FEATHERS AND FLUFF

might fill the space with stuffing from pillows from argos., and feathers from home, mixing the materials i am interested in, man made and natural materials. 

RUDE BRITANNIA

Edwina Ashton and other artists were involved in such as David Shrigley and Sarah Lucas. the room on the 'Absurd' was curated by harry hill the comedian
the absurd is a theme i want to explore heavily in my work and this exhibion is incredibly inspiring
i am finding it difficult for the installationa nd develpoment of my exhibion because i think thats the part i find hardest about my work. i am going to stop trying to make the setting compltytly involved with my film content, stop makign the space look like an animal or have pure animal conatations to it because its far to limiting
i want to develope this absurd theme and get differnt couloured materials and make an installtion taht is invasive or has to involev te participation of the audinace
like a small tent or film screening envionment
http://www.tate.org.uk/whats-on/tate-britain/exhibition/rude-britannia-british-comic-art

BACK IN TO THEIR ROOTS

I have been filming my fur suits back home in Rattelsden which is where i wanted and originally planned on filing them to begin with when i made the things, 

they work well in a setting of a house or outside 

this works well because its a real scene and makes them come to life 

also having human bodies in the films makes the characters believable 

this works so much more then just placing them in the studio or having plain clothes 

I wanted to re-create the 'first proposal' from Jane Austin's pride and prejudice, 

this is a clear example of traditional english behaviour, and as i am researching the projection of human emotions, actions and intentions onto animals as humorous, i thought i would start with a story i know very well and one that i think shows a dialogue that is easily understood without seeing the expressions on the faces of the actors 

the projection of language is shown through the speech and i like that the audience has to imagine the expressions through the fur suits 

instead they have a head made of fur, 

this continues my research on absurdity and creating the human absurd in a fantastical reality. 

i will continue the other films and write scripts for the other clips shown above

i thought starting with an already made script was a starting point which i hope to develop and create my own characters and stories using my fur suits to demonstrate human and animal differences etc 

JOURNEY TO THE LOWER WORLD

Marcus Coates and his ‘journey to the lower world’ is an example of shamanism through becoming the animal he is wearing. Coates is an influence as he often has contact with or encounters animals in the ‘lower world’ that he has a connection with, notably from the british landscape that he knows immediately. His work centers around his sentimental yearning and frustration to get back to nature.

 His work relates to mine in this sense, and draws connections between my sheeps hide cape which i havent yet used for anything. it looks relatively shamanistic although i want to develpope it so that it doesnt look like the hide of an animal more like a character or creature inspired by the material rather then that be the overriding quality of the piece. 

STOMACH SONG

WILLIAM WEGMAN does short films shot from his home using himself or his dogs, his weimaraners collection of dogs dressed in costume. I really like William Wagman’s films between 1970-1977, animating objects and involving his dogs in his quick, easily made films. The simplicity is engaging and humorous. They are giving speech to an object that does not possess the ability to speak, which is one of the areas of humor I want to continue to research.