2009年11月19日 星期四

Film- Light Performance

My concept is expression of light, I am using light (lead actor) and some objects like candle, water, window and woman (support actor) to performing this film.(There are 2 red spots are couple.) There r some movements of light help me to narrate the love story which giving also amplifying audiences many imaginations. In term of psychological, the image of light, I want to use light to create a mental image to push people to enter their dreamland. In this film, the light thought the window, indoor is just a form an atmosphere inside, but outdoor is like Pandora’s box to people. The box is full of fear and worry but left is hope. It is secret and forbidden. Human always want to try dangerous and adventure things, even you already know it might not be a good results.

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first concept of image


I am influenced by color and light, so i made a simple and abstract space to highlight the color. Also i tempting to make this image looks like not real space, just a graphic.





2009年11月14日 星期六

About my theme: color, light, sexuality and space

This is a Japanese love hotel, i am interesting in color of interior and theme of the pic.

When SMALL is a PROBLEM. In Japan, space at home is tight and privacy rare, so love hotels are ubiquitous. But leave it to the Japanese to take interior design to a new level when it comes to rooms rentable by the hour...


I can image what kind of things will happen in this space. And also the activity will become hotter and more intense between two people, or among many people.



This pic is in a club, it using a green light to represent an atmosphere of energy and dynamic.



It’s real? It’s not real? It is can be show in film? Or it’s can be show in real life?
This pic is full of imagination.


When I was teenager, I interesting in Japanese graphic. Although everyone saying that is just a pornographic. But I think there are more then that! Beside it is really beautiful and philosophy!





















































About my theme:


In my analyzing the sequence of these five things, I try to link together their relationship and find the key word. And thinking about the coming year I might be of interest to the theme. The final result is that sexuality and space . though a bit out of blue, but it is traceable (See chart). Then I search further in London on sexuality of these people things, I found that the sexuality of the relevant words, releative to exterior or interior space, containing alluring, emotion and danger ... etc. I want to consider the image of the female body as a sign and try to analyze it in terms of space. Also conbine with nature color and light. At the same time i want to research that Freudian psychoanalytic theory has had on female theory.

The loves of the tortoises by Italo Calvino

The loves of the tortoises


There are two tortoises on the patio: a male and a female. Zlack! Zlack! Their shells strike each other. It is their mating season. The male pushes the female sideways, all around the edge of the paving. The female seems to resist his attack, or at least she opposes it with inert immobility. The male is smaller and more active; he seems younger. He tries repeatedly to mount her, from behind, but the back of her shell is steep and he slides off. Now he must have succeeded in achieving the right position: he thrusts with rhythmic, cadenced strokes; at every thrust he emits a kind of gasp, almost a cry. The female has her foreclaws flattened against the ground, enabling her to raise her hind part. The male scratches with his foreclaws on her shell, his neck stuck out, his mouth gaping. The problem with these shells is that there's no way To get a hold; in fact, the claws can find no purchase. Now she escapes him; he pursues her. Not that she is faster or particularly determined to run away: to restrain her he gives her some little nips on a leg, always the same one. She does not rebel. Every time she stops, the male tries to mount her; but she takes a little step forward and he topples off, slamming his member on the ground. This member is fairly long, hooked in a way that apparently makes it possible for him to reach her even though the thickness of the shells and their awkward positioning separates them. So there is no telling how many of these attacks achieve their purpose or how many fair, or how many are theater, play-acting. It is summer; the patio is bare, except for one green jasmine in a corner. The courtship consists of making so many turns around the little patch of grass, with pursuits and flights and skirmishing not of the claws but of the shells, which strike in a dull clicking. The female tries to find refuge among the stalks of the jasmine; she believesr wants to make others believehat she does this to hide; but actually this is the surest way to remain blocked by the male, held immobile with no avenue of escape. Now he has most likely managed to introduce his member properly; but this time they are both completely still, silent. The sensations of the pair of mating tortoises are something Mr. Palomar cannot imagine. He observes them with a cold attention, as if they were two machines: two electronic tortoises programmed to mate. What does eros become if there are plates of bone or horny scales in the place of skin? But what we call eross it perhaps only a program of our corporeal bodies, more complicated because the memory receives messages from every cell of the skin, from every molecule of our tissues, and multiplies them and combines them with the impulses transmitted by our eyesight and with those aroused by the imagination? The difference lies only in the number of circuits involved: from our receptions billions of wires extend, linked with the computer of feelings, conditionings, the ties between one person and another. . . . Eros is a program that unfolds in the electronic clusters of the mind, but the mind is also skin: skin touched, seen, remembered. And what about the tortoises, enclosed in their insensitive casing? The poverty of their sensorial stimuli perhaps drives them to a concentrated, intense mental life, leads them to a crystalline inner awareness. . . . Perhaps the eros of tortoises obeys absolute spiritual laws, whereas we are prisoners of a machinery whose functioning remains unknown to us, prone to clogging up, stalling, exploding in uncontrolled automatisms. . . . Do the tortoises understand themselves any better? After about ten minutes of mating, the two shells separate. She ahead, he behind, they resume their circling of the grass. Now the male remains more distanced; every now and then he scratches his claw against her shell, he climbs on her for a little, but without much conviction. They go back under the jasmine. He gives her a nip or two on a leg, always in the same place.

villa Panza and the Panza Collection-Varese Corridor by Dan Flavin

Dan Flavin cancel out the original shadows, composing new volumes and giving life to three-dimensional paintings where once can move and breathe.



2009年11月13日 星期五

Water Temple byTadao Ando


The appearance of the building is quiet, and was surrounded by nature. On the other hand,Interior Design with a strong bold red. Caused by a strong sense of ambivalence

Walking around the temple of one side is fair-faced concrete wall, on the other side of the wooden wall of red paint brush , located in the corner of the projection of the ambiguous light. Vague talk of unknown red light went up into a deep mystery, plus no one looked , even more solemn quiet.
Entrance on both sides along the wall to place a five chairs, as is too quiet, and with a red Buddhist temple room a bit strange for me. On quietly sitting in a chair, even the gas did not dare to breathe, slowly control expiratory fear of my own secular Buddhist heartland pollution.


Ceilings, walls and across networks division, cleverly separated by space and the frame constitute the geometrical effects scene, which is the most important characterization of Tadao Ando.



The cell





What i like about this film:


The film at the art direction, costume design, make up, visual effects, the technical level have very good performance, after deducting the part of the story out aside. Because the story which is a popular old-fashioned, many of the same type of play than the film would have come good. but the most attractive part of this film is that to enter the murderer's brain images, which there are many surreal scenes, with the dream-like fantasy and not real, gorgeous, exaggerated picture of the design. thick bright colors flu, as well as the slightly SM color detail design, constitute an unparalleled visual film powerful effects.














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painting-Arnolfini Portrait

Arnolfini Portrait

The Arnolfini Portrait is an oil painting on oak panel executed in 1434 by Jan van Eyck, a master of Early Netherlandish painting.

Interpretation and symbolism
  • The little dog symbolizes loyalty, or can be seen as an emblem of lust, signifying the couple's desire to have a child.
  • Behind the pair, the curtains of the marriage bed have been opened; the red curtains might allude to the physical act of love between the married couple

Van Eyck created a painting with an almost reflective surface by applying layer after layer of translucent thin glazes. The intense glowing colours also help to highlight the realism.




The green of the woman's dress symbolises hope, possibly the hope of becoming a mother. Her white cap signifies purity.



The small medallions set into the frame of the convex mirror at the back of the room show tiny scenes from the Passion of Christ and may represent God's promise of salvation for the figures reflected on the mirror's convex surface. Furthering the Memorial theory, all the scenes on the wife's side are of Christ's death and resurrection. Those on the husbands side concern Christ's life. See mirror detail under Reproductions below.


  • The single candle in the left rear holder of the ornate seven-branched chandelier is possibly the candle used in traditional Flemish marriage customs. Lit in full daylight, like the sanctuary lamp in a church, the candle may allude to the presence of the Holy Ghost or the ever-present eye of God.
  • Alternatively, in Margaret Koster's theory that the painting is a memorial portrait, the single lit candle on Giovanni's side contrasts with the burnt-out candle whose wax stub can just be seen on his wife's side. In a metaphor commonly used in literature, he lives on, she is dead.

    The mirror itself may represent the eye of God observing the vows of the wedding. A spotless mirror was also an established symbol of Mary, referring to the Holy Virgin's immaculate conception and purity.
The mirror reflects two figures in the doorway, one of whom may be the painter himself. In Panofsky's controversial view, the figures are shown to prove that the two witnesses required to make a wedding legal were present, and Van Eyck's signature on the wall acts as some form of actual documentation of an event at which he was himself present.
The painting is also signed, inscribed and dated on the wall above the mirror: "Johannes de eyck fuit hic. 1434" ("Jan van Eyck was here. 1434"). The inscription looks as if it were painted in large letters on the wall, as was done with proverbs and other phrases at this period. Other surviving van Eyck signatures are painted in trompe l'oeil on the wooden frame of his paintings, so that they appear to have been carved in the wood.

What i like about this painting:

When i saw this painting first time, i was learning oil painting at that time. This works in the light and shadow, volume, space, texture shape, in color saturation, brightness, describe accuracy, the true extent and depth extent, going beyond the contemporary Italian .This concept beyond the artistic differences, there are differences in technique, but the most important thing is the sense of drawing materials science epoch-making breakthrough. These paintings by Iconology the explanation, so that we understand the meaning of this painting, its meaning in Western eyes is just like the general importance of today's marriage certificate.what i interest about this painting is that not only the skill but also the meaning behind this painting, so many symbolism hided in this painting. It is worth mentioning that the death of Van Eyck 1441, Leonardo da Vinci, Michelangelo, Raphael and other great masters of Italian Renaissance art has neither birth. Therefore, we can imagine, this painter in art history, how important it is to lay status.