Primary Scientific Time Data (PSTD) #3

Saturday 18th August, 2018

A systematic operation focused on the evolvement of form, space and environment

Primary Scientific Time Data (PSTD) #3
2018

Cotton polyester, Cotton mesh, Polyurethane silicone, Linseed oil, Tanking slurry, Plaster, Mortar plasticiser, Concentrated sugar soap, Beeswax, PVA admix adhesive, Varnish, Gloss, Emulsion paint, Matt paint, Acrylic, Gloss paint

A brief overview into connected themes and the structural concepts for this work

Experimentation – stood for the stage of processing when performing a scientific procedure, similar to a scientist in a laboratory, when trying to determine something. In relation to Primary Scientific Time Data #1, #2 and #3 the processes and techniques infused are very similar, as the construction of the works took place in the studio, and in outside environments. These places acted like a laboratory where much risk taking took place. Although the techniques and methods I used are familiar, new materials elements and surfaces were introduced, meaning different possibilities were informed. The mixing, dunking and pouring techniques and processes were the main event in this work, as it was less about the finished article and more to do with the progressive nature of how the work evolved.

Time spontaneity –  represented a spontaneous process in a system of time-evolution, an act of releasing free energy which moved to a lower, more thermodynamically stable energy state. I was interested in constructing cases  which included  isolated systems, where no energy is exchanged with the surroundings, as spontaneous processes are characterized by an increase in entropy. All previous works in this operation have been built around a structural regiment system. This work strips away at the conformed and becomes less obedient. Although a time record sheet was introduced, it did not figure as a critical component in the exercise, as it just acted as a record of interest and a concern for disabling, disconnecting and deconstructing time.

A Rebellious action – suggested the opposition of me in authority, against an unsuccessful defiance of resistance. In terms of processing this work, the configuration  aimed to display a dismantling and deconstructing of material, element and surface.  I achieved this by breaking up, deconstructing and causing conflict, within a mode of activating through applying and removing. I also saw this as a way of expressing a certain amount of anarchy into each product.

 Improvisation – was included as something that inserted spontaneity into a process of designing and working,  where plans could be altered in the hope of stretching my imagination. Sparks between myself and work heightened, as spontaneity led to unforgettable performances. This also symbolized an exaggeration into new possibilities, where the unpredictability started to become more visual. A willingness to challenge, test and understand  became more intensive, as a contrasting range of composing materials and elements with opposing surfaces materialized.

 

 

Photos which show documentation from a production of layering, mixing, dunking and imprinting information

 Time Cycle

From Wednesday 01st August to Friday 10th August – This was the time period accounting for the mixing process, and dunking and pouring technique, drying stage and the investigation phase capturing and recording a performance of informing (data information). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle (In conjunction with PSTD #1 & #2) Time Structure spontaneous– Monday, Tuesday, Wednesday, Thursday and Friday With a 1 Hour break, again not set and structured.

(Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) had been disconnected – An act of applying and removing was the main objective. A mix, dunk and pour to be included at the end of each working day.

This was achieved in my Farnham studio at UCA.

Time record sheet

Wednesday 01st August – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking & Pouring technique) + Imprinting of understood Information = ( Data process Square & Purple Gloss + Bright Yellow gloss) & Documentation (Carried out in UCA Sculpture space = Final Degree show space – Farnham, Surrey)

Wednesday 01st August – 09:54am – 10:00 am – (Mixing process, Dunking and Pouring – process / technique)
Wednesday 01st August – Documentation stage Starts at 10:37am and ends at 10:43am
Thursday 02nd August – Start of exercise at 09:30am – End of exercise at 13:30pm (Data Process Square informed on reformed surface)
Thursday 02nd August – Documentation stage 1 Starts at 13:37pm and ends at 13:40pm
Thursday 02nd August – 16:45pm – 17:16 pm – (Mixing process, Dunking and Pouring – process / technique)
Thursday 02nd August – Documentation stage 2 Starts at 17:20pm and ends at 17:26pm
Friday 03rd August – Start of exercise at 09:21am – End of exercise at 11:30am (Concave shifts informed on reformed surface)
Friday 03rd August – Start of exercise at 11:30am – End of exercise at 13:30pm (Projected shifts informed on reformed surface)
Friday 03rd August – Documentation stage 1 Starts at 13:35pm and ends at 13:39pm
Friday 03rd August – 16:55pm – 17:19 pm – (Mixing process, Dunking and Pouring – process / technique)
Friday 03rd August – Documentation stage 2 Starts at 17:21pm and ends at 17:25pm

Saturday 04th August – (No work achieved) – Studio at UCA closed for the weekend
Sunday 05th August – (No work achieved) – Studio at UCA closed for the weekend

This extract gives an insight into how methods, processes and techniques were performed and activated

Mixing, Dunking and Pouring (Process, Technique, Stage)

 Carried out at the end of each working day, unless stated otherwise.

Drying Stage

At the end of the mixing – dunking – pouring process and technique, the surface was left to dry before providing investigated information.

 The application stage of providing new information (Data) –  Was from Monday to Friday at (Farnham UCA) without using a time constraint (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio, or if I have an engagement I could not avoid.)

Application Process
Raw Data and Historical Data (Past Time)

Media used during Mixing, Dunking, Pouring process technique
Version 1
Tanking slurry, Plaster, Mortar plasticiser, concentrated sugar soap, Varnish, Gloss
Version 2
Matt paint, Emulsion paint, Acrylic, Beeswax, PVA admix adhesive

 

Media used to Imprint Information
Square process symbol – produced from Matt paint

Stored Data modifying to Raw / Historical Data (Present Time travelling into Past Time)
Media used for amplifying Projected and Concaved shifts

Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Purple Gloss Finish

Bright Yellow Gloss Finish

 

 

Photos which displays (PSTD) #3 in a finalised position

 

 

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Primary Scientific Time Data (PSTD) #2

Friday 17th August, 2018

A systematic operation focused on Primary themes such as Science / Experimentation, Time and Data 

Primary Scientific Time Data (PSTD) #2
2018

Paulin, Dirt, Sand, Cement, Tanking slurry, PVA admix adhesive, Concentrated sugar soap, Varnish, Gloss, Emulsion paint, Matt paint, Gloss paint

A brief overview into the exact avenues I took in order to integrate methods, techniques and processes into the production of these works

Time Operation Series   stood for the activation between the elements of chance and the unpredictable. I was interested in this idea of temporal characteristics emerging through undetermined processes and techniques, where the overall formulation of the work was not fully understood, until a record of investigation and information was exerted. This was achieved through the passage of time, where all 3 modes were visually represented – (The past, the present and the future).

Unknown Process – Raw Data & Historical Data – represented a reflection upon  consistent conversations, as this enabled me to see and find out what had occurred. It started to become less unknown and foreign and more insightful. Key aspects which were addressed from this creative process were intuition, inspiration, working processes, refining, and presenting, firstly to me and then the audience. The original unknown attachment started to generate a consideration, making the process and system more informative. (Raw Data), is data which is not fully processed, where it is still in a state of transformation and flux. In my practice this is the (Unknown process) where all surfaces, materials and elements are still in operation, and yet to be fully examined and explained. (Historical Data) is broad findings which have been collected over time, but again not fully processed and stored. In this series it is when original information has shifted, not completely stored and fixed due to the ongoing working of the (Unknown process).  I work with paint to describe and give informative awareness to this change within the surface. I try to display all transformations made, where the materials and elements have reacted with the surface, and this suggestion of a happening occurring through a particular moment of time. The work acts as a broadcast to the audience as it displays what went on from this unidentifiable event. (Stored Data) suggests data which has been processed, where data is grouped or symbolised in order to give meaning.

To portray the meaning of (Stored data) and the (Unknown process)  it displays a disconnection from the operation and system. So the paint used in (Stage 3) can be presented as stored and fixed data. The surface goes through no more transformation period, so all information selected stays and can be seen as (Factual data) displayed as concrete (Visual data).

 

Photos which show documentation from an initial introduction stage, and the working period of stages 1 & 2

Time Cycle

From Tuesday 26th June to Friday 10th August – This was the time period accounting for the mixing process, dunking technique, tying and the drying stage, the investigation phase and the capturing and recording performance of information (data). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle 10:00 am – 18:00pm – Wednesday and Thursday, 10:00am – 19:00pm Friday and 10:00 am – 17:00pm Saturday.

(Stage 2) With a 1 Hour break at 14:00pm.
This was achieved during the Art show Affiliate at Safehouse 2 in Peckham, London.
(Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) has been disconnected.

Time cycle sporadic, worked with as much time possibly allocated to me – Monday, Tuesday, Wednesday, Thursday and Friday. (Stage 3) With a 1 Hour break at 13:30pm.
During (Stage 3) Time was uniformed and set accordingly to (PSTD #1) and (PSTD #2) – One working day on this work with the following day on one of the other works from the series.

This was achieved in my Farnham studio at the UCA.

Time record sheet

Tuesday 26th June – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking technique & Documentation stage) – Integrating the materials and elements – Paulin, Dirt, Sand, Cement, Tanking slurry, PVA Admix Adhesive, Concentrated Sugar Soap, Varnish, Gloss, – Stage 1 (Data) – (Carried out at Safehouse 2, Peckham, London)

Tuesday 26th June – TBC – 10:00 am – (Mixing process, Dunking and Tying technique) + (Documentation stage)

Tuesday 01st May – From 10:00am – 09:30am Wednesday 02nd May (Drying Stage)

The start of recording and amplifying all (Projected) + (Concave) Shifts made to the reformed surface – Cupcake and Celtic Dream Emulsion paints used for informing the (Projected shifts) and Brilliant white Matt paint used for informing the (Concave shifts) – Stage 2 (Raw and Historical Data Information) – (Carried out at Safehouse 2, Peckham, London)

Wednesday 27th June – Start of exercise at 10:00am – 11:12am (Stopping the exercise because Daniella, Director at Rossi Asiaghi arrived at the show). 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)
Wednesday 27th June – Exercise resumes at 12:00pm – 1 Hour break 14:00pm – 15:00pm – End of exercise 18:00pm (Concave shifts informed on reformed surface)
Wednesday 27th June – Documentation stage Starts at 18:00pm (1st stage) lasts 5 minutes – (2nd Stage) lasts 4 minutes
Wednesday 27th June – Mixing process, Dunking and Tying technique starts at 18:05pm and ends at 18:27pm – Drying stage starts and ends when exercise resumes on the next working day
Thursday 28th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 18:00pm (Projected shifts informed on reformed surface)
Thursday 28th June – Documentation stage Starts at 18:00pm (1st stage) lasts 6 minutes – (2nd Stage) lasts 5 minutes
Thursday 28th June – Mixing process, Dunking and Tying technique starts at 18:06pm and ends at 18:30pm – Drying stage starts and ends when exercise resumes on the next working day
Friday 29th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 19:00pm (Concave shifts informed on reformed surface)
Friday 29th June – Documentation stage Starts at 18:01pm (1st stage) lasts 5 minutes – (2nd Stage) lasts 4 minutes
Friday 29th June – Mixing process, Dunking and Tying technique starts at 18:36pm and ends at 19:00pm – Drying stage starts and ends when exercise resumes on the next working day
Saturday 30th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 17:00pm (Projected shifts informed on reformed surface)
Saturday 30th June – Documentation stage Starts at 17:00pm (1st stage) lasts 6 minutes – (2nd Stage) N/A
Sunday 01st July – (No work achieved) – Studio at UCA closed for the weekend

This extract gives an insight into how Stages 1 & 2 were performed and activated

Mixing, Dunking and Tying (Process, Technique, Stage)

 Carried out (On the Tuesday) during the installation of the work at safehouse 2 for the art show Affiliate, then after each working day during (Stage 2), Wednesday, Thursday and Friday but not Saturday. Then one last time before the (Unknown process) was disconnected, before the operation moved into its final stage (Stage 3).
Connected from only 3 points during this stage. Firstly carried out during the Affiliate show in Peckham, before being transferred to the Degree show space at UCA.

Drying Stage

At the end of the mixing process, dunking technique and tying stage on the Tuesday at (Safehouse 2), the surface was left to dry for the remainder of the day, before starting the recording exercise the following day.
The surface dried again after its last inclusion to the (Unknown process) before being moved into (Stage 3)

Investigation, Documentation and Recording System – Also known as storing new information (Data)

Application stage of providing new information (Data) – From Wednesday, Thursday 10:00 am – 18:00 pm, Friday 10:00 am – 19:00 pm and Saturday 10:00 am – 17:00pm at (Safehouse 2) – Affiliate show in Peckham. (Unless stated otherwise – This referred to any potential interruption, for example when I was on the building site instead of working in the studio or if I had an engagement I cannot avoid.)
Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday, Thursday and Friday at (Farnham UCA), In a time structure which was sporadic, what was most important was how I used available time well,  each day during (Stage 3). (Unless stated otherwise)

The objective I  set myself was to try and find new changes made within the reformed surface by amplifying every Projected and Concave shift. This represented (Raw & Historical data) for stage 2, identifying every Projected and Concave shift which represented (Stored data) for (Stage 3) . This was done within the set time frame I set for each working day, when in (Safehouse 2) which was linked to (Stage 2). This was completed on alternate days – For example, in this work Wednesday 27th June started with informing new Concave shifts, with the following day Thursday 28th June informing the Projected shifts and so on. If there was a day I had to surrender for this operation the next available day was  issued to either the Projected shift or the Concave shift.

I allowed myself an hour’s break during each working day. This would be when I would take lunch, linking this to my life as a supporting builder. I was not able to set the exact time frame which is 13:00pm – 14:00pm, because of having to amend my working cycle, however I was still keen to work with an 8 hour working day, so a lunch break for this work commenced at 14:00pm and ended at 15:00pm for (Stage 2). This did not include Tuesday 26th June because this was dedicated to just the mixing, dunking, and tying process, technique and stage for (stage 3) the documentation process was slightly different as all images taken were designed to just show the progression of data being stored onto the surface.

As well as documenting my own imprinting of primary sourced data information by highlighting and amplifying all (Projected) and (Concave) shifts found on the reformed surface I also embedded recognizable data symbols which fitted in with the operative system for these works.

Start Symbol – Also known as the Terminator symbol, this symbol represented the start points of a data document. In reference to this work the information was carried out marking the starting point of the reformed surface. I used Brilliant White Matt Paint which was a media used during the first stages of imprinting information – When the operative system started. Gloss paint was added to mark the end of the operation.
Process Symbol – Also known as the Action Symbol. This symbol represented the first insertion of this data symbolization, before it got taken over by the Stored data symbol. It also referenced the (Unknown Process), as all action which materialized was before any investigation . I Used Brilliant White Matt Paint as a media, as this was used during the first stages of imprinting information – When still in the system of processing.
Stored Data Symbol – Also known as Data Storage. This data symbol was used to display the act of non-removal, fixed data. This was carried out using both Purple Gloss and Bright Yellow Gloss paint. This was only added after the inclusion of the process symbol, in order to show this act of a data symbol which has a higher status which cannot be removed.

 

Photos which show documentation from Stage 3

Application Process
(Stage 2)
Raw and Historical Data

Media used for amplifying Projected shifts
Emulsion paint from a tub, applied with a size 3, 6, 10 and 30 brush
Cupcake
Celtic Dream

Media used for amplifying Concave shifts
Matt paint from a tin applied with a 3, 6, 10 and 30 brush
Brilliant White

Application Process
(Stage 3)
Stored Data

Media used for amplifying Projected and Concave shifts & Data Flow Symbols
Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Brilliant White Matt paint

Purple Gloss Finish

Bright Yellow Gloss Finish

 

Photos which displays (PSTD) #2 in a finalised position

Primary Scientific Time Data (PSTD) #1

Thursday 16th August, 2018

A systematic operation focused on constructing Time in all its modes (The past, present and future) captured through informative recordings of data

Primary Scientific Time Data (PSTD) #1
2018

Cotton mesh, Wood stain, Tanking slurry, Mortar plasticiser, Varnish, Gloss, Emulsion paint, Masonry paint, Acrylic, Matt paint, Gloss paint

A brief overview into the designed titles for this work and (PSTD) #2 & #3

Primary – stands for information found and collected by the investigator who has conducted the event. In this case me as the artist I am the author and the conductor. I have organised, devised and structured this operation, and it is me who imprints and ingrains information to the surface.

Scientific – represents information collected using specific methods, for exact purposes of studying or analysing. In connection to this work information is collected under specific and rigorous methods and guidelines, all of which are structured under a devised plan and operation, linked to a cycle based from the notion of time. How much data is found within the allotted time for the day. This is recorded in a Time Record Sheet which documents how many working hours has gone into the gathering and measuring of data for a specific day. All my works evolve from an experiment where materials elements and surfaces are put through a process which are attached to foreign and unknown formulas. Whatever enters the process is instantly taken away from its original function, and put in a system which opens up new approaches into investigating, documenting and recording. Aspects of chance, the unpredictable and unexplained possibilities are heightened during this stage in the process, as I am never sure what will happen, if it will work and even if it will last.

Time – suggests the conceptual framework in this work, which originates from the constructed Time Record Sheets. The aspect of time guides the operation and helps support each staged process. This idea of time arrived from my life as a supporting builder, where everything on site is done to clockwork. I wanted to feed the same working ethic into this system which is built around much organization. The Time Record Sheets can illustrate this theory and can also relate to something known as Real – Time Data, which is when data is recorded and tracked in a graph or data sheet as soon as it has entered the system – or in this case implanted onto the surface.

Data – is information that has been translated into a form that is efficient for movement or processing. The units of data which are collected are measured and continue to grow as each amount of data stored continues to evolve in the system. This work tries to inform through a description of findings which are constantly in a state of developing, this is achieved once the given surface has undergone a process of mixing which reforms its original consistency. It is at this stage when data is picked up through the medium of paint which highlights and amplifies any given change. This shapes a visual form to the surface, all built up from lines, bars and patterns of colour. The information found gives knowledge to me, as I have to firstly investigate to understand what has happened, before adding my own transcription of informed data. This then gives the viewer an account of what has materialized and developed, as well as depicting a link to constant advancements over time.

 

Photos which show documentation from an initial introduction stage, and the working period of stages 1 & 2

Time Cycle

From Tuesday 01st May to Friday 10th August – This time period accounted for the mixing process, dunking technique, tying and the drying stage, the investigation phase and the capturing and recording performance of informing (data). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle 9:30am – 17:30pm – Monday, Tuesday, Wednesday and Thursday.

(Stage 2) With a 1 Hour break at 13:30pm. (Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) has been disconnected.

Time cycle sporadic – work with as much time possibly allocated to me – Monday, Tuesday, Wednesday, Thursday and Friday. (Stage 3) With a 1 Hour break at 13:30pm
During (Stage 3) Time will be uniformed and set accordingly to (PSTD #1) and (PSTD #2) – One working day on one work with the following day on the other work.

This was achieved in my Farnham studio at the UCA.

Time record sheet

Tuesday 01st May – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking technique & Documentation stage) – Integrating the materials and elements – Cotton mesh, Wood stain, Tanking slurry, Mortar plasticiser, Varnish, Gloss, – Stage 1 (Data) – (Carried out in UCA studio, Farnham, Surrey)

Tuesday 01st May – 09:30am – 10:00 am – (Mixing process, Dunking and Tying technique) + (Documentation stage)

Tuesday 01st May – From 10:00am – 09:30am Wednesday 02nd May (Drying Stage)

The start of recording and amplifying all (Projected) + (Concave) Shifts made to the reformed surface – Ivory black acrylic + Brick red & Buttercup Masonry paint used for informing the (Projected shifts) and Brilliant white Matt paint used for informing the (Concave shifts) Stage 2 (Raw and Historical Data Information) – (Carried out in UCA studio, Farnham, Surrey)

Wednesday 02nd May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

Thursday 03rd May – Start of exercise 09:30am – 11:20am (Stopping the exercise at this time because I am supporting Marija Rudgalvyte with her photography project.) (Concave shifts informed on reformed surface)

Thursday 03rd May – Exercise resumes at 12:15pm – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)

Friday 04th May – Documentation stage Starts at 09:30am (1st stage) lasts 4 minutes – (2nd Stage) lasts 5 minutes
Friday 04th May – Mixing process, Dunking and Tying technique starts at 09:42am and ends at 09:55am – Drying stage starts and ends when exercise resumes on the next working day

Saturday 05th May – (No work achieved) – Studio at UCA closed for the weekend

• Sunday 06th May – (No work achieved) – Studio at UCA closed for the weekend

Monday 07th May – (No work achieved) – Studio at UCA closed due to today being a bank holiday
Tuesday 08th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – (Had to stop exercise at 16:25pm due to tutorial with Tom Dale.) (Projected shifts informed on reformed surface)

Tuesday 08th May – Exercise resumes at 16:35pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

Wednesday 09th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)

Thursday 10th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

This extract gives an insight into how Stages 1 & 2 were performed and activated

Mixing, Dunking and Tying (Process, Technique, Stage)

Carried out (On the Friday) at the end of each working week, unless stated otherwise.
Connected from 3 points one week, and 5 points the following week, this created a unique transformative suggestion within the surface.

Drying Stage

At the end of the mixing process, dunking technique and tying stage on the Friday, the surface was left to dry for the remainder of the day and into the weekend (Saturday & Sunday) when the studio was closed.
The exercise of investigating and recording new information (data) is activated again on the Monday of the following week.

Investigation, Documentation and Recording System – Also known as storing new information (Data)

Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday and Thursday at (Farnham UCA) between 9:30am – 17:30pm each day (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio, or if I had an engagement I could not avoid.)
Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday, Thursday and Friday at (Farnham UCA), In a time structure which was sporadic. What was most important was how I used all time available each day (Stage 3). (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio or if I had an engagement I could not avoid.)
The objective I set myself was to try and find new changes made within the reformed surface by amplifying every Projected and Concave shift. This represented (Raw & Historical data) for stage 2 and gave indication to every Projected and Concave shift which represented (Stored data) for (Stage 3). This was done within a set time frame for each working day when in the studio at UCA for (Stage 2). This was completed on alternate days – For example, in this work Wednesday 02nd May started with informing new Projected shifts, whilst the following day Thursday 03rd May I informed the Concave shifts and so on. If there was a day I had to surrender for this operation the next available day was issued to either the Projected shifts or the Concave shifts. This would be the same for (stage 3) but without any set time structure.

I allowed myself an hour’s break in each working day. This was when I would take lunch linking this to my life as a supporting builder, however I was not able to set the exact time frame which is 13:00pm – 14:00pm, because of having to amend my working cycle. However I was keen to still work with an 8 hour working day, so a lunch break for this work started at 13:30pm and end at 14:30pm. This did not include Friday because this was dedicated to just the mixing, dunking, and tying process, technique and stage.

As well as documenting my own imprinting of primary sourced data information by highlighting and amplifying all (Projected) and (Concave) shifts found on the reformed surface I also embedded recognizable data symbols which fitted in with the operative system for these works.

Start Symbol – Also known as the Terminator symbol, this symbol represented the start points of a data document. In reference to this work the information was carried out marking the starting point of the reformed surface. I used Brilliant White Matt Paint which was a media used during the first stages of imprinting information – When the operative system started. Gloss paint was added to mark the end of the operation.
Process Symbol – Also known as the Action Symbol. This symbol represented the first insertion of this data symbolization, before it got taken over by the Stored data symbol. It also referenced the (Unknown Process), as all action which materialized was before any investigation . I Used Brilliant White Matt Paint as a media, as this was used during the first stages of imprinting information – When still in the system of processing.
Stored Data Symbol – Also known as Data Storage. This data symbol was used to display the act of non-removal, fixed data. This was carried out using both Purple Gloss and Bright Yellow Gloss paint. This was only added after the inclusion of the process symbol, in order to show this act of a data symbol which has a higher status which cannot be removed.

 

Photos which show documentation from Stage 3

All of these symbols will collaborate, correspond and collide with my own transcription of unique data coding!

Application Process
(Stage 2)
Raw Data and Historical Data

Media used for amplifying Projected shifts
Acrylic tube paint, applied with a size 3, 6, 10 and 30 brush
Ivory Black

Media used for amplifying Projected shifts
Masonry paint from a tub, applied with a size 3, 6, 10 and 30 brush
Brick Red
Buttercup

Media used for amplifying Concave shifts
Matt paint from a tin applied with a 3, 6, 10 and 30 brush
Brilliant White

Application Process
(Stage 3)
Stored Data

Media used for amplifying Projected and Concave shifts & Data Flow Symbols
Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Brilliant White Matt paint

Purple Gloss Finish

Bright Yellow Gloss Finish

 

Photos which displays (PSTD) #1 in a finalised position