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I don’t know what I’m trying to do!
I’m just playing really, but I think there’s something in here – look at how current popular media gets scrunched into little animated GIFs – does that only work for stuff that’s around now or that we’ve some connection to? Isn’t there still some fun in seeing loops of little scenes that we’re not so familiar with? I’ve been looking through the stuff in the British Council Collection which is all BY-NC licenced
So far I’ve just picked out scenes that I think would look good as a loop. But there’s also that gifset thing where you can sum up a sequence made up of little bits (often with subtitles for the key dialogue) I may try that sometime.
Today I also had a go at making something else: a loop of tracings from a scene
I should write up a bit more about how I did that, but if you’re interested there’s more of this spilling out into my tumblr all the time.
If you’ve been into the Centre recently, you’ll have seen some of my drawings that I’ve been putting up on the walls. This has turned out to be an extremely effective marketing strategy (people see them, say “oh those are lovely” we get into conversation and then they say “can I buy one” – funny, it’s almost as if markets were conversations…) and so I’ve been working today and yesterday on my first commissioned pieces.
It strikes me there are two bits of progress here: 1. I’ve been willing to put my work up on the wall; and 2. I’ve been willing to talk to people about them and own up to them being mine.
Actually there’s also a 3. which I’m not so inclined to admit, which is that when they ask if they can buy one, I’ve said “yes” rather than flannel and bluster and look at my shoes.
So if you like them too, let me know if you’d like to commission one. They start at postcard size, but the largest one I’ve done is about 2′ x 4′
You can see some earlier studies for these on my flickr
It’s very easy to get paralysed at the moment. Either stuck in the headlights of the juggernaut coming to crush your industry or befuddled by the sheer number of possibilities, choices, opportunities.
One thing I hope that I do for people is to give them some thinking space by saying “Hey yes, it’s all quite uncertain and generally a bit scary, but I’m willing to hold up the ceiling that seems to be crumbling and about to crush you all, while you finish your conversation”. OK so it’s not always that dramatic. You should know by now that I’m prone to melodrama, but you get the idea.
Many people tell me they value Tuttle for that reason, that it gives them time out from worrying about what they’re going to do next, time to think but also time to look around and see what’s really going on.
Someone once told me that when they were recruiting creatives, they knew they’d struck gold when they found someone willing to hold uncertainty for themselves and others.
The consulting work we did together last week (which continues tomorrow) felt a bit like that too. It seems to be something people value and something that people find hard to do for themselves.
So. y’know. yeah.
Back in Mayfair this week, just round the corner from the squat…
We went along to the opening of The Overland Project, an exhibition by Sara Haq based on her trip last year overland from London to Thailand. She and Michael Chaplin reported on a blog and via twitter on their way, but the Alexia Goethe gallery in Dover St is hosting a show of a selection of the thousands of photographs she took during the trip.
The gallery was absolutely packed upstairs and down- but I caught a couple of minutes with Sara out of the private view frenzy to hear a little bit more about it all.