Me: play video (Face Fill)
SD: Did you do this the night of the senior opening, when you showed up with your face covered in red?
Me: No, I did this 4 times. This is footage of the first attempt--the night of the opening was the 4th
SD: It's interesting, because this really makes you think of getting ready to go out, and you actually did.
JG: Like a teaser--switching around the chain of events; implying there's more information to be revealed/ building interest
JW: Was each recording different?
Me: The color and light and path of the movement changed each time, because it was spontaneous, and I wanted to try it with different shades. This one worked the best
TF: Are we seeing what you see? How did you set this up/
Me: Using the camera as a mirror
CA: You filmed this on your own?
Me: Yes
SD: Compared to the other videos--simple and basic. Action appeals to painting--space to fill. Sensory thing not in the other work
CA: Simplicity of action. More echos and meanings than prior video--more provocative in simplicity. Why stop at face?
Me: I didn't actually, but the face part worked best. Filming my body was difficult and choppy and I didn't get what I wanted
MS: Places in video where you could stop--image of eye, nose--think of reversing it
SW: conceptual idea with face? Seems more deliberate
Me: Thinking about contour drawing directly on face
SD: Like deliberateness of how you're filling in--precision around eyes and nose is very satisfying. When I saw you at the opening, I compared it to Wild At Heart, thinking of a more manic action, but this is really purposeful and paced instead
TF: Like the idea of exploring--sense of joy when you go outside the lines of your lips. Ending dilemma. Mistrel shows, baggage of painting face. Compelling energy. Conveying sense of 'what if I did this?'
CF: Love the travel of it--going from mouth to cheek to nose, etc. Trying to figure out what's going on/ what comes next. Associations fluctuate from clown to war paint--think I have a sense of what it is, but then it isn't--keeps changing
SD: You've been dealing with these cultural norms of beauty (50s icon). This video is far more interesting than that imagery because it speaks more abstractly about decorating the body--goes beyond social norms
SL: See it as a mask? Was it like wearing a mask at the opening
Me: That was more of a spontaneous decision as a result of poor time management...But yes, the mask aspect of it is important
TF: Going to the opening, it's like you wanted to continue to contextualize the experience
Me: I was thinking about it as applying to get ready and go out, and thought to try recording the removal as though I'd actually gone somewhere, in later attempts. Thought it would be more authentic if I actually wore it out somewhere--opportunity to test it. Also wanted to play with the ending/ prolong the looking at the end
CA: Address that next time. Ritual paint--there is a point where we wait for gaps to fill in (forehead)--you could edit more; add other sequences in (like Matthew Barney), push more absurd. Get someone to shoot for you. Edit to underscore important moves--what would happen if you continue onto body--foot, floor, whole room, whole building?
SD: Can be a trap to push singular action. This could be the beginning of something else entirely--this video doesn't have to be the main focus. The next thing might look nothing like this.
TF: Kusama--polka dot environments--how she generates. Your process is a part of that flow
CA: Keep thinking of that sequence in Cremaster 4 with the tap dancing---absurdity is reinforced with other activity--on screen for less time/ folding in other things actually ends up extending/ prolonging duration. Take advantage of medium of video. Love it.
GC: Rooted in high degree of realism--beauty of seeing eye, spots on tongue. Covering with color makes realist manifest, more powerful--closeness to camera very blunt, where the power is. Distance from the camera is powerful.
JW: Seems really important for camera to follow where your eyes see, for the narrative. Elements where the color (flesh/red) or something doesn't work--formal elements? Narrative is resolved, so crisp. I feel like we shouldn't be waiting for the resolution we're expecting--we know how it's going to end. Would like to see a resolution that isn't just the completion of the narrative.
MS: Finding where to suspend what we are waiting for--increase that tension
JG: Messing with chronology (by going to the opening) is really interesting--another level to realism. Traveling through immediate narrative, but also larger narrative--social cues, class (choosing Revlon versus Chanel; your nose ring--signs that this is a certain person using a certain brand. How would you apply Chanel? More precious because of price? Different narrative)
SW: Another moment could be capitalized on--concentrate on the gesture. Moment where time is suspended/ where narrative is frustrated--ending should be longer, slower, elongating time with action
RR: Really rich setup. Site specific drawing. So many things--too complex, but you need to figure out. Sense of descent, abstraction, self-loathing, desire not to be--the color could go to the edges more--when face is not in space but is space--poetic: pace, timing. Notion of makeup being employed in a way that makeup is not supposed to be employed--should be explored. Essay on makeup--one on men and one on women. Masking, purpose of masking seems important. Eye, mouth as oracle--present, but not given a voice.
GC: Very poetic--very tender in gesture; sensual--strikes me differently than clown or morbid overtones. Can see you admire yourself; the application is so delicate--caressing, like a lover's finger. Beautiful moments--on eyelid. Narrative of topography/ journey of head/ structure of head dictates movement. Adornment.
SD: Realist--useful way to not just cycle through the literal choices. Next time maybe not lipstick or makeup. Surrealist elements could be pushed (most surrealist artists used hyper-realistic imagery)
GC: good journey--start with drawings--keep going!
DF: From my angle, sometimes half the screen would be obscured. Keep thinking about painting/ covering up part of the screen--become more interesting when things are obscured/ partially revealed
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