ARTISTS TALKING

# 17 [2 August 2007]

Displacement

I've also been working on some other films inspired by my visits to the Foundling Museum, but probably not going in the show. This is a two screen video of me throwing and catching an invisible ball. I originally imagined them being set up across one of the large rooms. The illusion (based on a trick by Eric Morecambe and my dad) never quite works as the two halves are slightly out of sync and incompetently performed.

# 16 [31 July 2007]

Silent Film?

I got a quote today for acquiring the licence to use Handel's Foundling Anthem in my film. Actually I've had two quotes the first was for £1875 because I was foolish enough to think I might like to send it off to a few film festivals after the show. The second (just for exhibiting in galleries) is £1000. This is still more than three times what I was expecting and budgeted for. Also it doesn't include master rights from Decca (which I am still pursuing or mechanical rights from MCPS should i wish to produce an edition for sale. This is a daft amount of money so I am considering a silent film and a donation of my original budget (£200) instead. This would perhaps be more in keeping with my ideas of failure and my own personal difficulty with acts of charity.

hmmm....

# 15 [31 July 2007]

I finally got a call. The Foundling Museum had managed to round up three of their trustees willing to have their portraits taken. They were the Chair, Dr Alan Borg, CBE (Director and Secretary of the Victoria and Albert Museum, 1995 – 2001), Carolyn Steen (former chair) child psychologist, Michael Parker chief exec Saatchi & Saatchi (I think). Had I known all this beforehand I might have been nervous. The whole thing went really well, I just roughly set up the camera in front of Hogarth's portrait of Coram, held down the quick shot button and chatted to them while they took turns standing on my cunningly placed yellow post-it note. The whole thing was fairly arbitary and hopefully not too controlled. Unlike the painted portraits which surrounded us the whole 'sitting' took about 12 minutes. On the train home I manged to edit the photos together to send off to 3d images while frantically trying to tune out the pompous salesman who was holding forth to his female companions. (I may have lost filling grinding my teeth). I just have to wait now and see what comes out the other end. I've kind of realised this whole exercise has turned into a sort of Alex Pearl vs. Hogarth and Handel thing ;P

# 14 [26 July 2007]

Suddenly its all going to pot. Well nearly

I've finished the Foundling Opera but haven't heard yet from the music rights people so I might not be able to show it. Also the projector i bought at huge expense casts weird rainbow patterns, which the technical support people say is normal.

(You have to imagine my face when I read that email!)

Also the trustees still haven't got back to me about a date to film them and if they don't hurry up there won't be enough time to complete the lenticular portrait.

So at this rate I might have to show some old work on an old telly.

I hope I'm panicking well in advance.

Anyway other shows in the offing are:

Play, Key Arts Ipswich, 23rd-25th August

Time Based Media Invitational, Artspace, Raleigh, North Carolina, USA, 15th September – 2nd Sept

One Minute Film & Video Festival, Aarau, Switzerland, 17th - 19th August

Digifestival, 2007, Florence, 15th August - 28th October

(They are all sorted, more or less)

# 13 [19 July 2007]

Work on the Foundling Opera goes on. Mostly on the sound. I have three versions so far. One is basically the Foundling Anthem almost unedited (still no answer from the copyright holders). One is a rather thin and pathetic soundtrack played by me on recorder and melodica (one of those children's instruments parents usually regret buying). And one is a blend of the two with the Anthem dominant. Even though the Foundling Anthem sounds like it was a bit of a hack work for Handel its still a lot to live up to and I'm quite enjoying falling short of its complexity and accomplishment. I want to make a neutral work which neither openly celebrates nor is cynical about Coram's effort. It will be twenty five minutes of painfully unclear narrative. This is an idea which probably reflects my difficulties with contemporary and celebrity charity. Unbeknownst to my handlers (until now) I'm also making a little book of drawings to accompany the film.

I'm still waiting for a date to film and photograph the trustees, I hope they haven't got cold feet. When the large lenticular gets done it will be framed and donated to the museum. An unusual act of personal charity or a sneaky way of getting further publicity?

# 12 [7 July 2007]

I forgot, I wrote a rather prophetic and not very good poem on the way to Liverpool.

I am going to Liverpool

Six hours on trains

To stand awkwardly

Near my work,

And come back again

But I did do some drawing.

# 11 [5 July 2007]

Things change. There have been a few difficulties with the siting of my work for the Foundling Museum. I’ve decided to cut back on some of the pieces. The only available place for the Foundling Opera seems to be in the Picture Gallery in front of the fireplace. Luckily the room is only dimly lit & I have found a floor standing screen that is 2m wide, not quite as big as I wanted, but it should be ok. The video portrait of the trustees will be on a small monitor and the video Lenticular will be on the stairs. The Opera is going along ok. I’ve done lots of filming and started work on the soundtrack. I’m having real problems getting copyright clearance to use a recording of Handel’s Foundling Anthem, But Jo Baxandale at Commissions East has given me a link which hopefully will get things moving. I’m also using a melodica, a recorder and some rubber bands.

In other news Demolition opened in Liverpool to an orgy of destruction, which I found quite disturbing. There was one woman (who I was told was an arts officer) who was particularly gleeful as she levelled one piece. I know that this was the idea but I think she may have a few unresolved issues. Happily my piece quietly stood apart from the worst of the vandalism.

# 10 [17 June 2007]

I'm rubbish at writing detailed proposals, the vague stuff is fine. I recently sent a proposal to a gallery for a solo show. They were really interested, pencilled me in for June 2008 and asked me for a more detailed proposal. I sent one in and I haven't heard anything since. I think they got their rubber out.

Anyway I've written up my detailed proposal for the Foundling Museum and sent it off. I've realised I've said I'll do rather a lot and that there won't be much money left for me at the end. Hey ho this was never meant to be a profit making exercise and I'll end up having to pay 22% tax on anything I do make (the curse of the working artist). In Ireland there is no tax on profits from art, I may move. There are more possible expenses on the horizon.

In the interests of openness here's what I sent off:

The Foundling Opera

Summary
A twenty-five minute colour film using lollypop sticks enacting an operatic fiction that imagines Coram and Hogarth’s setting up of the Foundling Hospital and the admittance of the first foundling. The film will be structured around Handel’s Foundling Anthem and will use elements of the music in the soundtrack (copyright permissions are being sought).

Site & Installation
Preferably large-scale projection with good sound possibly within the Handel space. This would involve mounting a projector either from the ceiling or opposite wall and mounting a screen or preparing a suitable projection surface (i.e. clearing & painting a wall white). The film would run throughout the exhibition at 10-minute intervals.
There will possibly also be one offsite live performance of the opera in early November (during ‘Arrivals’ part of Kings X Create timed to coincide with Eurostar launch). I have still to ascertain how feasible this is.

Equipment Rough costs
Dvd player £40
Projector & mount £800
Wall mounted screen (or suitable surface such as flat white wall) £100
Speakers with amp £100


Video Portrait of the Trustees.

Summary
To create a video portrait of the current trustees using low-level cameras mounted on wandering toys. The filming would be largely uncontrolled and would take place in the Picture gallery with the trustees gathered together but given no instruction. Filming will take no longer than 1 hour and the room would have to be closed to the public for the duration.

Site & Installation
Video portrait presented on a loop (could be split into three and presented as part of the existing video projection triptych or as a single screen projection). If a separate projection is used installation will be as Foundling Opera.

Equipment
Toys and radio transmitting cameras provided by artist

Lenticular Portrait of the Trustees.

Summary
A video lenticular image produced from 30 to 50 digital stills of the current trustees combined into one image. The stills will be taken during the shooting of the video portrait (above). The image will be 120x100 mounted on 3mm board (unframed) and will be donated to the Foundling Museum.

Site
To be installed on the stairs or similar site among other portraits.

Installation
This work will be delivered directly to the Foundling Museum by 3-D images Ltd where it will need to be fixed to the wall. (discussion with museum staff required)

Cost (including delivery)
£1200 (2 weeks processing)


Ancillary Works

Summary
A number (2-4) of small-scale video pieces based upon play and magic to be discretely placed around the museum. These will not be filmed in the museum.

Installation
Each will be presented on 7” wall mounted integrated dvd player tft monitors. They will need to be screwed to the wall near electrical sockets.

Cost
4 x £100 each



Estimated Total costs using existing triptych projection £2640
10% contingency £ 270

£2910

# 9 [7 June 2007]

Had a really interesting chat with David Burder who owns the company which makes the video lenticular images I'm thinking of using. He actually invented the process and understandably is very keen on it being used to its full potential. He raised the "difference between art and science" and urged me to change my ideas, which has made me think. Anyway, this will be another interesting ball to keep in the air.

The deadline for the detailed proposal is fast approaching & I think I will concentrate on the Foundling Opera and the Lenticular portrait of the trustees almost to see how many people I can disappoint (in a positive way).

I also got an email from Catherine Butcher who is running the Escalator thing reminding me that I had been foolhardy enough to mention the possibility of performing a live version of the 'opera'. She had a couple of really exciting events in mind. One of which was part of King's Cross Create coinciding with the arrival of the Eurostar in November. I can't seem to make my mind up about anything at the moment so I sent the following reply.

"Hi Catherine
I definitely still want to make the piece but I must admit I'm getting cold feet about the idea of a live performance as I only have a very vague idea of how it might happen and I've never done anything like it before. Having said that the 'Arrivals' thing looks very interesting and mid to late Nov is not booked up. There's an infuriatingly uncertain answer for you. And yes, everything is going in the blog.
Alex :]"

# 8 [5 June 2007]

I'm waiting to place a phone call so I thought I'd do a quick update. The deadline for written up proposals is looming so I am currently trying to sort out costings for the two main works. Firstly for the Foundling Opera I want to use elements of Handel's Foundling Hospital Anthem so I am trying to get copyright permission from Decca records. One of my main problems is that I am phone phobic & try to do everything via email. The call I'm about to make is to 3D images who deal with lenticular cards etc. I'm hoping to make a large video lenticular portrait of the trustees of the Foundling museum & I'm hoping it won't eat my entire budget (£4000ish).

On a much smaller and less permanent scale I'm about to have some work in Demolition a show curated by Mercy in Site on Liverpool's Albert Dock (just off-tate). I'm producing some durational sculptures which are likely to be destroyed during the exhibition (see image)