Boxed Art Movement

I am starting a new Art Movement – the Boxed Art Movement

A frame from the Bush Box series

I have written a manifesto explaining the evolution and philosophy but for now, here are the abbreviated steps for producing the art.

  1. Put collected objects in a shallow-sided box and place on paper.
  2. Mark a registration plate showing the orientation to ensure consistent lighting throughout the sequence.
  3. With the camera directly above the centre of the box, photograph the objects in the box (if possible have the camera set on a tripod; if not, note how much of the box is in the frame and include the same in every picture).
  4. Move the objects in the box without direct manipulation (e.g.shake, toss, swirl) then photograph in the same manner as the previous frame.
  5. Repeat step 4 as many times as is necessary to procure enough photos for your study grid. I used 30 frames in my first study. See below.
  6. Arrange photos in a grid, laying them out in rows in the same sequence in which they were taken.
  7. Make a poster print of the grid and laminate. Print and laminate individual photos or groups of photos to accompany the poster.
Why do it?

To study:-

  • the part chance plays in design
  • variance in line and layout
  • distribution of colour and textures and the lines, shapes and shades created (consider how van Gogh used juxtaposition of colour and the viewer’s eye to mix colours).
  • the effect of position, orientation and juxtaposition on how an object is seen (as a metaphor for society?)
  • discovering if preferences in arrangements or orientation arise and considering the reason
  • as a tool to develop and exercise skills in observation and discernment of content (could also be a learning tool for young children)
  • using the accompanying individual prints, viewers could layout the photos in a replication of the poster grid. They could also consider the effects if laid out in a non-sequential order.

How this relates to my Arts practice

I intend to make more Boxed Art using other types of objects, exploring colour, shape and textures then applying the technique more broadly. I can see opportunities to use the art in school and community settings, especially in multicultural inclusiveness projects celebrating commonalities and differences.

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