Winds blowing in from the southwest, end ofJune 2020. A short video with an animistic theme.
Smiling is part of the neural mechanism that enables us to feel happy.
Leaving one year, becoming the next.
The music playing on the car radio enhanced the seemingly epic qualities of the moment, as we drove northwards on the W 9…
Join us for a companionable, creative group walk through Avenham and Miller Parks, for the Big Draw and Preston Arts Festivals.
During the walk we will introduce simple ways to tune in to and be inspired by our surroundings: the atmosphere and sensory qualities. We will draw, write and make, as we trace our movement through the park, working together to experience and experiment, using materials provided.
Each walk lasts about 2 hours. Places are limited.
A series of other guided walks on a range of topics, organised by the Friends of Winckley Square, will wander and weave through the centre of Preston, during the first three weeks of October 2019 as part of Preston Arts Festival.
More information about all of these walks here
Image above, from: ‘Memory of a walk’ © Fiona Candy, September 2019
Quotation by Paul Klee, from his Pedagogical Sketchbook, first published in 1925.
Examples of pages from Paul Klee’s pedagogical sketchbook, above.
Recently I’ve been drawing in response to experiences of walking through Preston’s city centre parks. On these walks I made my way intuitively, without any plan and sketched out routes and perceptual aspects as I moved along, using pencil line at first. I added to these very rough drawings later and made others from memory. I then combined elements and developed the drawings digitally.
I developed my own form of walking notation – (see earlier blog posts for more detail) and use it to trace and transcribe the walking activities.
As well as the work of Paul Klee, music and dance notation have been strong influences.
Above: small sections of walk ‘notation’ from my sketchbook
Above; John Cage music score
Above: a ‘Hornpipe’, an example of Baroque dance notation
Above: ‘Wednesday walk’ © Fiona Candy, September 2019.
These drawings are not conceived as ‘maps’ or diagrams in a conventional sense: no relationship to compass points or the relative scale of pathways or other features encountered in the park were considered. Rather, the drawings are expressions of spatial, embodied memories, of sensing and moving through ephemeral qualities of landscape.
Google Earth view of Avenham and Miller Parks
Newton’s 3rd Law of motion: When one body exerts a force on a second body, the second body simultaneously exerts a force equal in magnitude and opposite in direction on the first body.
The video above is a raw edit of serendipitous moments captured via my iPhone when I attended an Instameet at ‘PEOPLE’, a temporary, ground level art installation by artists Low Profile. The PEOPLE artwork is part of celebrations to mark 50 years of Preston’s Bus Station, which was built in 1969 in the Brutalist architectural style.
The Instameet was organised by local curatorial partnership, In Certain Places. An exhibition called ‘Beautiful and Brutal: 50 Years in the life of the Bus Station’ will take place in the Harris Museum and Art Gallery, in Preston, Lancashire, later in the year.
Image: taken from ‘Moving in Colour’ 2014. Special thanks to Feixa Yu.
Walking in Circles
Mindful walking: revealing embodied, grounded geometries, in the Motion Capture Studio, at University of Central Lancashire.
We used motion capture technology to transcribe walking movements, as steps were overlaid in time and space. In this case, multiple reflective markers were attached to each foot.
The delicate qualities of the spiral form made visible in this way, appear as though ‘stitched’ in to, or ‘woven’ on to the ground, with each footstep.
Once the palimpsest spiral is completed, the other ‘end’ of it begins to unravel…
The first mo-cap sequence zooms in from various angles. And in the sequence below, the walking is seen from one side only:
Standing at the centre: connective geometries.
In Mo-cap studio: multiple camera views converging.
“A journey implies a destination, so many miles to be consumed, while a walk is its own measure, complete at every point along the way.” Francis Alÿs.
One of a sequence of video stories I’ve made about walking along life’s path…
Often my work has related to clothing in action – being worn – and its relationship to the human body moving in space, through time and place. In this sequence I am looking at feet and shoes, the signs and metaphysical messages on the surface of the ‘ground’ and the rhythm of embodied time as it is paced, lived and experienced.
This sequence was filmed in Preston, Lancashire, UK and in Mumbai, Ahmedabad and Mandvi in Gujarat in India, during February and March 2013.
‘”Dolna” sung by Shreya Ghoshal, from the Bollywood movie ‘Morning Walk’ (2009)
Watch ‘Memento Mori’ video here:https://vimeo.com/121571083
Walking from campus in to Lancaster, we (Malé and Fiona) worked with an iPad and a handheld audio recorder with binaural microphones, as well as our mobile phones. From the outset we resolved to allow the research to unfold as we made our walk, and to take influence and context from Barthes and Derrida, for whom photography was a medium of suspended mortality—every photograph or record made, a memento mori.
As we walked along the way, looked, listened and opened up to the experience, we learnt that the traces of movement that came to our attention were perceptions of something altered or dishevelled: where we saw or felt a shift in what would otherwise be constant and unchanging. We captured these traces as static images, video and audio data. Together we explored repetition and the pace of rhythm with our bodies, words and voices: “ribbon…rhythm…band…bond”.
By moving in step along the trace we made, we ceased to be dots of data moving in the landscape. We became the trace, the landscape and the path. We began making and editing the video even while we were ‘on the move’ and the iMovie app and its touch sensitive iPad interface allowed us to edit the material of time with our fingertips. Malé described her sensation of the editing process as being “like working with plasticine”. The interaction with the iPad reminded Fiona of the haptic gestures of stitch or collage. The process of making the video heightened our combined awareness and facilitated reflection on the apparent tensions between tracing live movement and the production of recordings.
More about this and other Mobile Methods Experiments here: http://wp.lancs.ac.uk/mobilities-experiments/category/mobile-methods/page/2/
This video was made by Malé Luján and Fiona Candy as an outcome of the Mobslab Experiment: ‘Captured in Motion’, a one day collaborative workshop at the Centre for Mobilities Research, Lancaster University. The main aim of this Mobslab project “was to understand how the world is constituted in and through movement with ‘mobile methods’.
Mapping multi-sensory modalities: a research event exploring the theme of body cartographies curated by Dr Rachel Sweeney at The Capstone Theatre, Liverpool Hope University. March 2016
The Earthtomes event revolved around a live Butoh performance led by international Butoh artist Joan Laage. Image of performance below.
Eight artists were selected to present time-based and site-responsive works engaging in themes of cartography and intracorporeality and that integrated body-centred approaches within digital media.
Featured Artists: Annalaura Alifuoco, Silvia Battista, Dominique Baron-Bonarjee, Fiona Candy, Kris Darby, Jonathan Gilbert, Simon Piasecki, Rachel Sweeney
For Earthtomes I provided radio headphones so that participants could experience a sequence of audio stories that I created using original recordings combined through digital collage.
The immersive sounds of footsteps brought attention to the presence of the body in motion and the acoustic qualities of places, spaces and moments – as they are stepped into life.
Participants could explore the theatre building and its surroundings as they listened. Access to drawing materials encouraged the production of tactile cartographic responses to their individual multi- sensory experiences of moving in acoustic space.