*Once the stills were selected and composed on A3 sheets using adobe illustrator, these sheets were then used to make up the screens for printing the decals, which once printed were applied to the surface of the highfired (1220 degrees celsius) slipcast camera forms and fired further to 840 degrees celsius to fix onto their surface.
*Continuation/conclusion of Life on the Move post
While my original intention was to include projections of the film footage onto ceramic forms directly the use of stills became important to the work almost capturing and stopping them in porcelain in a way. As previously mentioned during my early research period I began by story boarding the films through the use of screenshots/stills, I came to view these stills as having there own sense of movement in the way they were ordered and applied onto the surfaces of the forms. Applying images from different films on the same forms was a way of conveying how I had viewed and organized the footage, which often jumped between different subjects. The fact that the footage had no sound also contributed to the choice of using a material that could be perceived as mute while also providing a fragile quality in its finish that was a captivating part of the footage.
The various installation possibilities provided by making 12 modular pieces were also a consideration of mine allowing for the work to be nomadic adapting and changing to its environment, while I have suggested two different formations its configuration can vary depending on where it is based and who is installing the work. The formations I have suggested further references the geophysical/geological themes I had originally considered to inspire them (including cairn formations) as well as relating to the imagery and tonal values printed on there surfaces.
The main challenge during the making of A Still and Fragile Moment was editing the selection of images I would use (as well as my own time management), something which I have learned is an important part of the creative process Also working with the medium of film, something which was unfamiliar to me had its own challenges.
As previously mentioned working within archival and heritage based projects has been central to my current work, development and is something I am keen to further to explore in my practice. In particular I will continue to use research led strategies for my next response to archival material as well as explore the idea of multi generational craft and collaboration. The project has allowed me to further consider themes of memory and home and I would like to thank The Expatriate Archive Centre for the opportunity to work on the Saudade project, I look forward to seeing the results in 2018.
