Sound Box

As part of my Project Proposal is to experiment more with audio I have created a sound box to use when recording minute sounds. Here’s what I did: –

Firstly I purchased foam board, egg trays to create the sound boards. I also purchased a rubber matting that I could use for the base of the sound box. Perfect opportunity for some egg tray photographs – of course.

Having cut the foam board down to size I then attached the egg trays to the foam board using hot glue to create the sound boards.

This was followed by removing the outer lip of the egg trays to provide a space where the boards could be placed together. I then used velcro to attach the boards together so that that they can be taken apart and stored easily.

I can’t wait to use this to help me when recording minute – almost inaudible sounds.


The best thing I did would have to be applying the glue to the egg boxes and not the foam board – this meant it was much easier to stick down and stay together.

The velcro is not the best option for holding the boards together – a bit flimsy – but does the job in the meantime. My initial idea was to create a frame using PVC corner lengths – this is still going to happen. I allowed someone else opinion on this to take precedence over my own judgement – other peoples opinions are not always better.

If I was doing this again, I would definitely create the frame first – and I would also cut the egg boxes smaller in the first instance  and not after the fact.

Planning would be the thing that I would do in the future to improve the outcome. I didn’t find this boring or tedious – it was just a task I needed to do to get to a point where I can deaden the sound around my microphone. – I could have also purchased a sound box – but I wanted to make my own.

Last but not least another edited image of my lovely sound box.



What Lies Beneath

Using the video footage created at Thruscross, Haweswater, Derwent and Tryweryn I created a video piece with the intention of creating a sense of remembrance. Using layering and light techniques I brought together archive footage with material I had shot on my earlier site visits. My intention was to create a feeling of nostalgia and the sense of peace that can be found at these reservoirs nowadays.

I decided to produce two video’s one in colour and one in monochrome so that I could decide later which was my preference.

Below are stills from the colour video:

Below are stills from the monochrome version of the video.


Producing this video really made me look at the footage I had shot in more detail and made me reflect deeper on the events that had happened and how I could visually communicate these events in the future.

I learned more about Premiere Pro during this work, in particular creating and saving customised effects. In the future I hope to return to the video work and experiment more with effects in Premiere Pro.

I felt that I had achieved a sense of nostalgia although I would like to experiment further in a more abstract way with video in the future.

The most challenging aspect of this work was the time-keeping. I always leave video work until the last task in a project – this has always been a flaw. Although I didn’t do this on this occasion, I didn’t really leave myself enough time to experiment more fully with the content. I intend in the future to make video work a more ongoing experimentation so that I can improve my skillset further. There are definitely greater challenges ahead for me in experimenting with video, particularly given that there is a lot still to learn in this area.

More time spent on experimentation will make this part of my work definitely more stimulating and interesting for me.

All that being said, I was pleased with the result, however.

Unit 1 Work Schedule – Draft 2

The following outlines the proposed work schedule for use moving forward. This is a working document and will change as time passes.See Also:

Date Proposed Work Actual Work
02/10/2018 Presentation Prepared Symposium Presentation
09/10/2018 Presentation Prepared Symposium Presentation
16/10/2018  Liverpool Trip Visited Liverpool Biennale
23/10/2018 Binaural Audio, Tutorial Created Binaural Audio and had Tutorial discussion
30/10/2018 Binaural Audio, Project Proposal Created Binaural Audio and Project Proposal Draft 0.
06/11/2018 Site Visits, Haweswater, Thruscross, Derwent, Project Proposal Site visits to reservoir locations and Project Proposal Draft 1.
13/11/2018 Site Visits, Tryweryn, Project Proposal Site visit to Tryweryn and and Project Proposal Draft 1.
20/11/2018 Sound Box, London Trip London Trip – Sound Box postponed until later.
27/11/2018 Video, Project Proposal Created video for Pop Up Show, Project Proposal Draft 2
04/12/2018 Video, Project Proposal
08/01/2019 ASMR Audio, Stitch and Making
15/01/2019 ASMR Audio, Stitch and Making,
22/01/2019 Video, Stitch and Making
29/01/2019 Video, Stitch and Making
05/02/2019 Distortion, Stitch and Making
12/02/2019 Distortion, Stitch and Making
19/02/2019 Low Residency
26/02/2019 Low Residency
05/03/2019 Distortion, Stitch and Making
12/03/2019 Distortion, Stitch and Making
12/03/2019 to 12/05/19 Easter Break
01/11/2019 to 08/5/2019 Professional Practice – Video Production
14/05/2019  to 18/6/2019 Video Experimentation


Unit 1 Project Proposal – Draft 2

Working Title

Investigate the analogies found in the landscape that can reflect issues of collective and personal memory displacement and loss reflected in the surrounding environment.

  • Is the influence of man in the landscape an analogy for the social issue of displacement and loss on a personal level?
  • Do the effects of dereliction and abandonment in the landscape reflect the inner experience where memories become lost or faded over time?
  • Do changes in the landscape provide an analogy for changes in memory?
  • Do things such as location smell, sound, objects help us to remember?


  • Research theories that relate to memory and art that can be utilized for inspiration.
  • Develop a body of work that considers memory/ remembrance and film/video
  • Explore the connection between contemporary art, memory/ remembrance and film/video.
  • Consider my own personal relationship with aging, remembrance and memory loss.
  • Investigate the Generation effect as a concept for reflection, remembrance and memory loss.


  • Reflect and respond to inspiration derived from research of contemporary artwork relating to memory and remembrance.
  • Research and investigate artworks created to represent remembrance that deal with memory loss and distortion, including film and video.
  • Refine and improve video, audio and photography production and digital editing skills to develop projection/installation knowledge further.
  • Develop an experimental body of work that reflects upon the issue of displacement and the effects of distortion/loss of memory through time and life factors.
  • Experiment with photography and video to create digital and photographic material that can be utilized as part of the larger body of work.
  • Consider favoured techniques and processes to further refine and understand relationship with these materials.
  • Reflect upon memory triggers, introducing the theory that sights, sounds and smells can trigger a memory long since forgotten. Expand on these ideas by considering Binaural Audio, Binaural Beats and Autonomous Sensory Meridian Response (ASMR).
  • Develop experimental artwork that considers the Generation effect, the theory that it is easier to remember information recalled from your own mind than it is to remember information read.


Who are the key artists/designers/writers or other creative individuals related to your project?

Initially I intend to reflect upon the artist Christian Boltanski. Areas of interest apparent in the work of Christian Boltanksi are Life, Death and Memory with much of his work focusing on the Holocaust and blurring the boundaries between fiction and truth. Initial Pieces of interest are La traversée de la vie (The Crossing of Life), 2015, Départ (Departure), 2015, Animitas (Blanc), 2017, Arrivée (Arrival), 2015 and La Bibliothèque des coeurs (The library of hearts). I intend to reflect further upon parallels between Boltanski and my previous work. Boltanski produces work that documents historical events; he focuses on abandonment or past tragedies that bring awareness to the divide between human documentation and historical facts. These somewhat forgotten events help us to reflect on the present and becomes a method of unification for the audience, so that we can witness social change on a broader level.

I am interested in the artist Rachel Whiteread because of the way that her work elicits memory for the audience by casting the spaces around everyday objects she suggests the space that has existed around things. She explores not only memory but loss and remembrance too, remembering our history and noting the relevance that our history still has in our modern world. Her work brings about many references to our history (cultural, social, industrial and political) and helps us to understand this through our own perceptions and in relation to our place in our community. Particular pieces of interest are House, Ghost and Tree of Life.

Lesser-known artists are Shona Illingworth, Debbie Smyth and Briony McDonaugh. Shona Illingworth and her piece Lesions in the Landscape focuses on the artists’ own experience of amnesia and the comparison with the landscape of her homeland, St Kilda. Debbie Smyth, a textile artist known for her large scale 2D and 3D pieces using thread as a drawing medium.

Further reflecting on previous inquiry of the following artists: John Akomfrah, Lamia Joreige, Mona Hatoum, El Anatsui, Anselm Kiefer, Joseph Beuys and Louise Bourgeois.

What are the key ideas or developments that are central to your area of interest?

My aim is to continue with a previous line of inquiry into issues that relate to displacement. In reflecting further on the current work to date, I hope to delve deeper into the context of historical factual research and the human memories that alter over time.

The need for a sense of belonging and identity is inherent in all of providing security in knowing who we are and where we came from. As we grow the landscape around us changes, our impression of such and our memories also become fuzzy and unclear. Significantly, governments can influence massive change in an environment using parliamentary bills. In their wake, landscapes destroyed for the greater good and all that remains are clues that allude to the environment that once was. The way that we view and interpret the landscape and environment around us can provide us with a metaphor that represents our identity and the loss of associated memories through the passing of time and changes made in the name of progress. Our understanding of the history of the land that we inhabit also affects our interpretation of our environment.


How will you go about researching your question?

Digital Media is a constantly expanding industry sector that provides an effective method for visual communication used to represent the experience of collective and personal memory and associated loss and displacement seen in the landscape through observation and recording. Observation and recording can show the beauty in what remains and the strength and courage to go on with our lives that exists in all of us in our human experience. Using Digital Media can also help to bring historical archive material into the awareness of the here and now. Archive material is often long lost and forgotten – yet it provides us with an important point of reference to reflect against in our current environment.

What means will you use – interviewing, visiting particular collections, processes or production for making.

Completion of archival research using a variety of methods. Initially, using the internet to identify exactly where statistical information that relates to historical events. I may also attempt to contact community groups of survivors in the hope that I may gather information on the human experience of such events and the essence of human memory now. I would hope also to gather some photographic material with the survivors that I potentially may use. I will also be to produce a Facebook page where I can begin to solicit responses from women on social media. The Facebook page will also form an ideal tool to share findings that occur during the lifetime of the project. Where possible I intend to visit sites of these historical events again in the hope of gathering further photographic and video evidence.


Are there any particular resources or equipment that you plan to use?

My hope is to experiment a lot throughout the duration of this course. As an artist at an early stage in my career, I have the opportunity to build on a more cohesive contextual artistic practice. My experimentation will extend to but is not limited to – modifying archive photographs with Photoshop and Premiere Pro, printing outcomes onto different fabrics for display, re-introducing stitch into my artistic practice – integrating methods with other artistic techniques.

Experimentation with photography, distortion, assemblage, fabric, stitch, latex, plaster, found objects, video and sound bringing together what I perceive to be the best of my previous work so that I can move forward with my technique and process.

I am also considering recording any visual findings using both a Polaroid and a modern digital camera. Using the Polaroid camera will provide me with a means to produce a seemingly archival record of my findings. The material recorded with the digital camera will provide me with the means to harness modern technology to work with the imagery in a more up to date manner. I intend to record video for a potential exhibit using projection.

How will you gain access to this equipment?

I already own a modern digital camera and a portable projector. I plan to purchase an original refurbished Polaroid camera from the Impossible Project. This organisation acquired the last Polaroid factory after cessation of production in 2008. They continue to produce Polaroid film and cameras.

A recent visit to the Liverpool Biennial has sparked an interest in ASMR (Autonomous sensory meridian response) sound recording and I hope to experiment further in the area of sound. For recording and playback, I am currently investigating required technology and cost of purchase.

I intend to rent shop space locally on a short-term basis whenever I am ready to test work in an installation environment.


Potential Outcomes are as follows:

  • Collection of assemblage work involving digitally printed fabric, stitch and distorted photographs
  • Possible Collection of Polaroid Photography linking to the assemblage work
  • Installation that incorporates, video projection with binaural sound piece(s)

Work Plan

Navigate to the working document for the Work Schedule using the link below:


Aranda, J. (2010). E-flux journal: What Is Contemporary Art?. New York: Sternberg Pr.

Berberich, C., Campbell, N. and Hudson, R. (2016). Affective landscapes in literature, art and everyday life. London: Routledge.

Couldry, N. (2013). Media, Society, World. New York, NY: John Wiley & Sons.

Gibbons, J. (2015). Contemporary Art and Memory. London: I.B. Tauris.


Manovich, L. (2010). The language of new media. Cambridge, Mass: MIT Press.

Munteán, L., Plate, L. and Smelik, A. (2016). Materializing memory in art and popular culture. Taylor and Francis.

Pollock, R. (2013). Discovering Rachel Whiteread’s Memorial Process: The Development of the Artist’s Public and Memorial Sculpture from House to Tree of Life. Undergraduate. Brandeis University.

Quigley, T. (2010). Memory, Temporality, and Loss: Rachel Whiteread.

Saltzman, L. (2006). Making memory matter. Chicago, Ill: University of Chicago Press.

Solnit, R. (2017). A field guide to getting lost. Edinburgh: Canongate Books.

Svasek, M. (2014). Forced Displacement, Suffering and the Aesthetics of Loss. Open Arts Journal

Taylor, K. (2009). Cultural Landscapes and Asia: Reconciling International and Southeast Asian Regional Values. Landscape Research.

Turkle, S. (2011). Evocative objects. Cambridge, Mass.: MIT Press.

Research – Shona Illingworth

This post forms part of my initial research for my project proposal.

Lesions in the Landscape is a video installation with an immersive sound piece. I became inspired by this piece through my own struggles with memory after a period of illness.

Claire, struggling with amnesia and memory loss through encephalitis causing a lesion in her brain resulting in the inability to remember the past, make new long term memories and remember faces.

“The past existing as a space you can’t enter or feel; the future a space you can’t imagine.”(Claire, 2013)

Illingworth collaborated with Claire over a long period of time and melded the struggles that Claire was facing with the historical struggles of the community on the island of St Kilda, now a derelict and forgotten land with only formally recorded recollection of memories written in books about the island.

Parallels are drawn between Claire’s abrupt loss of memory with the abrupt evacuation of St Kilda in 1930 and subsequently the loss of it’s cultural heritage as the island became uninhabited. She weaves her own experiences with that of the island and the community using metaphor as her tool for her visual communication.

In this piece of work Illingworth is keen to show St Kilda in it’s current place in history as a MOD Weapons Testing range with a large radar installation and even the act of genetically mapping a species of sheep.

Although appearing outwardly uninhabited, having a life that continues, albeit without the historical community that was forcibly moved from there in the 1930’s. Very relevant still in today’s climate of migration.

Questioning how we are remembered when we are gone and what version of our history exists beyond our own existence. Claire’s experience of personal memory relies on and is influenced by the perceptions of the people around her.

Her Amnesia Museum is portrayed as an archive of forgetting, using photographs and other documentation to map amnesia as it develops in the present and can be imagined in the future.

“You can’t imagine the future if you don’t have memory…And if you don’t have a diversity of memory, then in some senses you inhibit the capacity to imagine the future” (Shona Illingworth, 2015).

An analogy for the neurological experience of amnesia, the ‘island with inaccessible cultural memory’, embodies the phenomenon of lost connection and without memory it is not possible to imagine the future.

Memory is so intrinsic to our identity – both on a personal level, as is the case with Claire, just as it is with a community of island dwellers from St Kilda. If there is no-one there to remember them, how does the island exist in the public consciousness, and in what way is their history told? Which version of them lives on and how is the future of the island constructed?


CGP London (2016). CGP London | The gallery by the pool | Lesions in the Landscape. [online] CGP London. Available at: [Accessed 25 Oct. 2018].

Film London (2016). Shona Illingworth, Lesions in the Landscape, 2016, excerpt. [online] Vimeo. Available at: [Accessed 25 Oct. 2018].

Hawkins, K. (n.d.). Lesions in the Landscape by Shona Illingworth. A report from FACT Liverpool. [online] Digicult | Digital Art, Design and Culture. Available at: [Accessed 25 Oct. 2018].

Illingworth, S. (n.d.). Lesions in the Landscape – Shona Illingworth. [online] Available at: [Accessed 25 Oct. 2018].

Illingworth, S. (n.d.). The Amnesia Museum. [online] FACT. Available at: [Accessed 25 Oct. 2018].

Research – Rachel Whiteread

This post forms part of my initial research for my project proposal.

Rachel Whiteread came to my attention mainly for the piece House (1993) where she had cast the interior of a house in concrete prior to it being demolished. This spoke very much of memory and history of the many people who had lived and visited the house when it was alive. It appears to me very much like a sarcophagus a tomb filled with memories and lifetimes that will only be remembered through this installation.

The piece Ghost (1990) where Whiteread sculpted the inside of a bedsit in London was the precursor to this work and in essence a smaller scale first attempt at the process.

Exposing the perpetual space around us, her work speaks of the disregarded small expanses of our daily lives that invoke memory and recollection inside the buildings and architecture.

What I was inspired by in this work is the concept of casting the space, not so much exterior but the interior and the previously inhabited space. The concept that there are signs of human life all around us and conspicuous in the spaces that we inhabit and while we may look no further than the objects that inhabit the space, the space itself has its own story to tell.

Bibliography (n.d.). House. [online] Available at: [Accessed 25 Oct. 2018].

Chadason, K. (2012). Negataive Space with Rachel Whiteread. [online] Trendland Online Magazine Curating the Web since 2006. Available at: [Accessed 25 Oct. 2018].

Cohen, A. (2018). When Rachel Whiteread Turned an Entire House into a Concrete Sculpture. [online] Artsy. Available at: [Accessed 25 Oct. 2018].

Sharpe, E. (2018). Rachel Whiteread’s breakthrough work Ghost gets complex conservation treatment. [online] Available at: [Accessed 25 Nov. 2018].

Tate (n.d.). Rachel Whiteread: EMBANKMENT: About | Tate. [online] Tate. Available at: [Accessed 25 Oct. 2018].

Tate (n.d.). Five Things to Know: Rachel Whiteread – List | Tate. [online] Tate. Available at: [Accessed 25 Oct. 2018].

Ward-Aldam, D. (2013). Ghost House: 20 years since Rachel Whiteread’s ‘House’ | Apollo Magazine. [online] Apollo Magazine. Available at: [Accessed 25 Oct. 2018].


Skype Meetings – Year 1, Term 1

02/10/2018 Introductions

A general introduction to everyone and a lot of introductory information relating to the course.

09/10/2018 Presentations

This was the beginning of our individual presentations outlining our work to date and our proposed direction of work.

16/10/2018 Presentations

Second week of individual presentations outlining our work to date and our proposed direction of work.

23/10/2018 – Library Visit

An introduction to the Library Services at UAL.

30/10/2018 – Reflection

Discussion on Reflective Blogging as a permanent record, extension of your memory, conscious, deliberate process, opportunity to stand back from a situation and the sometimes intense emotions involved, opportunity to sort out what matters and what is significant, process of monitoring and reviewing own development and regular blog entries develop the discipline.

06/11/2018 Aims and Objectives

General Discussion around Aims and Objectives in preparation for our Project Proposal writing.

13/11/2018 Coding Workshop with Paul Douglas Abbott

I was absent from this workshop and found it difficult to follow afterwards.

20/11/2018 Art in a Digital Environment – Elusive Taxonomies

Discussion around Elusive Taxonomies. Some quotes from Jonathan here. More reflection to follow.

This is a developing list from Christiane Paul…

computability, process oriented, time based, dynamic, networked, real-time, telematic, interactive, participatory, collaborative, non-linear, performative and modular, variable, generative, customisable.

here is a quote from 1999 – so VERY old in this context!!

‘there is no ‘ism’ associated with digital art’

Rush, M. New Media in Late 20th Century Art. London: Thames & Hudson, 1999 p.168

in that quote from Rush – ‘there is no ‘ism’ associated with digital art’

he doesn’t make very clear if he thinks there will be a new ‘ism’ in the future,

he is more commenting that the previous ‘isms’ of the 20th C have run their course (Cubism, Surrealism, Conceptualism etc.) these were ‘intra-art’ practices, ie one movement reacting to its predecessor

we will finish with this quote as it is more focused on practice…its s a quote from 1997!!

‘The artist’s ability to effortlessly reposition and combine images, filters and colours, within the friction-less and gravity-free memory space of the computer, endows them with an image-making freedom never before imagined.’

(Fifield, G. The Digital Atelier. Art New England: Oct/Nov 1997)

27/11/2018 Art in a Digital Environment – Elusive Taxonomies

Further discussion around Elusive Taxonomies.

how do you react to this quote? (note it is from from 1997 – so LONG time ago!)

‘The artist’s ability to effortlessly reposition and combine images, filters and colours, within the friction-less and gravity-free memory space of the computer, endows them with an image-making freedom never before imagined.’

(Fifield, G. The Digital Atelier. Art New England: Oct/

04/12/2018 Discussion with Vic Von Poser

Discussion with the artist Vic Von Poser. @vicvonposer