simeon thought the dream idea was worth exploring, he identified an obsessive, compulsive nature in how I work and thought that at every turn when I am trying to fight against my nature, I should go with it. He sort of legitimised not thinking or making things in a linear way. In dreams things skip and flip into other dimensions, so he tried to explain to me that it would be best to have an essence of something rather than actual representations. His example was that if I were to do work on clouds, I could film marshmallows.
Simeon thought that as context can create a discord with subjects- I've looked at how a conversation between usual looking people in a usual setting could be surreal if the dialogue is my own writing.
He asked me about my process of writing, how I like to assemble and bricolage the words. He didn't think that making a film about my dream would make much sense as the milkman is the main character and that distracts from the painting I am doing. I will write something new.
I've looked at his work online and it is incredible.
I watched a film he did for the Tate and I found out he is really into Vogue, as am I. I used the figures for their unearthly poses and body distortion as well as artistic photography of material. I love a flat image of something textural. I've always loved scans of collages more than the collages themselves.
He uses neon light and it made me think about my own strip lights I had been using before christmas. I may aswell use those to draw with.
Currently I am painting a large collection of wood. After the Chris Evans Q & A I decided to pin my scraps together to create a bigger canvas. Confusion and the subconcious are being explored via layers of paint. I am still interested in black and darkness. Subtle depth and the contrast against neon as per the fashion films and editorials I'd seen before Christmas. I am productive when working on several differing projects at once.
After the tutorial with Simeon I spoke with Joe Goff as he has very similar ideas and viewpoints to myself. We decided to make a film together. I decided a short film, on a bench, 2 people wrapped up in infactuation. The absurdity of the whole thing. Thinking this is theirs only, a unique situation. The temporary nature vs. the intensity of feeling. We decided to make the script as predictable and cheesy as possible. No words are original when it comes to love. We also decided as we wanted to explore spontenaity we would just do it. Try not to second guess, go with first drafts and ideas and have a quick turn-around.
I wrote some exchanges and asked Joe to write the same, we met the next day and I changed Joes lines, running them through a randomiser online. This randomising and translating of words is becoming important in my writing. I am trying to create the same outcome but framing it in a different less obvious way. It might not always work but it did for this script.
Joe is dealing with the actors, who are proving difficult.
2 lovers, sat on the bench
I tried to use punctuation to make it easier for the actors to learn and understand. I am deeply embarrassed of a first draft of crap words being spoken by someone else and then that being recorded. Worst still, sharing the footage with someone else. It'll do me good. We are editting the footage seperately.
I have ideas regarding green screen. Not sure about that yet.
It was excellent, better than I thought it would be. I feel as I talk to more people it'll get easier and tutorials will also become easier. I spoke to someone afterwards about my work and had a very different account so I'm not there yet. I find that when you know what your intentions are it's better because then the other person doesn't have to make false assumptions, which I either have to deny or just go with because it's easier.
Notes:
Simeon thought that as context can create a discord with subjects- I've looked at how a conversation between usual looking people in a usual setting could be surreal if the dialogue is my own writing.
He asked me about my process of writing, how I like to assemble and bricolage the words. He didn't think that making a film about my dream would make much sense as the milkman is the main character and that distracts from the painting I am doing. I will write something new.
I've looked at his work online and it is incredible.
I watched a film he did for the Tate and I found out he is really into Vogue, as am I. I used the figures for their unearthly poses and body distortion as well as artistic photography of material. I love a flat image of something textural. I've always loved scans of collages more than the collages themselves.
He uses neon light and it made me think about my own strip lights I had been using before christmas. I may aswell use those to draw with.
Currently I am painting a large collection of wood. After the Chris Evans Q & A I decided to pin my scraps together to create a bigger canvas. Confusion and the subconcious are being explored via layers of paint. I am still interested in black and darkness. Subtle depth and the contrast against neon as per the fashion films and editorials I'd seen before Christmas. I am productive when working on several differing projects at once.
After the tutorial with Simeon I spoke with Joe Goff as he has very similar ideas and viewpoints to myself. We decided to make a film together. I decided a short film, on a bench, 2 people wrapped up in infactuation. The absurdity of the whole thing. Thinking this is theirs only, a unique situation. The temporary nature vs. the intensity of feeling. We decided to make the script as predictable and cheesy as possible. No words are original when it comes to love. We also decided as we wanted to explore spontenaity we would just do it. Try not to second guess, go with first drafts and ideas and have a quick turn-around.
I wrote some exchanges and asked Joe to write the same, we met the next day and I changed Joes lines, running them through a randomiser online. This randomising and translating of words is becoming important in my writing. I am trying to create the same outcome but framing it in a different less obvious way. It might not always work but it did for this script.
Joe is dealing with the actors, who are proving difficult.
Louder masterpiece, tell! And the impeccable manners down
us, speak than words truly. An you by yours bought, were you have were? Their
gifting when story angels actions, they… incredible.
Your eyes, your hair, your lips in a pocket. Gleaming,
perfect love. You, a prize. Moments are promised to us. Sleep tonight, coiled
and warm into me, the shell.
Converge all, feel and softness. Give into your what be
histories of I. All. Us. Feel. Me to between one have collide, one felt have I
shared hand, you touch. I now tenderness the to, to felt want. Our to the is
for.
My heart an apple. Grain, bark, seed, green. Please, a
little, a little for gold. An open plate. Sweet and sweet and so sweet. Grown
steady under my arms. This whole for you.
Raw. About of children, probably symbolic truth, animals’
ultimate honesty. Is babies *and* babies… and thing they are small, small. And
love that you the.
Truly I am you. You west, blessed. Light and and and day.
Around are dark, east night my.
Ask mean nothing, me nothing. All intently focused on say
in, we thinking you’re… vast. Our I’m are when we to sometimes. Lives when we
to sometimes lives. When person really what presence, whose words that people
the we for.
I remember before we met, when the earth was just an infant.
The sea squeezed from moss, mountains growing like teeth from the chalk. I
loved you then, before it all. Oil and sand could not prevent this, idle talk
will not end this. I heard you, I breathed you, from the end to this moment;
perfectly placed steps until I could be here, right now. Fire will want you, I
want you more. I will always want you more.
That this heated- you only tell as in as heart is a burn lifetime does
your a as now mine? Me heart dear for brightly once can mine..?
I had a dream one night. I dreamt that you left me to sleep
and you rose. You walked over to the curtain and pulled it back, the light
split the bed in half. A line, a beam, across my body. It cut me in two.
Emotions bench. The upon, see mine. See mine most of we
then within us real crackles. Feel is I like, sit of and beautiful, the but
myself. The pencil mind energy more weight, something pointless, I, in this a
love to you, your without than broken is my smile. Smile between on life, your
that.
Time cannot be the reason. Time cannot be the reason I lose
you. My mind, my heart. My mind.
What really say? You’re beyond I. Wow. Pretty- so can
that.
Here on the bench, I can see how they see you. The light
shows who you are. Lies are written here. My friend said I should forgive you.
We both know I will.
I have ideas regarding green screen. Not sure about that yet.
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