Paper-stranger #11

Posted in Paper Stanger on December 1st, 2009 by admin – Be the first to comment

This blog post is in reference to #11.

The photograph was taken – if I remember correctly – in a quaint place called Grantchester, Cambridge just last summer. We sat in hammocks with sponge cake, tea and elderberry juice and we never said very much. It was probably better that way.

The goldfish are stock photos from Stockxpert. I don’t think it means anything other than my desire to see fish float in the air.

As for the text … well, thinking back on those days where I lived for a majority of my childhood life in a wild, forest-ridden and secluded university campus – I think I miss it (it’s all very neatly compartmentalized now, though). Over here at University, tulips and other outrageously large, flamboyant flowers surreptitiously appear overnight (along with a strong stench of manure). I’ve always found that a bit strange.

Anyway. I promised a dear friend years ago that one day we’ll ride off on dusty bicycles and see how far we go. And well, I haven’t forgotten that.

Paper-stranger #10 additional thoughts

Posted in Paper Stanger on November 22nd, 2009 by admin – Be the first to comment

This text is in reference to #10.

When I talk about love and infatuation and everything in between, I am talking about {design}. You and I, we’re all part of a blueprint to grasp micro-chaos – the systematic kind – of all the bolts and levers set into motion, one oiled cog spinning after the other, teetering at the edge of senselessness.

I am talking about a plan that perpetuates itself in the form of heart palpitations and scarlet jolts. It flashes from one scene to another like a fluent slideshow, one-to-five: exhibition (a) attraction; (b) yearning; (c) passion; (d) tenderness; (e) compassion – a neat, resounding click with each switch, and each scene with its own characteristics, sweaty palms, stuttered pronunciation, lips lickety-spit-drip dry. An arm slung lazily over a torso and damp blankets. A snowflake kiss on a freckled cheek. And finally: flesh lifting flesh before the flickering television screen, wrapped in a nebula haze (and the walls were painted with an animated neon colour, don’t you know?)

And no, no – it’s a machine, not a river, not butterflies. Spontaneity is the enemy of love and desire – when I talk about love and all of the trailing dregs, blame it for the uncontrollable and the stoically biological. We follow each stage blindly, feeling through the world under the comforting guise of chance encounters (you didn’t mind the iron when it was covered in silk, a lukewarm bullet in your hand), the ‘it just happened’ when you knew – your body knew – that there is no resolve or will, no lady luck impulsively pressing two bodies together, no fortuity, no triumph in falling the way the dominoes all did (neatly in a row, perfect synchronization). We are damp clay with fingers kneading into our flesh, and we are makeshift pieces of jigsaw puzzle looking to cement onto another like parasites, joining, multiplying, infesting.

When I talk about love and infatuation and everything in between, I am not talking about anything other than a hard process or an overplayed scene. It is prolonged car crash; your head jerks forward, your spinal cord juts, your arm twists like a bent fork and ruptures in the impact – and you can watch at all this and say – this, this was all just part of the {design}.

Back to #10

Re-direction

Posted in News on November 3rd, 2009 by admin – 2 Comments

Even if I’m up at 3:40AM in the morning doing who knows what, it’s become apparent to me that I probably won’t update this blog for a while – mostly because it’s become a little harder to set aside 10+ hours (and I can’t do segments) for a painting. With that, if you’re at all interested in my useless endeavours, I’d like to plug – once again – my paper-stranger.net page. It’s updated weekly (bar any sudden bursts of work) and I try to set aside time for that. It’s slightly more casual, rough-on-the-edges and a mixed bag in terms of quality, but I’d like to think that makes it an honest reflection of what I enjoy doing. :-)

Longing.

Posted in Art on September 29th, 2009 by Becci – Be the first to comment

Please FULL VIEW – it’s much clearer that way.

Listening to:
Pavane Op.50 (Gabriel Fauré)

Corel Painter X
Adobe Photoshop CS2
10+ hours.
No references except for swan (own photo).

This is slightly different to what I normally try – it encompasses a ‘painterly’ style more, and focuses primarily on landscape. Foilage was fairly tough, but it was really fun to do.

And the summer breathes.

Posted in Art on August 30th, 2009 by Becci – Be the first to comment

Full view.

Corel Painter X/Photoshop CS2
10+ hours
Ref used (gettyimages)

“Calm is all Nature as a Resting Wheel.” – William Wordsworth
Calm is all nature as a resting wheel.
The kine are couched upon the dewy grass;
The horse alone, seen dimly as I pass,
Is cropping audibly his later meal:
Dark is the ground; a slumber seems to steal
O’er vale, and mountain, and the starless sky.
Now, in this blank of things, a harmony,
Home-felt, and home-created, comes to heal
That grief for which the senses still supply
Fresh food; for only then, when memory
Is hushed, am I at rest. My Friends! restrain
Those busy cares that would allay my pain;
Oh! leave me to myself, nor let me feel
The officious touch that makes me droop again.

paper-stranger.net

Posted in Paper Stanger, Uncategorized on August 27th, 2009 by Becci – Be the first to comment

New pet project, updated weekly (I suppose):

Paper-stranger.net

I’m trying to encourage myself to produce at least one piece of art – based on a random thought simmering in my mind – every week, in whatever form it may take (mixed media/sketch/photo manipulation/animation etc.)

I wonder if I’ll stick to it.

Humans and strata.

Posted in Contemplative, Research on May 2nd, 2009 by Becci – 1 Comment

Note: It is a little difficult for me to write this entry, chiefly because I’m unsure where my boundaries lie in terms of confidentiality and written experience. There were no explicit arrangements for confidentiality and it was an ‘informal’ talk. Regardless, I have tried to remain vague about scenarios and have used no names.

The morose – but enlightening – visit to the Peace House has been haunting me for a quite a while. I suppose it is the removal of the ‘glass pane’ that cleanly separated me from looking at them squarely in the eye and hearing their stories from their mouths. When they spoke, it was unscripted and rough yet jarringly eloquent, constructed in a way that can only be achieved by first-hand experience.

It remains as a frame-by-frame scene in my mind, really. I contacted the Peace House a few days ago to inquire about my Undergraduate Research Scholarship Scheme research with asylum seekers and refugees, and I was invited to speak to a few of them yesterday. Peace House is one of the few shelters available to asylum seekers in search of a place to sleep, and many of them leave promptly at 8AM in the morning to search for jobs or other opportunities in Coventry.

I remember hands that were clutched on the table, and fleshy arms with angry scars that told stories. It was as if someone had hit me on the head and said “you know, you’re an outsider. What do you know?” The direct (almost clinical) honesty towards some questions we asked was surprising, yet the immediate silence for others clearly highlighted the empathetic gap between us. We were on the outside looking in, and it was inevitable that we were questions that had already been asked before. I think we could have been likened to sponges; all we could do was sit and listen.

In some cases, I didn’t know how to act. They must have seen all the responses already, and I had no intention of responding with dripping pity. Sometimes I didn’t know which questions would be morally permissible to ask, even though protocol had been drilled in my head over and over again. The thought crossed my mind: how could we possibly chronicle human suffering on a research paper?

We sat on a table with three other men, and there was a loud awkwardness that permeated it all. It was easier to speak about intense experiences than to fashion a restrictive response to fit our questions. One man spoke of being a political asylum seeker: if I return, my death is certain, he explained pragmatically, ask a child and the consequence is obvious even to them. Another man professed to us, with watery eyes and succinct determination, that he wanted to go back to a “normal life”. I noticed a dark-haired woman sitting at the back who soundlessly watched me, her cheek resting on her hand as she studied our conversations. This particular woman, I find out later, speaks not a word of English and has only recently escaped devastating conditions. Finding jobs and housing is an almost impossible prospect for her. Her position is undeniably and excruciatingly vulnerable.

We had soon exhausted our questions, and we promised that we would return to conduct formal interviews. With that, they slowly left until it was just us with our empty cups of tea.

“Don’t go bleeding heart on me,” my research partner retorted.

It was less to do with that; I was a little doubtful. It was the prospect of trying to handle and illustrate something I could not totally understand. In addition, I was now puzzling as to how we could possibly venture on constructing questionnaires and interviews, now that we had to take into account differences in geography and fluency in English. Coventry was fortunate to have entire clinics that were dedicated to the homeless (asylum seekers and refused asylum seekers alike), yet this caused the almost paradoxical scenario of refugees ending up with poorer healthcare than their counterparts who had not yet achieved refugee status.

I understand myself in a way that I am not immune to seeing these problems laid out blatantly before me, even though it has been an ubitquitous topic throughout my reading and research. It is clear that working with refugees in the long term is potentially one of the more emotionally difficult tasks. I vehemently despise human loneliness and the frustration of being prejudiced against, especially the way it has been entrenched within history. The huge disparity between those who are fortunate and those who are oppressed needs to be bridged by anyone who understands that true global progress entails assisting those who have slipped through the cracks of equality.

I am glad that even though the law will deny refused asylum seekers the right to NHS healthcare, it is one of those laws that most health authorities choose to ignore. In any case, I am optimistic that publishing the findings of the research will bring more attention towards people who have long been regarded as outcasts of society, even only if it is very minute. It’s all about the butterfly effect, right?

Painting Landscapes

Posted in Art on April 27th, 2009 by Becci – 2 Comments

It’s been a while since I’ve been able to mess around with digital art, but this weekend I managed to finish a landscape piece. It’s my second attempt at landscape, and I had to to keep in mind that all the elements to an evocative landscape piece such as the foreground, background, dominance, and light were effectively used.

I wanted to make it really really good because this was made as a belated birthday present for my awesome friend Estel. :D I hope you like it.


Please view it full-size here!

Reference used for human silhouette, brushes used for trees and some parts of the sky. Texture from CG Textures.
Working time: 8+ hours
Photoshop CS2 and SAI Easy Paint Tool

I seem to have a thing about putting butterflies into my work, as well as lots of mossy, misty, green landscapes. I’m not very good at the originality thing, but meh. Time to fix my body clock!

Easy Paint Tool SAI

Posted in Art on April 12th, 2009 by Becci – Be the first to comment

My laptop died a few weeks ago, and this meant that the digital art applications I used would be unable to run on this second-hand laptop. Eventually I stumbled upon an awesome digital art program that combines the brush versatility of Corel Painter (there’s Painter 11 out now, can’t wait to try that out) and Photoshop’s interface. Corel Painter X has great brushes but chomps up your computer resources if you use layers in your painting and – this is just silliness on my part – I’m still not entirely fluent with using the software. I always had to switch between Photoshop and Painter, and the layer compatibility isn’t always up to scratch.

I found Easy Paint Tool SAI [fan-made English language pack here], and I love it. It has real-time rotation (PS doesn’t have it olol) and a basic set of brushes (pen, brush, marker, airbrush, water, acrylic, paper, crayon). It doesn’t have the features of Photoshop like selecting and rotating certain parts of the painting, text or fancy filters, but it’s very lightweight and loads in seconds. It’s literally pick-up-a-brush-and-start-painting: the strokes are absolutely smooth, and like most digiart software, the other end of the pen is configured to switch to an eraser. There is also layer and blending modes, hue/saturation toggles, canvas size configurations etc. It’s PS and Corel without frills. :-)

Using my Wacom Bamboo I did a speed(ish) painting, and I really loved the blending of the brush.

(I need to refine my technique or something, bleh)

Here’s a better artist that can show you what SAI can do:

Happy Easter! I hope it’s full of chocolate.