FACING UP to MACKINTOSH
feature length documentary for BBC 2
Director & Producer: Louise Lockwood
Editor: Jonathan Seal
Executive Producer: Andrew Lockyer
in collaboration with:
Charles Rennie Mackintosh's design for The Glasgow School of Art is a Glasgow icon and renowned around the world. American architect Steven Holl was given the daunting task of creating a new building to sit opposite Mackintosh's masterpiece.
Filmed over three years, 'Facing up to Mackintosh' charts the design and construction of the new school of design, now named the Reid Building, and explores how a building can affect the people working in it.
Since the introduction of digital technology the relationship between camera and photographer has altered dramatically. Speed and accessibility have come at the expense of mystery, intimacy and tactility - qualities exclusive to analogue photography. Initially, and in reaction to this cultural atrophy, I composed a piece of music made entirely from sounds that I had recorded from a collection of antique cameras. Constructed using the digital composition software Reason, this piece carried a strong hip hop feel and seemed to connect past with future technologies. To accompany this track I created a video response that captured traditional, analogue techniques yet also had a strong contemporary theme.
This short film is made entirely with stop motion animation, with over six thousand still photos shot and then edited together. The cameras are literally ‘brought to life’ here, while image composition and lighting is as carefully considered in each video frame as they would be for individual photo shots.
Colour Deaf offered audiences an alternative experience in visual art and live music through installation art and sonic design. Their concepts pushed the boundaries of current sonic and visual interaction by introducing the element of audience participation that is not normally applied in a live performance environment.
The aim of this project was to create a total artwork that encourages the viewer to interact with the exhibition/performance, ultimately testing the parameters of audience interaction and artist performance. A conceptual orchestra of new media was conducted by the audience: with visual projections; electronic audio; and the audience interaction acting as instruments - controlling their experience and commitment they have to their relationship/engagement with the artwork.
The climax of this conceptual karaoke was accompanied by a live performance alongside moving visual, and live feed of the audience, where the audience indirectly became participants, as they reacted to the energetic performance and the sounds and visuals created.