The presentation provides details of a proposed video art installation called "Crying". It will be projected onto a radiator at York College. [The artists] have researched similar works, technical requirements, and target audiences. They have developed plans for production roles, schedules, and have considered risks. The piece aims to represent technology and worship in an abstract way through pulsating imagery. It will loop to allow continuous viewing.

1. VIDEO
INSTALLATION
PROJECT
TASK 1
ISAAC SHARP
AMY JONES

2. TASK 1
PRE-PRODUCTION
& PLANNING
VIDEO INSTALLATION

3. ARTIST RESEARCH
The idea that I am aiming for with my video art can be related to the work of
other video artists. One video artist that stands out in particular is Michel
Gondry, who makes very whimsical pieces of art. A well-known example is
„the Science of Sleep‟, which Gondry describes as „an exhibition of
sculpture and creepy pathological little gifts‟. I plan to pay attention to
Gondry‟s work while I make the art. I have not yet drawn inspiration from
any particular piece of video art, but I have followed the general idea that
video art is quite extravagant, happy, and over the top, especially Gondry‟s
work.
After developing my idea more, I realise that it can be compared to the work
of Grant Steven, particularly his piece, „The Drift‟. In The Drift, various
sentences and topics float around in space, making for an abstract way to
convey a message. My idea also incorporates space, so this was the closest
I could find to my idea.

4. PRODUCTION
TECHNIQUES RESEARCH
My idea will use forward projection to be displayed on a radiator. This
represents the feeling of warmth that the art tries to give. There are
limitations to this, as while my chosen exhibition space contains a radiator,
other exhibits may not, so my art would not be displayable there. It also
requires a projector, which are limited in quantity at the exhibition space. All
wires will have to be hidden for health and safety reasons, and the art
cannot be excessively bright, as it uses a very bright colour scheme, which
could distract people viewing other pieces of art.
In preparation, I conducted research on video art that uses forward
projection. Pieces would often use projection for artistic effect, and I learned
that wires must be completely hidden, for safety reasons. The projector
must not face any viewers at the exhibition.

5. PRODUCTION
RESEARCH
My chosen exhibition space is at the art gallery within York College. I will conduct
further research on the area later into this presentation. I then focussed on my target
audience.
The target audience for my art, which I call „Crying‟, was very general to begin with.
Most viewers would be fans of art to view „Crying‟ in the first place, as it will be shown
in art exhibitions, though it will also be uploaded to YouTube. In order to create a more
specific target audience, I conducted research to find out which age group visits art
galleries most. The Renaissance North East published the following information, using
their own research:
“Nationally, [art galleries] have a fairly old visitor profile compared to the population as
a whole. Around 13% of visitors nationally are aged 24 or under, whilst 27% are aged 55
or over. This trend has been particularly pronounced in the North East, where 10% of
visitors are 24 or under, and 33% are 55 or over (Matty 2004).
Children (aged 15 or under) make 26% of visits to UK galleries, and the number of visits
made by children has risen by 3.42m since 2000/1 (MORI 2004) (Ipsos MORI 2005).”
This confirmed my assumption that older audiences visit galleries most often, though I
have realized that a lot of children also make visits. Children may not understand the
meaning of the art, but this can be explained by written information at the display area if
I feel the need. The colour scheme of „Crying‟ is most appealing to children, so I have
chosen a target audience of 10-15, while also making an effort to appeal to the adults
accompanying the children.

6. RESEARCH SUMMARY
Having conducted research on other video artists, a potential target
audience, the exhibition space, and the method of installation, I am able to
go into depth on my idea. The art will draw inspiration from Michel Gondry
and Grant Steven, it will be aimed at older children, and it will be exhibited
via forward projection at York College. I have also considered the costs of
production, which I will explain further into this presentation.

7. IDEA GENERATION
Idea 1 – „Crying‟
A large pulsating sun tilts on an orange background, while waves of
people run around underneath it as a form of worship. The art will be
projected onto a radiator, to represent warmth. I call it „Crying‟, as a
direct contrast to the sheer happiness of the art.
Idea 2 – „Cower Before the Towering Flower of Power in the Shower‟
A single flower is planted in a green field, before it gains an engine and
flies into space like a rocket ship. The flower makes it all the way to
space before burning up. A new flower begins to grow in its place. This
represents the power of dreams, and also a new beginning. The frame
would be very thin, like the flower itself, so the installation would be
presented on a thin screen, such as a Smartphone. As the idea of a
flower turning into a rocket ship seems quite silly, the title of the art is
fittingly stupid.

8. PROPOSAL
WHAT WE ARE PLANNING TO MAKE AND
HOW WE INTEND TO ACHIEVE IT

9. INSTALLATION SYNOPSIS
For our piece of video art, we wish to create the video that we proposed in
the hypothetical brief, which we called „Crying‟. This revolves around a
large, pulsating sun that expands and shrinks on top of a bright, orange
background. This will be animated, though the art contains a strip of real
footage along the bottom, which shows a string of people worshipping this
sun in an over-the-top manner. The art would play for 25 seconds, before it
loops, and plays at a faster speed. Every time it loops, it becomes faster, and
the sun makes larger pulsations. „Crying‟ will play for two minutes in total. It
has been designed to loop again for exhibition purposes, so the sun will
return to its original size at the very end.
This idea is closer to the works of Grant Steven than Michel Gondry, due to
the usage of space.

10. INSTALLATION SYNOPSIS
However, since making this idea, we were given a brief, which the art must follow. It
must represent new media technologies and culture, and it must also represent either
identity in new media technologies, or space, time and motion. Although „Crying‟ was
not imagined with this brief in mind, we feel it fits the brief, albeit in an abstract way.
Major companies such as Apple can release a new version of a product, even if it is
remarkably similar to the previous version, and fans will immediately swarm for this
new piece of technology, as if they worship the company. In „Crying‟, people worship
the sun in a very wacky way, so it is practically the same as the way fans will worship a
company for even the most unimportant update to technology.
In this way, „Crying‟ is suitable for the “new media technologies and contemporary
culture” section of the brief. We also believe that „Crying‟ can be a visual exploration of
space, time and motion;
The sun will take up more and more space on the screen throughout „Crying‟, and the
sun is the central piece of space itself.As the video art goes on, the worshipping
becomes faster and faster. This ties back into the technology aspect, as new product
releases from large companies have become more and more frequent, and fans have
become more willing to spend high amounts of money on these products over time.
Both the sun and the crowd represent motion. The sun is continuously making bigger
and bigger motions, and the crowd is making a movement to show their love for it.

11. AUDIENCE RESPONSE
The way „Crying‟ represents technology is not obvious to many, but this can
be explained on a sheet or plaque of information, like most pieces of art
usually have beside them in exhibitions. Besides the technology it
represents, „Crying‟ will also represent warmth, and how much everyone
loves it. It is called „Crying‟, because it is a direct contrast to the content of
the art. Knowing that the art is called Crying, an audience may expect a sad
piece, but will instead be enlightened, possibly moreso than they would if
the art sounded happy from its name. An audience may begin to associate
the act of crying with this art, allowing the thought of crying to become more
positive. As „Crying‟ is a piece of video art that must loop, which people
could start viewing halfway through, it completely ignores narrative,
focussing solely on expressionism.
The idea does not intend to be very thought provoking, as the ideals can be
provided beside the art, and to an audience, „Crying‟ will come across as
little more than a large, stupid sun. We are instead focusing on visual
appeal, and the main response we want from our audience is happiness,
though they may wonder what the message is, if the message is not given to
them in advance.

12. PRODUCTION
CONSIDERATIONS
We have not yet considered how we will transport our equipment to the
venue, but as we will travel with the other artists, we hope that everybody‟s
equipment will be transported together. The exhibition space is within York
College, so it is only a short distance away, and does not require transport
via car. This allows us to visit the venue whenever we please, and get an
idea of the layout of the room.
The art can be made very cheaply, as our venue for the installation does not
require payment from us, and the production of the art can made done at a
very low cost, if not completely free. We have enquired about the availability
of a projector and radiator at the venue, and have been told that they should
be available.

13. PRE-PRODUCTION
AND PLANNING

14. GROUP ROLES AND
RESPONSIBILITIES
Our production group consists of two people: Isaac Sharp and Amy Jones.
We have divided our work so that we can both work on our specialist
subjects. As the resident artist of the group, Amy will work on the actual art
of the installation, and will draw the sun and anything else that needs to be
made from scratch. Isaac, the director of the art, is working on the planning
documentation, and will edit the art. We have both conducted research on
similar ideas, the work of other artists, and how to make our art succeed.

15. PRODUCTION
SCHEDULE
Produce a table of when and where you intend to do the planning, filming and editing of your
production. You should have a broad timeline from your tutor and the assignment. Build you plan
from this, including specific tasks, who is doing them and when. Work to deadlines, but allow
time for problems and amendments.
FEBRUARY WEEK 1–4: Isaac; Research, pre-production
Amy; Research, create artwork
MARCH WEEK 1–2: Film and edit „Crying‟
MARCH WEEK 3: Exhibit the final piece in the gallery and online
MARCH WEEK 4 – APRIL WEEK 1: Complete evaluations.

16. MOOD BOARDS

17. STORYBOARDS/SKETCHE
S/VISUALISATION
So far, we have designed two suns that
we may use in „Crying‟, drawn by Amy
Jones. They both aim to be incredibly
happy, but each have a distinct style.
The sun will need to expand, shrink,
and rotate throughout the art, so I
would prefer the sun to have rays like
the bottom sun, although it should face
forward like the top sun.
As „Crying‟ is just one continuous shot,
we have not made a storyboard.
However, it will look roughly like the
image below.

18. LOCATION
INFORMATION
The exhibition space is within York College,
making it very easy to access and view. Travelling
will not require transport by vehicle, and all artists
will arrive on foot. To the left is a plan of the room,
and where in it „Crying‟ will be displayed. The
space is on the third floor, so if we put our
equipment on a trolley, we can move it upwards in
a lift. The space may get cramped if a lot of
viewers and exhibitors are in the room, so wires
will create a big tripping hazard, and the room will
become hot. The radiator in the room is partially
covered up by other exhibitions, but this is not a
problem, as it makes „Crying‟ feel more like a side
event, which we mentioned in the proposal.

19. RISK ASSESSMENTS
RISK ASSESSMENT HAS BEEN PROVIDED OUTSIDE OF THE PRESENTATION.