A Moving Image of 12 individual-15 minute screen journeys layered and sped up to 5 minutes. Capturing the bodily movements and rhythms; heightening awareness of the internal synapses communication. The signal movement and the corresponding external physical movement.
There is no grand finale this adds to the frustration.
Taking my current work outside has picked up additional elements; that of the wind, breeze lifts the drawings highlighting the ebbs and flows of the daily cyclical organic rhythms that the drawings detail in a biorhythmic way. Placed in a … Continue reading
Rhythm Plasticity
‘A Screen Journey’ 2014 my work has just taken a turn to film so this piece is still being made and could not get any fresher.
http://www.flickr.com/photos/32456818@N00/12812901645/
When finished the film will consist of many layers of screen drawings running simultaneously, there is no grand finale this just adds to the frustration.
Deborah Humm makes installations, drawings, sculptures and conceptual artworks as an enquiry into the internal (mis)communication between brain and body and the resulting external manifestations. Articulating the physical sometimes profound and random effects through visual and auditory means and heightening the awareness of this to others. Humm tries to approach a wide scale of subjects in a multi-layered way, choosing to involve the viewer in a way that is sometimes physical. Often presenting work using creative game tactics, but these are never permissive, play is a serious matter. The works have underlying currents including that of frustration and irritation.
Deborah Humm completed Her BA(hons) in Fine Art at UCA Canterbury in 2013 and was awarded the Elfriede Windsor Scholarship to continue directly onto a Fine Art Masters.
www.deborahhumm.co.uk
Rhythmical, relaxing a complete contrast of sound-until the typing begins, then frustration and irritation while trying to decipher the typed word. Willing it on: in a similar way to the Piano piece.
As Lefebvre states in his book Rhythmanalysis:Space, Time and Everyday Life
‘In Order to grasp and analyse rhythms, it is necessary to get outside them, but not completely: be it through illness or a technique. However, to grasp a rhythm it is necessary to have been grasped by it; one must let oneself go, give oneself over, abandon oneself to its duration.
In order to grasp this fleeting object, which is not exactly an object, it is therefore necessary to situate oneself simultaneously inside and outside.’ pg37
The sound mixes with other peripheral white noises highlighting this effect making it difficult to distinguish.
I have my first article published today with the AXNS Collective. This group specialising in the crossover between art and science, particularly neuroscience interested in interdisciplinary discussion and public education.
Was a success, appealing to all-very popular.
http://www.flickr.com/photos/32456818@N00/9143305718/
In appearance Loss of Signal is reminiscent of Eva Hesse work, jutting out into the room and taking over the space with a ridiculousness and out of proportionness. Being minimal but present, presenting questions and claiming thoughts with it’s interactivity.
Visceral in the representation of the spine and the tingle one gets when standing straight and looking down at one’s own feet, the electric buzz of failure. Frustration building when the buzzing continues. The paranoia as the sound of error is heard by all and the Eyes upon you take over your thoughts and abilities.
Frustration.
Creating Seismographic records of journeys using myself as the ‘tool’ i have created some intriguing images reminiscent of nerve scans, have a look…
I found this image at http://multiple-sclerosis-research.blogspot.co.uk/2012/05/research-nerve-regeneration-is-more-in.html
and desaturated it = 
One of my Journey drawings created on the French A3 to Davy Crockett Ranch
more images shown on the Masters 2013 page.
Walking around the degree show, the sound travels and permeates throughout the whole building subtly. Getting into the psyche. Having no beginning, no middle or end, exactly when the piece is encountered is irrelevant, it is heard wherever you are, the time spent with the piece is also immaterial-you do not enter a room, listen and leave the sound follows you around, you cannot escape…
