Calvin Cropley, Public figure in Creative Arts. | Melbourne, Australia

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Here lays the descriptions to my deepest thoughts on my creative.

Project Burnout

Calvin Cropley: FDT 122 Image and Concept 2: Truth & Representation

Assignment Two: Research for Folio Project.

Project Burnout is named after the experience of going through “Creative Burn Out”, which is a phase that entails a lack of creative ability. This tends to take place after an emotional upheaval but like all phases can be endured and conquered. There are obstacles in our paths, limitations, friends, enemies and the unknown. I have personally experienced this a number of times in the past.

Throughout the journey of life we see opportunities that beam light and hope, but we also see obstacles along the way cast in shadow and darkness. Josef Sudek was a Czech photographer, which is regarded as a legendary photographer of the 20th century with a calling that stretched over 60 years. His increasingly contemplative photographs transformed ordinary field of study by uniting his external observations with deeply felt sensibilities, creating a unique world of his own. Figure 1. Demonstrates the way Sudek experiments with light and shadow, the shaft of light as a subject b ut at the same time illuminates other objects within the scene, it also shows directions and opportunities and expands the narrative for the viewer. There are also characters present within both Figure 1. and Figure 2., cast in shadow as silhouettes, unknown whether enemy of friend, also obstructing paths. The views are framed with arches. Sudek had inspired me with the nightscapes, lighting and direction and the external observations such as objects or people and things that you may not trust. With the light and direction that he uses, this makes the photographs haunting. A haunting light scenario is shown in Figure 2. Paths ways are ruff and sometimes narrow, certain objects illuminate from the direction of light and also show other ways of entering rooms or areas. The pathways that are used have harsh shadows on the subject themselves, and also give a direction for the viewer.

Both the artist and viewer share the same journey whether part of a photograph or interactive medium. The artist has the opportunity to manifest their emotions through these mediums, so that the viewer will become connected to the artist. My main influence to this and someone who has explored the same ideas as myself is Shinji Mikami, better known as the Godfather of survival horror video games. He has worked with this theme throughout the most popular video game series, ‘Resident Evil’ Figure 5. The technique he uses throughout the series and other projects show similar interests as my own. He uses the characters and places them in a third person perspective, in order to give whoever may be participating a sense of direction and narrative, which allows the player to identify themselves. In addition to this, he also uses fixed camera angles as shown in Figure 6. to give a mystery for the player as they progress throughout the story. I’m highly influenced by Mikami's technique and use of direction to the cinematic and surreal approach. However, the approach that he works with is more with the interactive experience. I revolve around this concept in a photographic sense and output the ideas into my work. 

Survival plays a big part of this folio and relates to my introduction and it shows where an obstacles may get in our pathways to our own journey, survival is the struggle to remain living: Self-preservation, protecting toward oneself is conduct that guarantees the survival of an organic entity. It is very nearly general among living creatures. Progressing through the levels and or obstacles generally are challenging for many people, to withdraw from harming circumstances or to ensure. We evade comparable encounters later on in life, which are the unknown; these are the things that stop us to what we love to do the most. Our mental state is always traveling, thus the ongoing paths represents a never-ending journey of both the artist and the viewers life. We overflow ourselves with countless ideas and find that we have no limitations when we are in the creative process. The importance of this project is to make this grow and to understand it more to a point where I can make a final decision, this may be of interest to others when understanding the idea and concept. Viewers may feel the same way and reflect on this with their own experiences.

The similarities between video games and my artwork is the high level of narrative. My work isn’t always about the same thing, and video game developers don’t just create one thing when it comes to an artistic approach, but rather they also experiment with ideas and the concept. I enjoy the experimentation element with the different use of narrative. It's important to creative directors and developers to show this with a sense of direction, storyline, and to draw an emotional or physical reaction to the viewer or player. Diversity and psychological thinking is used to solve problems, this is what interests me the most when it comes to outputting that inspiration into my photography.

Hiroshi Sugimoto also influenced me with scale and his use of lighting and techniques as well as direction of time exposed to the images. His work has focused on transience of life, and the conflict between life and death. The technical decisions he makes are interesting to me, and I was interested in exploring these ideas with my own concept to this portfolio. In both Figure 3. and Figure 4. the work shows darkness on the sides small amounts of light to the foreground, and a main source of light / subject, which makes the focal point for the viewer to question the image entirely.  Figure 3. demonstrates this very well with the one figure in the foreground and with the other figure in the background facing the other way. What’s haunting about this image in particular is the darkness that creeps up on the side of the image, which shows a sense of unknown or un-sure about safety to the viewer. Figure 4. shows similar aspects to this, seats look empty; but are they really? The light to the stage of the cinema screen shows an access point in terms of traveling and getting from point A to B. In order to get to where you need to go, you have to encounter the obstacles.

The project has evolved; it contains the use of a narrative for the viewers to identify themselves in the series. The folio is enclosed with a sense of danger in order for the viewers to experience the personal side of the artist. The ongoing work has changed dramatically through out the years, and with the help of peers and teachers, I was able to focus this body of work on the overall element of design, which are adrenalin, exploration and danger. The direction of long passages and hallways show a journey throughout the body of work, making it an adventure for the viewer and to question.

With this folio, I hope to achieve an overall body of work where others and myself are able to understand it, and to create a sense of imagination for each viewer. I’d also like to achieve an emotional understanding as an artist, to be confident when discussing personal works and to give the viewers a time where they can understand themselves too. I’d also like this project to be stronger and to see where this will lead, as it progresses in the future. I hope to expand on this, and to plan this out more as the progression continues with discussion and feedback from others.

Within this body of work, I aim to influence the audience as successfully as the artists I have mentioned in this essay. 

Figure 1. Josef Sudek, St. Vitus Cathedral 1926-1927.

Figure 1.
Josef Sudek, St. Vitus Cathedral 1926-1927.

Figure 2. Josef Sudek, view of the First Courtyard through the Matthias Gate; date unknown.

Figure 2.

Josef Sudek, view of the First Courtyard through the Matthias Gate; date unknown.

Figure 3. Hiroshi Sugimoto  Location and date unknown.

Figure 3.
Hiroshi Sugimoto 

Location and date unknown.



Figure 4. Hiroshi Sugimoto, Theaters Series. Made by holding the aperture open for the length of the movie being screened. Drive-ins cinemas are also part of the series. Extraordinary.

Figure 4.
Hiroshi Sugimoto, Theaters Series. Made by holding the aperture open for the length of the movie being screened. Drive-ins cinemas are also part of the series. Extraordinary.

Figure 5. Concept Art - Capcom's ‘Resident Evil’: Revelations 2 - 2014  

Figure 5. Concept Art - Capcom's ‘Resident Evil’: Revelations 2 - 2014
 

Figure 6. Fixed Camera Angles - Capcom's ‘Resident Evil’: Remake 2011:

Figure 6. Fixed Camera Angles - Capcom's ‘Resident Evil’: Remake 2011:

Bibliography:

Mikami S 2014, ‘Mikami S’ [online] Available at: http://www.theguardian.com/technology/2014/sep/30/shinji-mikami-evil-within-resident-evil [Accessed 07 October. 2014]. Mikami Shinji: The Godfather Of Horror Games]

Sudek J 1896-1976, ‘Sudek Josef’ The Legacy of a Deeper Vision  [Book]  Available to buy at: https://wordery.com/josef-sudek-the-legacy-of-a-deeper-vision-maia-mari-sutnik-9783777452913 [Accessed 08 October. 2014]. 


Sugimoto H 2014, ‘Sugimoto Hiroshi’ [Book] Available to buy at: http://www.thenile.com.au/books/Kerry-Brougher/Hiroshi-Sugimoto/9783775724128/ [Accessed 10 October. 2014]



 

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