The Pueblo 48 Hour Film Festival screened October 14th 2017. This year Foxy-Wolff brought a short titled The Prophet.
As with every year the Festival has a list of requirements that each video made in the 48 hour time limit must include. This year those requirements included; setting: a body of water, character: a prophet, props: a mask, an aircraft, and the number 11, and the lines: “Survival is Insufficient.” and “We were not meant for this world”. This event is sponsored by the Pueblo City County Library District and this years theme was taken from the All Pueblo Reads book Station Eleven by Emily St John Mandel.
If you’ve been following the blog you know we have been quite pressed with the coming installation of Weighting to Rise. So pressed that I didn’t think we would be able to participate this year, but Gabe would not be daunted and came up with a quick concept and script and we went to work.
Using characters from the Limited Liability Insurance Company Play set and a couple of toy planes from the Arc Gwaby pulled this little piece of madness together in no time and we were so glad to be able to participate.
Here it is folks, a true testament to human creativity and ingenuity.
I’m going to open this by repeating the phrase, “a picture is worth a thousand words,” and then pump the breaks. I pause because I cannot remember if the number was a thousand or ten thousand words now. I get confused as I say it. I do understand the meaning behind it and how the phrase blew up in the 1920’s. Wait was it the 1914 and was it “a look?” My mind said to me once “A look” referred to real estate advertisement or was an ancient Chinese or Japanese proverb. Fred Bernard pops into my mind as I wonder what his face looked like as well as the faces of the proverb writers. Due to the proud fact that I have never written a ten thousand, a thousand, or even five hundred words about a picture that I was fond of I have issues relating. What did their faces look like?
Fully confused by the connect the dots picture gone wrong now in my mind, I would like to add a new phrase into this world of knowledge.
I would like to add a “A look,” wait scratch that, “The face is worth ten thousand written pages of a false history if one cannot remember the face that represents its culture”.
“Your welcome and if someone has already stated my quote then that means they were at least as smart as me,” is how I would follow my new phrase. This, to you that do not know me well, is how my brain thinks. Always rapid and most of the time lots of imaginary nonsensepresented as fact to myself. Yes but how does this fit in with the body of work Weighting to Rise your asking yourself?Creating the faces fell into a couple of categories in my mind.
For starters the look of Weighting to Rise in Kate’s mind and in my mind had to be set. Yes our work would respond to each other’s and physically change a little but the basic structure was hashed out before I ever started a face for the show. The faces to me are just as important as the vessels or the wall hanging that they are mounted on. The feeling of the cultural belonging is more important than the individual always runs through my mind as I am painting or drawing a face.
Secondly, the faces should not dominate the space that surround it. A little bit of emotion in the face is ok but the eyes can not reveal to much. I need the work to feel coveted to the point that if you were to polish it one more time the face will be lost forever. The faces have rules just like every other artistic project I work on. The ideas of loss is not only in the content but also in the firing proses. When drawing onto green ware or bisque with my underglaze pencil I always expect to loose atleast %30 of the rich black. I have a couple secrets about that pencil and that’s why the loss is only %30. Sadly, muhahaha, I will not speak of such secrets. When it come to loss of the underglaze pencil work when the low fire glaze is happening, the ideas of predicting what I will get out is very bothersome.
Then Gwaby, then with tears running down his cheeks into his beard, put his hands into the air and shook them passionately while shouting, “why glaze, why must you eat all of my work!!!” The glaze bucket, in response then said to Gwaby, “wow… tantrum much? Dude your the one who made me.”
Gwaby taken back by this experience wiped his tears and said back to the glaze bucket, “word.”
Underglaze- and mason stains
Thirdly the face needs to be a basic face. Let’s say you did know the person whose face is depicted. Youcould write ten thousand pages about that persons face and in the end it could be summarized and he or she had a very average face. I find it very difficult to create this work. Fighting the impulses to make each face as tricky and visually dynamic as possible is so hard. Working in slips and mason stains is an art and props to he artist of the world that can do it perfectly. One of the way i can work through compulsive perfectionist issues has been to do a three step deconstructive process. I work on paper as loose as I can let my self. I’ll render a face in my favorite lighting, hair styles, and value changes. From there I will make a reverse transfer that will go onto the clay. This transfer is a very stripped back version of the drawing. This process helps me to to get to just the basics of a face versus sitting down with a brush and a slab and going nuts with it by doing all the detail I could possibly think up. I put myself in the head space of and artisan of their time. The essence needs to be captured and nothing more.
In my mind Weighting to Rise deals with the passing of life and how Kate and I choose to depict an imaginary version to be. The faces are a way for those people to simply remember their dead. The face, to them, implies that the after life journey is not done yet for them.If these people could not remember the faces then some how the culture and history would be lost.
The filming of the last segment of The Magic Box was of course, the most complicated yet. The difficulties came from the structure of the church itself. Part of the immersion into the world required that no windows or external light be present in the interior shots. That required all internal shots to be done on the GoPro, and more than that, our arms were to big and short to make clean shots possible so a rig had to be made for the camera to ride.
The rig was made from aluminum shower slide pieces we salvaged from Dionisio Metal and Iron. A mount for the camera made from scrap tin was mounted on to the slide and string was used to manipulate the camera inside the space. Gabe is testing the tension on the string in the image above, to insure the camera will move smoothly. Gabe produced this little video to show the rig in action.
For shots from the other angle, the structure of the building was built to come apart so that the larger camera we usually use could access the shots.
The result of these filming challenges was a video with a very singular feeling and texture, inadvertently giving the action inside the church the otherworldly quality we were hoping for. This does not become a linear solution that one might expect from a film with the intent of telling a story, rather the last piece conjures many questions and uncertainties that keeps the work firmly aligned with art, in-spite of the narrative structure that it follows.
Filming for this project always includes elements of what we know and have done before, and things we have never done or seen. This project fell inline with that completely. There is always the cramped spaces and the need to be very careful with the ceramic. The camera angles are always tricky and there is a carefully crafted technique for using the camera, both in first person shots and in third person that adds movement to the static ceramic.
This film added elements as well. For the first time we used the device of the flash back. This adds to the story telling and also breaks up long views of ceramics in conversation. Earlier posts discussed the extra requirements in building that these required, but they were also time-consuming in terms of filming. Many of them had separate small films for the magic boxes that had to be made before the scene could be set and filmed. Once this was complete, they could be filmed, but they continued to add challenged to the musical composition and to the editing because they break up the space and time that are sometimes required to edit or compose something cohesive.
Another addition to this film was a second camera. We acquired a Go-Pro this fall and used it for the first time in this production. It was especially effective in some of those flashbacks, where the extreme wide-angle added an interesting element to the memory aspect of Terry the Squirrel. The size of the Go-Pro was also useful in allowing us to go inside with the figurines and get shots that were impossible before.
The camera was not the only new piece of tech we used for this production. Video splitters and tiny TV’s replaced the cell phone tech that we have relied on in the past. This excellent innovation cuts cost significantly for the overall project and gives the houses a permanent solution to the video requirements. The splitter allowed us to run all 3 TV’s of the new house off the computer for the filming. This was huge as it allowed us to eliminate the constant pulling the phones out of their cases and trying to sync videos by pushing go at the same time. We will convert to inexpensive DVD players for the show in 2016.
Rather than recording the audio first as we have in the past, the voice audio came in about mid-project. In terms of filming and editing this was not ideal, but it did allow us to be more agile as the project developed. We made some late stage edits to the script that really made for a better film.
No matter how many tricks we employ, the real work of the film comes down to capturing the images and threading them together with script and music to create a cohesive art piece. This film satisfies our needs as artists to deliver a piece with integrity and direction that is watchable and entertaining. Stay tuned, we will release it quite soon.
Though the video was completed in May, we have done very little to share and promote it beyond our Facebook circle. Preparing the work for our first major show entry has motivated us to begin sharing in earnest. Here we share the video and a brief artist statement that accompanies the work. If you are interested in learning about the project, we have blogged it extensively since October of last year.
Foxy-Wolff is an art collaborative featuring artists Gabe Wolff and Kate Fox. The focus of our work is in uniting the oldest forms of art (ceramic) with the newest (digital technology) into works that honor both history and craft tradition, while at the same time exploring contemporary life and culture in a thoughtful and meaningful way.
The Magic Box project is inspired by toys and explores the lives of ceramic figurines as the Magic Box influences them. Central to this work is a story of misplaced desire and addiction, and one squid’s attempt to save his relationship and understand his world.
The ceramic objects are central to a project that includes technology within, in the form of touch screen portable devices and technology without, in the form of a video that uses the house and its characters as the set and actors.