Some images of the scaled-up lego palm tree made by myself and Richard Krantz for our piece ‘#2518, 2536, 2563, 2566, 3958’ (photographed away from the exhibition context).
Images showing the construction process involved in scaling up the lego palm tree for a piece I made with Richard Krantz, ‘#2518, 2536, 2563, 2566, 3958’. The trunk was created with a metal rod, plastic cups, plaster and foam and then spray painted. The leaves were hand cut from cardboard and then layered and sealed with filler. The base is made from MDF with additional circles laser cut from plywood.
Individual close-up photographs of the scaled up K’nex pieces made collaboratively with Richard Krantz (shown away from the exhibition context)
Some images of the process involved in creating the K’nex pieces for ‘1:8’, a work made collaboratively with Richard Krantz.
Tim Dalzell & Richard Krantz - ‘1:8’
In this series, again created collaboratively with Richard Krantz, we scaled K’Nex connector pieces up to 8 times their original size. The blue and pink pieces are ‘fictional’ creations; they were never K’Nex pieces but instead were drawn out by Richard and myself.
In order to make the work we initially drew out the pieces on Illustrator. We then laser cut them from 8mm mdf & ply and stacked, sanded, filled and painted them to create the finished objects. We were interested in their ‘sci-fi’ aesthetic and geometrical qualities. By scaling them up and presenting them on stacked bricks we aimed to blur their original context and function, perhaps suggesting that they could be industrial/construction objects.
Tim Dalzell and Richard Krantz - ‘#2518, 2536, 2563, 2566, 3958’
A recent work made collaboratively with Richard Krantz that features a lego palm tree scaled up to around 6 and a half times the original (13:2). The tree itself is made from cardboard, mdf, plaster and spray paint. The scale was chosen in attempt to create an awkward object that didn’t reach the height of a real palm tree but made apparent the differences between the Lego creation and the ‘real’ thing. By using juice and attempting to create an island on the water, our aim was to create artificial feelings of the ‘exotic’. Adding to the smell created by the juice were scent’s provided by Clara Ursitti providing a fruity, pineapple smell around the gallery, further adding to these artificial representations of paradise.
Put on an exhibition the other night with some friends in my year - some overall shots here. The show included 2 pieces that i’ve been working on collaboratively with Richard Krantz as well as a solo film piece.
In this film I aim to transform/reduce 2001: A Space Odyssey in to a 3 minute long music video. I created the track entirely from audio samples taken from the film (with altered pitch and added reverb/delay). The visuals correspond to where the audio was sampled and therefore repeat like the sound loops creating a rhythm both visually and auditorily.
In creating this work I aim to question where the boundaries lie between art, music, the feature film and music videos. Within music today the process of sampling older material to create a new sound has become common and I’m interested in how this same working method could be applied to film.
The track itself is fairly ambient, mainly due to the use of such a limited source, but this will hopefully allow the viewer to consider the audio as a generic music track, film score or art piece and draw conclusion as to which it may be.
Images from our class show last month. I installed 2 small-scale electricity pylons high up in the space and left the piece unmarked on the floor plan. As we were exhibiting in the architecture building within the school I hoped that perhaps they would look as if they had been left behind from a previous show.
The pylons are constructed from balsa wood, painted and connected with thread.
WAIT (待て), a short film by Tim Dalzell, presents a created environment that feels uninhabitable, somewhat partly constructed or abandoned; buildings in this place have only the basic structure, they have been stripped of walls, floors and divisions. They provide no real function or purpose and don’t seem to fit in to a ‘place’ that we know; they are perhaps non-places, non-things.
“Non-places are sites such as stations, stadiums, airports and hotel lobbies all around the world, which resemble one another so closely that they are simultaneously everywhere and nowhere.” (This is The Flow, Rutger Wolfson, 2008)
Many of the structures display signs across their facade. The sheer size of these in relation to the rest of the building suggests they are of intense significance despite their short and simple nature. These words include the likes of ‘Wait’, ‘Yeah’, and ‘OK’. Signs are also displayed in Japanese to further confuse the language and location of this ‘city’ environment.
Through the course of the 7 minutes the film builds up an intense atmosphere causing the viewer to experience feelings of psychotropic disorientation as they try to make sense of the subliminal messaging and confusing visuals that they are bombarded with. Unsettling sound effects suggest that this is the remnants of a place that once existed, the aftermath of a dystopian future.
A poster I created along with Hannah to promote our film screenings that took part in the Year 3 Sculpture Show.
Animated GIF’s created from my film piece ‘WAIT (待て)’
Stills from my finished film titled ‘WAIT (待て)’
A few photos of the models taking during filming. All are constructed from balsa wood and painted (some with additional laser cut signs).
I recorded the film in my friends kitchen and within a booked space at uni. As within the box I used sand for the ground surface - its cheap and to some extent masks the scale. I used UV and strobe lighting to continue to amplify the surreal atmosphere to the work and a smoke machine in order to help distort the scale.
