Bibliography

ALLEY, R., Yves Klein 1928-1962 [viewed April 17, 2018]. Available from: http://www.tate.org.uk/art/artists/yves-klein-1418

AMAZON, Book of Skin. Available from: - https://www.amazon.co.uk/Book-Skin-Sue-OConnor/dp/1861891938

BISHOP, C., 2005. But is it installation art? [viewed April 17, 2018]. Available from: http://www.tate.org.uk/context-comment/articles/it-installation-art

CONNOR, S., 2004. The Book of Skin. London: Reaction Books, Limited

Minimalism: A Documentary About the Important Things, 2016 Directed by Matt D'AVELLA. USA 

HILL, G., Gary Hill [viewed April 17, 2018]. Available from: http://garyhill.com/work/mixed_media_installation/switchblade.html

His Sweat, 2016 Directed by Matt LAMBERT. . September 14,

Ben Vautier, (2018) [Exhibition]. MAMAC, Museum of Contemporary and Modern Art, Nice, France. April 2018.

Liz Magor, (2018) [Exhibition]. MAMAC, Museum of Contemporary and Modern Art, Nice, France. April 2018.

Renaud Auguste-Dormeuil, (2018) [Exhibition]. MAMAC, Museum of Contemporary and Modern Art, Nice, France. April 2018.

Yves Klein, (2018) [Exhibition]. MAMAC, Museum of Contemporary and Modern Art, Nice, France. April 2018.

MUSEET, A.F., Janine Antoni, Saddle [viewed April 17, 2018]. Available from: http://afmuseet.no/en/samlingen/utvalgte-kunstnere/a/janine-antoni/saddle

ROCHAT, A., 2009. Yann Marussich, BLEU REMIX - 2007 [viewed April 17, 2018]. Available from: http://www.yannmarussich.ch/perfos.php?p=14

SERRANO, A., 2018. Andres Serrano [viewed April 17, 2018]. Available from: http://andresserrano.org

TATE MUSEUM, Ilya and Emilia Kabakov; Not Everyone will Be Taken Into The Future [viewed April 17, 2018]. Available from: http://www.tate.org.uk/whats-on/tate-modern/exhibition/ilya-and-emilia-kabakov

TATE MUSEUM, Installation Art [viewed April 17, 2018]. Available from: http://www.tate.org.uk/art/art-terms/i/installation-art

TATE MUSEUM, John Coplans [viewed April 17, 2018]. Available from: http://www.tate.org.uk/art/artists/john-coplans-2353

TATE MUSEUM, Sarah Lucas, 1962 [viewed April 17, 2018]. Available from: http://www.tate.org.uk/art/artists/sarah-lucas-2643

TATE MUSEUM, 2002. Minimalism with a human face: Hesse [viewed April 17, 2018]. Available from: http://www.tate.org.uk/context-comment/articles/minimalism-human-face-eva-hesse

TATE MUSEUM, 2006. 'Skin', Damián Ortega [viewed April 17, 2018]. Available from: http://www.tate.org.uk/art/artworks/ortega-skin-98940

UNKNOWN, 2018. Art Exhibition [viewed April 17, 2018]. Available from: https://en.wikipedia.org/wiki/Art_exhibition

WHITE, D., 2018. New Skin for an Old Ceremony [viewed April 17, 2018]. Available from: http://www.douglaswhite.co.uk/portfolio/new-skin-for-an-old-ceremony/

  

How to display my work for submission

As I cannot submit a huge installation piece on the submission date, I had to think of another way to hand in my assignment. Initially, I was going to make a book or photo album to show images of my exhibition, but then I realised I need a way to effectively show my film too. I decided to create a portfolio-style website to display my exhibition, film and photography all in one place. 
First, I used Wordpress. I have used it before and thought it would be effective for this project. However, after uploading some content, I was not happy with how it looks so much like a blog. I struggled to move the content to exactly where I wanted it, and didn't like the aesthetic of the site. After sharing with a peer and gaining feedback which reaffirmed my own thoughts, I decided to try a new website builder. I moved to Wix, a site I have never use before. Despite this, as soon as I started to build my website, I realised how easy it is. On Wix, you can begin with a template, and then you can delete, add, move and edit everything on the page. I changed all of the headings, buttons, navigation bars, menus and images to suit my own content, and positioned it all to where I wanted it. When I was happy with it, I published it, decided on a URL, and it was good to go. I can also open the editor and change any things I need to before the submission date. 

Display week

Five days before the week of my art display, I began to make the 'skin'. I rolled out sheets of greaseproof paper onto a wooden floor, to a size of roughly 6x8 feet, and then poured liquid latex on to it. Using a palette knife, I spread the liquid latex across the paper, making sure it was the same thickness all over, and leaving some lines for texture. I then left the latex to dry over night. In the morning, I checked it had worked by peeling off a corner to check it didn't tear or break. I then began to paint the latex. Using five different shades of foundation to avoid the sheet being one block colour and to add some varying tones, I painted the latex with a foundation brush and blended it well to avoid patchiness. I then used setting powder and spray to make sure the foundation would stick, and to matte it a bit. I left the latex over the weekend to dry fully. 

In hindsight, this was the perfect method to make the skin and I am glad I started five days early instead of doing it the day before. This is because at first, I encountered a few problems. I didn't have enough greaseproof paper, and I wasn't sure if I would have enough liquid latex and foundation. Beginning so many days before the deadline meant I could rectify these issues by buying more material. It also meant that if there had been a problem during the process of making it, I would have enough time to sort it out. For example if the latex had dried too thinly and would rip upon being peeled off the paper; or if the foundation hadn't dried well and would smudge and wipe off when being handled. However, after the weekend had passed the latex and the colour applied to it was exactly how I needed it to be, which I was really pleased about.

With the help of a friend, I transported all my materials to my booked exhibition space. I took more than I needed just to be sure, because I knew that things would change on the day, as my vision of actually artwork came to life. I transported the latex rolled in the paper - it was important that I did not peel it off until it was needed, because the more it is handled, the more it shrinks, tears, folds and sticks. In hindsight, it was great that I made such a large sheet of skin, because once peeled off the paper, it halved in size. When ready, I draped the skin over two chairs, placing a table and screen, for my film, in the middle. In my head, I had planned for the piece to be much bigger and had not considered how limp and thinly the latex would hang. I had planned to hang photos from the underside of the skin, as if it would be more like walls of a cave. However, this was not the case, and hanging photos would have put too much weight on the fragile skin. Despite this, I liked the way the skin appeared so thin, limp and vulnerable. The holes and folds that appeared as it was peeled from the paper gave it a deteriorated, damaged effect. Therefore, instead of hanging my photographs, I decided to lay them on the floor beneath the 'tent'. I also attached them to the front of the table, which worked well because it helped to hide the wood and meant the whole art piece merged into one continuous layer of skin colours.

At first, I was very apprehensive about setting up my art piece. I was nervous about doing it in a space frequently passed through by students and staff, afraid of them judging it as they saw it. I was also worried that it would not look good or that I would be embarrassed about the outcome. However, once I began to set it up, I realised that no art display is ever perfect. It will always change and develop as it is being created, and usually this is for the best. But most importantly, even if the artist themselves is never content with it, art is all about interpretation. My friend who helped me set up stated that she really liked it, and particularly the disturbing sound effects in the film; and a couple of passers-by stopped to look at the artwork or made surprised/disgusted noises at the fake skin. This did not offend me as it was exactly the effect I wanted to inflict upon viewers since the start: discomfort, shock and disgust, but also intrigue, awe and understanding. 

Credits:

Director: Sophie Baylis 

Director of Photography and Camera Operator: Joe Potts

Photographers: Victoria Cook, Sophie Baylis

Film Editor: Sophie Baylis
Models: Jake Morter, Chiara Borgonovo, Femi Omotoso, Zhané Quashie 

Throughout my display week, I encountered a few problems. First, the audio: I had asked the School Executive Officer if it would be okay for my film to have audio playing in the HC building, with the concern that it might be distracting for students. She confirmed that it should be fine as long as it wasn't too loud, and as the audio was white noise, it would hardly be noticed from within classrooms. However, once I set up the display, the audio wouldn't work. Luckily, I was in contact with an IT expert from the university who was quick to come and help me whenever I needed. We managed to fix the audio and make sure the volume was just right. I didn't use speakers as I felt that the volume the monitor achieved on its own was loud enough. 
My second problem was that when I came back to check on my work throughout the week, the computer had been switched off. I had been told by both the School Executive Officer and the IT Technicians that my film would be fine to play continuously on a loop for the entire week, to save me from arriving each morning to turn it on and each evening to turn it off again. However, unfortunately I think the cleaners had switched it off at the wall as they cleaned. This meant that for quite a long time in between my visits, the art display had not been complete and fully functioning. I was very upset and embarrassed about this as I felt that without the film playing, the piece lost a lot of its effectiveness. With the help of an IT Technician, I got the film up and running again. He assured me that he would let the cleaners know again not to switch off the computer, and I also left a few signs next to the computer and the plug sockets stating 'Do not turn off!' along with a mobile number for anyone to call if they felt there was a problem and it needed to be muted or switched off. 
Unfortunately, upon my next visit to check on my work, it had happened again, despite my signs asking for it to remain switched on. This time I felt even more disappointed, angry and embarrassed. I emailed the School Executive Officer for advice and she assured me that she would check on my work herself when she could and also contact the cleaners again about it. The problem was, as it was a university computer and monitor, it required a password that I was not able to know - it had to be set up by an IT Technician. So each time I checked on it and it had been turned off, I didn't want to keep bothering the IT department for help. I thought it would probably happen again and again and as I didn't know for sure who was turning it off, I had no sure way of preventing it. Therefore, as it was nearing the end of the week, I decided to dismantle my work anyway. I had already captured pictures of the work and received feedback from peers, other students and family, so I felt that it had achieved enough of a response for me to be content with it. 
I feel upset and angry that my display week had not gone to plan as I had imagined it would, even despite my efforts to fix and prevent the problems. I also feel embarrassed when I think of any of the viewers who saw it while it was not complete and working. However, I think it still had an effect and am glad it was working for at least a couple of the days it was on display. 

Visit to the Museum of Contemporary and Modern Art - Nice, France

MAMAC, Nice: Museum of Contemporary and Modern Art

April, 2018 

Renaud Auguste-Dormeuil

- Use of a television playing a repeated film, and the white noise it emitted, as part of the installation

- The idea of placing something where it shouldn't be; i.e. soil inside a modern, 1st-floor room --- or skin wrapped around household objects

- The concept of only being allowed to step along the thin winding pathways, being restricted in where you go and how you behave

Liz Magor 

- Covering/wrapping/draping material over chairs (silicone)

- A collection of household items and boxes all jumbled up and misplaced

Yves Klein

- The use of the body in a unique way 

- The creation of art pieces with unique materials 

- The subtle touch on nudity and controversy while still sophisticated and mature

Ben Vautier

- The chaotic disorganised layout

- The powerful red lighting

- Overwhelming amount of imagery and information to absorb 

Editing my film

SKIN DEEP

Short film

https://youtu.be/YpuwaVVhUcU 

Process:

Using Adobe Premiere Pro, a programme I learnt how to use during the film module of my second year, I first went through all of my footage and found powerful or interesting segments. I decided to include clips with faces because they are usually the most important parts of our appearances. I considered the aesthetics of the video: I made sure it was not repetitive, models were spaced out well, and that it had a sense of symmetry and direction. This makes it better for viewing, especially if it will be looped to play over and over, and it also signifies the care and attention we repeatedly apply to our own appearances. 

In terms of audio, I tried leaving the film silent, playing static white noise in the background, and using sound effects. I also tried overlaying the static noise with sound effects. I found that the sound effects worked best without the static white noise in the background but I used the static to fill some quieter sections. The sounds resemble bodily functions and noises; joints and bones cracking, blood running, fingers clicking. They also resemble the torture we put our bodies through, physically and metaphorically, in terms of our poor self-perception; tearing, ripping, stretching, puncturing, squeezing, hitting, scraping, etc.

Presentation feedback - 13/03/18

After presenting my work so far to my mentors and peers yesterday I have some further ideas and thoughts about the project. I want to try using the skin to cover further objects - particularly a nicer chair, as the one I used before was very basic. After I explained my idea of making a tent out of skin, we also discussed how people make 'dens' in their rooms when they are young, out of duvets and blankets and chairs. I liked this idea, as I was originally envisioning a teepee-style tent, which might wrongfully spark implications of particular cultures such as native Indians. Instead, a 'den' makes the viewer think of their youth when they likely made structures in their own rooms, thus bringing the theme of body image to a younger demographic too. Furthermore, these 'dens' are meant to be a safe place, warm and cosy and a hiding spot from the real world. This is ironic as in my project, making the den out of skin and filling it with implications of body image and appearance actually resembles the fact that really we should all focus more on the real world and less on our own aesthetic opinions or issues. This insinuates that the worry about appearance has penetrated even into our safe places and under our skin. I was pleased to hear I could use a room at uni to make a very large sheet of latex skin.  

Sebastiane reinforced Eva Hesse's motto of letting the work speak for itself rather than worrying about meaning and concepts. He and Sharon also relieved my apprehension about how much my idea has developed and how I'm concerned that I won't come to a final decision that I'm 100% happy with because my idea seems to change every day. Sebastiane simply asked me 'but is it better?' I think, looking back at my initial starting point, that my project has come on leaps and bounds in terms of concept, material, experimentation, and final outcome. Although it is frustrating that I can't seem to settle on one final idea, Sharon reassured me that all artists are never 100% happy and that they will always find problems and see room for improvement, and that it is only the deadlines we are set that force us to be okay with our work as it stands at that moment. 


Sebastiane also suggested I look at Steven Connor's The Book of Skin. While written from a philosophy point of view, and therefore a little more abstract and confusing, it raised some interesting points and encouraged me to think about new aspects. It also reinforced ideas I was already working on.

The Book of Skin - Steven Connor:

Relevant quotes of inspiration: 

• (From an Amazon description of the book:) '“The Book of Skin" shows that skin has never been at once so manifest and so in jeopardy as it is today, when, as Marshall MacLuhan puts it, each of us wears all of mankind as his skin.'

• (From the book:) 'Since human beings have their skins on display, and since their skins display so openly and copiously the signs of their health or disease, it is no surprise that there are strong negative as well as positive feelings attaching to the visible condition of the skin.'
• 'Skin markings, especially when they are associated with disease, have the flagrancy of the blatant; they blurt out what the tongue might prefer to keep decently veiled. They are shameful and disgusting, not only because they inspire fear, but also because they are shameless.'
• 'If the skin has become more than ever visible it is as the visible object of many different forms of imaginary and actual assault: tattooing, piercing, scarification, suntanning, bondage fashions that appear to cut into or segment the skin, images of calcified, metallized or mineralized skin, along with the infliction of various kinds of disfiguring marks, actual and cosmetic.'
• 'It is what we see and know of others and ourselves. We show ourselves in and on our skins, and our skins figure out the things we are and mean: our health, youth, beauty, power, enjoyment, fear, fatigue, embarrassment or suffering. The skin is always written: it is legendary.'
• '‘The skin has been broken’ (in that curious English idiom which suggests a desire to see the skin not as a fabric, of which we should say it is torn or ripped, but a hardened shell or membrane;).'

Following the presentation, feedback and further research, I began to draw diagrams to help me envision my final outcome better. 

'Viewing' chair, table and monitor playing film. Computer hidden under table.

Sheet of skin laying over the objects making a den, supported by two chairs on either side of the table.  The skin will stretch out to wrap around and contain the external 'viewing' chair too.

Front view of den with chairs on either side of table supporting latex skin sheet. Table with monitor on will also be covered in skin to hide computer underneath.

Possible addition of photographs of bodies and skin hanging from inside the den. 

Front view with 'viewing' chair included.

Covering objects in skin

Following my idea of creating my own 'skin' for the final project, I poured liquid latex and spread it across a sheet of greaseproof paper. I also tried the same with PVA glue, thinking of when I was young and used to peel dried PVA glue from my skin. They both took a long time to dry, but I did not use a hair dryer or any heat to speed up the process. I was interested in how the liquids sunk into the grooves in my floorboards to create patterns, textures and veins in the surface. 

Once dry, I peeled the latex from the sheet and was pleased to see it stayed in one solid sheet of skin. Unfortunately, the PVA glue was too delicate and thin and would not peel off in one whole piece. It also dried hard, so would crack with movement. However, the liquid latex looked good - it was translucent, elastic, vulnerable and skin-like; even with 'veins' and folds running through it. The only problem was the colour - I either need to buy some skin-coloured latex, or try painting it. 

I used Kryolan foundation in various shades and painted over the latex, blending it well and making sure to get into the creases and textured parts. I think it looks much more skin-like after adding colour. I am really happy with how the 'skin' looks, and I now look forward to creating sheets on much larger scales to create walls and covers for objects. 

I also tried using fabric as 'skin'. Cutting up two pairs of skin-colour nylon tights, I began stapling them together to cover and wrap a chair. I took photos at various stages, as I pulled and stretched the nylon, fixing it to cover more and more of the chair. What I liked was the fragility - if I pulled too hard, the staple would rip the nylon and it wouldn't stay where I pulled it. I think the skin-colour, combined with the holes, gaps and tears, add a sense of crudity as it draws the mind to think of a naked body with all of its folds, gaps and shapes. 

I then covered a mirror in the same tights. I like the idea of using a mirror because it is where a person sees oneself; it connotes vanity, insecurity, appearance, disguise and modification. 

Finally, I draped the liquid latex skin over a chair and a mirror. While the sheet of latex was not big enough to fully cover the chair, it still gives a sense of how it might look. For the mirror, I tore a hole in the latex as it was not transparent enough to see a reflection in the mirror through it. 

Following on from my small sheet of liquid latex skin, I made a much bigger sheet so that I could cover objects in it. I poured the latex out on to grease proof paper and spread it with a spatula, leaving it to dry overnight. I tried using a hairdryer to speed up the process but I found that the force from the air blowing it moved the latex slightly so I decided it would be best to let it dry naturally. Once dry, I painted it with a few foundation shades to create texture and variation in colour. I used various brush strokes to create stippled parts, smooth parts, etc. I then peeled the sheet off the paper and was pleased that none of it ripped. A few holes were left but I think this adds to the aged, decayed skin effect. I then began covering objects in the skin. I noticed a few things: firstly, the underside of the skin tends to stick to itself if it makes contact, meaning it was fiddly to keep peeling it apart; second, the more I handled it the more holes appeared. Therefore, to solve this problem, I should try to use talcum powder to prevent the sticking, and if I use sheets like this for my final piece, I should transport the sheets still stuck to the greaseproof paper and peel them off when they are ready to be used. I covered various objects; a chair, a sink, a mirror and a section of a desk/bedside table. I tried turning a lamp on behind the skin as well to create a glow. I quite like the finished results; the skin is at first quite grotesque and startling, and the fact that it is covering everyday objects points to the idea of our homely necessities that make us feel human, as though they are under our skin. 

Reluctant to lose my photography and film aspects, I played around with attaching the photographs to the skin. I think the in image below the photographs stand-out too much. Therefore, instead I have had an idea of making the floor of my 'skin tent' out of the images, all stuck together, rather than pinning them to the walls. I also covered my laptop, playing my short film, with nylon tights. This is how I am planning on incorporating my film into my installation. I will have to be careful to stretch the nylon enough so that it is quite sheer and the film is visible through it.