Lace

 

 

 

 

 

 

 

 

 

BEHIND THE PEACEFUL AND INNOCENT FEATURES SOMETHING BLOOMED

ROMANTIC IMAGINATIONS THAT WERE NEVER EXPECTED TO TAKE ACTION

 

WHEN THEY DID, SHE SEEKED FOR CONFIRMATION

SOMEONE TO MIRROR HER TRANSFORMATION

 

THE NIGHTS GREW DARKER AND STEAMY

THE FEVER MADE HER UNABLE TO SEE THE TRUE REFLECTION

 

FOR CURE SHE TOOK BATHS IN LUKEWARM WATER

NEW SKIN PEELED OFF AND THE GLOW WASHED AWAY

 

 

 

 

 

 

 

A 100 YEARS HAD PASSED.

 

 

 

 

 

 

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FILM

 

 

 

 

 

 

 

 

 

 

 

His touch turned everything, part 1 from Tii Ansio on Vimeo.

 

 

 

 

 

 

 

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development process

 

 

 

 

 

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Part 1

 

Back to library, took all the books from my bibliography, and photocopied the most important, strongest and influental images in large size. I divided the pictures in 5 groups, representing the 4 chapter in the film (I. Bloom, II. Summer, III. Fall, IV. Au revoir) and one for general imagery about styling, set etc.. Then I cut the images and laid them out  in chronological order, following the script. These images represent the kind of scenes and mood I wanted for these chapters.

 

 

 

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Part 2

 

From the images, I started to make collages about the characters, styling and finally the scenes I wanted, mixing my illustrations and notes. This would help both me and people I work with at the shoot to understand my vision. The pictures above are about the styling, but also the "script "is presented this way.

 

 

 

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Part 3

 

After the first shoot, I printed out the stills and photos and laid them on the table. Now I could see which scenes I still need for the film to fill in the gaps (the notes present each scene)

 

 

 

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Part 4 

 

 

I moved the images from the shoot to my sketchbook, so that now I had the original collages that represented the kind of scene I wanted, and the final outcomes on the same page. This will help me when I continue the shoot to remember what kind of make up I need for each scene, so there won't be any unlogical changed in the styling.

 

 

 

 

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lace & architecture

 

 

 

 

 

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Street in Milan - Street in Paris - images by me

 

 

Originally, I wanted to hide lace from the screen, so that my only reference to the subject would be the research process - starting from

(1) traditional lace making patterns & techniques in different cultures.., developing into researching..

(2) ..similarities in the human body (anatomy and medical books & exhibitions, finding imagery of arteries, neurons, diseases) ...

(3) deeper into mental illnesses - insanity, obsessions and how modern technology can make them visible by various techniques 

(4) heart diseases - research of heart tissue scans, idea of "pain in the heart" and how it is made visible - expressions

(5) dark romanticism - themes of insanity and love and how the painters such as Henry Fuselli have expressed these emotions

(6) how photographers (also fashion photographers) explore the same themes - love, darkness, insanity , etc - in terms of lightning, models, direction, styling, etc.

(7) David Lynch - The Grandmother - use of black background and the same themes as dark romanticism painters reminded me of this film which became hugely influental in terms of set design, also the idea of relationship

(8) expressions - study of theatre/clown make up, influenced by the Grandmother, also more research about facial expressions in medical/anatomy books and how they can be manipulated

 

At this point, the idea for the film started to construct and I had already an idea for the script, styling, set, characters, etc.. but the element of adding lace physically didn't come into my mind until I went to the fabric shop to buy black fabric just for the background. Just seeing all the different types of lace they had was really inspirational and different types started to link to the characters and scenes I had in my mind immediately. 

The primary research of lace was really important here too because it reminded me of the differencies between French and Italian lace I had paid extra attention to, because this reminded me of my experiences in Paris and Milan - when I was in Milan last summer for the first time, it kind of reminded me of Paris , but the architecture was much more bold, strong, colourful, very beautiful (or handsome, some reason the architecture to me was very masculine), but sometimes maybe a bit too much (one could say distasteful), where as in Paris the architecture is always well considered, exquisite, restrained color palette (and feminine).

This actually helped me to develop the characters I had in my mind further - refine the kind of person I needed and  how to show the transformation in styling exactly - the French lace representing the innocence and pureness that we see in the starting scene, the moment before the transformation begins, after introduction to the influental, very different but exciting and attractive strong character.

 

 

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4 types of lace - one for each chapter

 

 

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Italian gimp lace - Portrait of marquise Lucrezia Ricasoli Zanchini by Luigi Sabatelli

 

Italian bobbin lace

http://world4.eu/italian-lace/

 

 

 

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Cabaret dancer in a lace dress, Paris 1926

Parisian bobbin lace

 

source

 

 

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secondary research

 

 

 

 

 

 

The Grandmother by David Lynch

 

 

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above Lyle Ashton Harris, America source

below The Head of Niobe, G.-B Duchenne de Boulogne from Mecanisme de la physionomie humaine (1862)

"The smooth forehead and level eyebrows do not show the sculpting produced by the expression of pain."

 

 

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 scans from Aesthetic Surgery by Angelika Taschen

 

 

The face of horror; the face of insanity

 

"The face-to-face eludes every category. For within it the face is given simultaneously as expression and as speech. Not only a glance, but as the original unity of glance and speech, eyes and mouth, that speaks, but also pronounces its hunger... This unity of the face precedes, in its signification, the dispersion of senses and organs of sensibility. Its signification is therefore irreducible.

Moreover, the face does not signify. It does not incarnate, envelop or signal anything other than self, soul, subjectivity, etc. Thought is speech, and its therefore immediately face. In this, the thematic of the face belongs to the most modern philosophy of language and of the body itself."

- Jacques Derrida

 

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Unidentified artist, "The Muscle of the face" - G.B Duchenne de Boulogne, "The Muscle of Sadness"

 

Facial muscles, expression

 

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"In Monster Reborn he sits next to himself in a double portrait. One of the images shows him as a perfectly ordinary young man, while the other is a distorted mirror image of himself with tape criss-crossing his face. A representation of a split personality where the artist refers to e.g. Dr Jekyll and Mr Hyde, creating a picture of his own inner monster. At the same time, however, the picture takes on an ironic feel due to all the tape, which subverts the seriousness of the message. Even so, a remnant of the image of evil lingers."

 

source

 

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scans from book 1000 Clowns more or less

by R. Thomas Steeler

 

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Spooky by Tim Walker

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The Shadow by Andy Warhol

 

Capturing the overwhelming darkness in photography :  enlightning the subject in it's pitch-black surroundings, mental states expressed in facial expressions.. the deepest shadows, the lack of contrast  in the endless mist, the moment before breakdown, the insight

 

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Photography by Paco Peregrin

 

 

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scans from Light Fantastic

by Max Keller

 

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scans from  Gothic nightmares : Fuseli, Blake and the Romantic imagination

 

 

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dark romanticism

  

 

 

 

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Franz von Stuck , The Sin

 

"And for in that moment of pure darkness, I see your soul shining brighter than it ever has.

I love the weirdness in you and the gentle way you make me go insane."

 

 

Even love and insanity, are based on changes in the neural connections

 

 

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Salvador Dalí (1904-1989), Ballerina in a Death's Head

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magnified heart

Download heart.mov [26.68MB]
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Exhibition "How do we look?" at the Francis Krick Institute

6.1.2016

 

"On display are a collection of working images, rather than works of art, each created by a scientist to help solve a research problem. From simple illustrations to computer models, the selection our scientists share in the exhibition is diverse. Some are extraordinarily beautiful, others deceptively simple; all have been created as tools for discovery."

source

 

"Timothy created the film by magnifying the heart under a microscope and taking over 1,000 thin slices from it using a machine called a microcrome. The cut surface was photographed each time a slice was removed and the stack of photographs reassembled using computer software into the virtual 3D model of the heart that we see here."

 

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Diseased heart

scans from The Sick Rose by Richard Barney

 

Signs of mental illnesses are visible in the brain, but what about a lovesick heart ?

 

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the brain

 

 

"Electricity is currency in the brain. A tightly choreographed ballet of electrical currents constantly - and fathomlessly - flickers throughout the vast expanses of the neutral plains, engendering our every decision, every belief , every crush, and every aversion.

Your experience of red in Warhol?s Campbell?s Soup Cans, your feeling of helplessness in the face of death, your body?s reaction to a fall (along with its accompanying jolt of fear), and your most intimate secrets are all somehow carried by neurons that speak the language of electricity. Your very language faculty - learning English, deploying it in conversation, reading this book - is produced by their electrical activity. These neurons? currents were set into motion before you were born and will persist through sleep and consciousness until the final moments of your life.

You are the summation of the electrical activity in your brain."

 

 

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source: Carl Schnover: Portraits of the Mind 

 

 

 

 

 

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body

 

 

 

When starting this research about lace, I wasn't really inspired by the traditional use of it, or its qualities it is often linked to, such as transparency, lightness, purity etc.. In terms of color, lace is often made of white cotton or silk, which didn't inspire me this time at all. I started doing research about the way lace is being made and found a lot of tutorials and sewing pattern, which looked interesting aesthetically. The main quality was how the process requires precision; every thread has to be connected perfectly to each other, and repeated over and over again so that it finally starts to create a pattern.

These small jointed lines remind me of the human body, especially on the inside; the many functions only the brain has, are based on neural connections, even the most elaborate ones.

 

 

 

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scans from The body : photoworks of the human form / William A. Ewing.

by Ewing, William A.

 

 

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"An artifically coloured angiogram of the skull showing arteries in the brain.

It is through the circulation of blood that chemicals are brought from the brain to the body."

 

 

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"The rapid growth of connections linking brain ceslls in the human cortex after birth"

scans & quotes from Brain Story by Susan Greenfield

 

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traditional lace

 

 

 

 

 

 

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bibliography

 Anatomia Barocca by Museo Zoologico "La Spevole" dell Universita a Firenze

Ghost in the Shell by Robert A. Sobieszek

Brain Story by Susan Greenfield

The Body by William A. Ewing

Portraits of the Mind by Carl Schonover

Aesthetic Surgery by Ed. Angelika Taschen

Dark Romanticism: From Goya to Max Ernst by Roland Borgards

Martin Myrone: Gothic Nightmares

The Sick Rose by Richard Barnett

Mental States by George Condo

A short history of the Shadow by Victor I. Stoichita

Light Fantastic by Max Keller

The Image to Come by Magnum, Cinematheque Francaise

Symbolism by Robert Goldwater

Henry Fuseli by Carolyn Keay

Doubleworld by Sarah Charlesworth

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