Joanne Lyons's memory art work

For the video part, I was found the research form Joanne Lyons. Joanne Lyons is an artist to do the video and installation. Her childhood memory always inform Lyons’ art works. She made the art work 'lightness' .That video is recoding when she was five year old, she play and chasing a butterfly. Joanne Lyons had watched the video with her family for many times. She said ,'It came to me one day that it would be a good way to symbolize that feeling. When I was copying the film to video and it started degenerating — that breaking apart…with spaces between everything…created an openness and airiness.'

She also got other video works is about memory, which is two red balls knock rhythmically and randomly against each other. 

The Kaleidoscope project uses video projections of crocheted doilies Joanne Lyons collected in thrift stores and garage sales to make shifting patterns on a child’s toy. The same crocheted collection inspired At the Bottom of Memory, a diorama of mysterious cutout creatures that evolved from graphite rubbings of the doilies.

Joanne Lyons said, 'I love the kinds of things that you can do with technology, especially the video projection, but sometimes I have to spend a lot of time learning how to do something in order to get what I want. I like figuring things out and…will spend inordinate amounts of time…some difficult technical problem and then I think, this is kind of silly, I should be making art not figuring out these little problems, but I can’t get away from it because it’s part of what I do.'

'In a piece like the Corridor installation for instance, there was quite a bit to figure out, even little things like the exact distance the projector had to be from the screen and how…to do the masking. With installation art, there’s more problem-solving than in any other medium….You learn how to think on your feet because you have to come up with a solution. Artists are very good at that, and at doing it economically. You start haunting the hardware stores, looking for all kinds of materials that are really not art materials at all, and then talking to people, getting advice.'

Like Lyons said, ' some difficult technical problem and then I think, this is kind of silly, I should be making art not figuring out these little problems, but I can’t get away from it because it’s part of what I do.' For my art project, in the beginning, I took the video for a swing in the outside public space. How after that I just feel the outside space have too many information around the swing. For example the trees and buildings. If I plan to take the video for clearly and simple swing, the best thing is make a real swing in the inside art space. And than I can use the professional digital dark room to take the video. I feel that will good got my project. So I begin to make a swing in school space. Then I finished a wood swing in school wood workshop. And also, I still was thinking how to set up the vidicon on the swing sit and go through the lens to let the people feel it's looks like the view from a person who set on the swing to saw.

The work for my indoor swing set up video

Lyons began as a painter but says, 'It was a real inspiration to me the first time I saw mixed media work. I hadn’t really been exposed to it that much so when I saw that people could use items of clothing, for instance, as art, and the way that images could be caught up and put together again and collaged…was influential and exciting.'

The concept of beauty, Lyons says,  is 'essential to my art practice and to my life…Every project that I’ve done has some sense of that…the work gets more and more that way. If things aren’t going well for me, I have to search out…I get desperate to see something beautiful. To not use beauty in your work when it’s absolutely essential in your life would be crazy.'

I think as an artist, you should be able to have one pair of eyes find beautiful things. I have the same idea as lyons said. One of my video work in this term is trying to record the video special images in my memory, and made them ​​into the images of connectivity. All the landscape in the video are in edgbaston area and the river place which is close to brindley place in Birmingham. There are the places I used to visit and live. I compared four different scenes. Generated by comparing them to describe the gap between different memories and reality. 

                                 The Memory In Landscape