Always Only Once

Solstice Burdick

Project Description

Always Only Once is a practical, theoretical, and historical exploration of the moving image. I focused primarily on the construction and reproduction of moving images that are created without the direct mediation or intervention of a camera. To this end, I spent the majority of the semester creating three art objects for installation that projected moving images in an irreproducible form. I loosely followed the historical development of projected moving images made without cameras by making each project correspond to a period of development in the art form. The first object reflects the origins of projection- a kinetic sculpture with a light source projecting the shadow of its spinning structure. The second object, a liquid light show, is demonstrative of the expansion of projection in moving image techniques as well as the long-standing impulse of artists to associate color and light with music. The third object, a series of code that projects a generative visual, is a foray into the most recent development of moving image, that which is machine-generated. The three art objects and their respective histories were then brought into conversation by way of simultaneous exhibition, attended by guests who were welcomed to participate in the image-making.

What Form will your Final Project Take?

3 discrete installation works, public exhibit, paper on process and reflection with extensive notes on reproduction

Hydra-Example_ELOA-Form.avi

Who was supporting you in your work?

Rory Solomon. We met weekly for 1-3 hours, discussed readings, my writing, and troubleshot material difficulties in creating installation works.

Project Themes:

Research, Creative

How has this project has been impactful or transformative?

I initially conceived of this capstone work to empower myself to create artwork that I hadn't yet had the chance to dedicate significant time to and doing so allowed me to feel for the first time, wholly in charge of what I was learning. The most impactful moment for me, however, was when I realized that one of my biggest inspirations in the realm of light art shows, Joshua White, had attended my installation exhibit. My advisor had invited him by extension through a colleague but I wasn't expecting him to attend. I was positively delighted to be able to talk to him about my work, especially to explain the algorithmic image generation and manipulation, which he doesn't have as much experience with but was fascinated by. I've always thought of teaching as the highest form of understanding and it was incredibly transformative to be teaching someone from whom I have learned so much and am so inspired by.

What would you do differently?

My biggest piece of advice is to give yourself time. Way more time than you think you need! It's very difficult to complete a full thesis in one semester- if you can, apply for any funding you want and your independent study course the semester before you plan to complete your project so you aren't caught up in bureaucratic issues while trying to do your work. That's all I would have done differently- but even if you're a chronic procrastinator like me you can find success with enough gumption.

Short summary of your experience:

In the beginning of the semester, I focused primarily on historical and theoretical research related to the topics of camera-less moving image and projection as an art form. However, as soon as I had the material capability to do so, I pivoted to focusing on the construction of my three art objects. Completing this satisfactorily required a great deal of trial and error, so I spent the majority of the semester tinkering with the materials to ensure my installation exhibit was successful. While it was not in my initial proposal, it felt important and necessary to stage an exhibit that had all three projection images I made over the course of the semester in conversation with each other.

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