Phil Hastings
Interview by Kate Schwarting, Programs Manager
KS: Working with film, what goals do you have for your work?
PH: I’m always interested in having my work seen by more people and that could be done in a variety of different ways. Goals often depends on the work. My film SIGINT which was created with imagery recorded through a microscope, has been well received at film and video festivals and other media arts shows globally in 2016 and 2017. I had a lot of fun with that and hope to get back to the microscope for some future projects. There’s a short piece that came out of some microscope tests called Fragmentum 2(A) which can be seen on my website along with some other tests and setup pictures.
The Threshold Series has mostly been shown in gallery settings on monitors, but I’d like to see these videos as large-scale, site-specific installations. I believe this series would really benefit from scaling up and activating an entire room or rooms. I’m also interested in working collaboratively with artists and performers in theatre, music and dance to bring my work into these arenas.
It’s a really obvious and basic goal, and one that most have, but just being able to concentrate more on the creative process is something that I’d like to be able to do. Maybe more importantly just making the connections with other artist and curators. I’m always interested in expanding that circle.
PH: I’m always interested in having my work seen by more people and that could be done in a variety of different ways. Goals often depends on the work. My film SIGINT which was created with imagery recorded through a microscope, has been well received at film and video festivals and other media arts shows globally in 2016 and 2017. I had a lot of fun with that and hope to get back to the microscope for some future projects. There’s a short piece that came out of some microscope tests called Fragmentum 2(A) which can be seen on my website along with some other tests and setup pictures.
The Threshold Series has mostly been shown in gallery settings on monitors, but I’d like to see these videos as large-scale, site-specific installations. I believe this series would really benefit from scaling up and activating an entire room or rooms. I’m also interested in working collaboratively with artists and performers in theatre, music and dance to bring my work into these arenas.
It’s a really obvious and basic goal, and one that most have, but just being able to concentrate more on the creative process is something that I’d like to be able to do. Maybe more importantly just making the connections with other artist and curators. I’m always interested in expanding that circle.
SIGINT, 2016, 3:48 2540x1080
Fragmentum 2(A) Still, Phil Hastings
KS: What was the inspiration behind your Threshold series?
PH: This series first began when I was invited to participate in the group show Vascular Modes at Hallwalls Contemporary Arts Center in Buffalo, New York. The curator, John Massier asked artists to create new work inspired by the Gates Vascular Institute, a new medical facility and architecturally intriguing addition to the city. Having worked in a large architectural firm earlier in my life, I found the project full of possibilities and immediate was struck by the similarities between architectural buildings and the human vascular system, of passageways and openings, of movement from one state to another.
The imagery in the series draws inspiration from the biological sciences. I’m creating familiar and otherworldly images that evoke internal anatomical constructs of tissue, membranes, valves and orifices. In each video, a wall of organic matter undulates, at times seductive or mesmerizing, sometimes quickly changing to a frantic or nervous tick.
Within these structures an orifice opens and closes through which a black void can be seen. This portal is the manifestation of the liminal state leading to endless possibilities. This animated living, breathing matter becomes a proxy for the viewer’s own experience of standing at a threshold, ripe for personal projection. It is also symbolic of the unknown, that which is out of reach. I enjoy contemplating the often-opposing subjects of the sciences and the spiritual. The unknown is a creative fulcrum that balances these investigations. Faith in the un-seeable, higher powers and other dimensions collides with the search for understanding and empirical evidence to make the unknown knowable. Exploring the tangible and intangible fuels my artistic interests. At the same time, I’m drawn to the fine line between staring and looking away, curiosity and revulsion. That visceral experience of seeing something that is normally hidden is a fascinating juxtaposition.
PH: This series first began when I was invited to participate in the group show Vascular Modes at Hallwalls Contemporary Arts Center in Buffalo, New York. The curator, John Massier asked artists to create new work inspired by the Gates Vascular Institute, a new medical facility and architecturally intriguing addition to the city. Having worked in a large architectural firm earlier in my life, I found the project full of possibilities and immediate was struck by the similarities between architectural buildings and the human vascular system, of passageways and openings, of movement from one state to another.
The imagery in the series draws inspiration from the biological sciences. I’m creating familiar and otherworldly images that evoke internal anatomical constructs of tissue, membranes, valves and orifices. In each video, a wall of organic matter undulates, at times seductive or mesmerizing, sometimes quickly changing to a frantic or nervous tick.
Within these structures an orifice opens and closes through which a black void can be seen. This portal is the manifestation of the liminal state leading to endless possibilities. This animated living, breathing matter becomes a proxy for the viewer’s own experience of standing at a threshold, ripe for personal projection. It is also symbolic of the unknown, that which is out of reach. I enjoy contemplating the often-opposing subjects of the sciences and the spiritual. The unknown is a creative fulcrum that balances these investigations. Faith in the un-seeable, higher powers and other dimensions collides with the search for understanding and empirical evidence to make the unknown knowable. Exploring the tangible and intangible fuels my artistic interests. At the same time, I’m drawn to the fine line between staring and looking away, curiosity and revulsion. That visceral experience of seeing something that is normally hidden is a fascinating juxtaposition.
Threshold, (Work in Progress) 2018
KS: On your website you have an active blog called "Workbench" in which you post about your work in progress. Can you talk more about your artistic process?
PH: I go through different modes of working depending on life situations and inspiration. Most of my work in the past ten years has been more about discovery and reaction whereas work prior to that was more based on methodical research. The Threshold Series and Morphology Series were first begun by a technique that I’ve visited a number of times in my artistic career. Usually between those larger more research driven projects. It’s a process of sketching and doodling in video. I typically begin with an image or form and begin manipulating the image by building up layers of effects within the software. The more I layer, the more complex the distortion and manipulation of the original image becomes.
As this process continues I react to what I am seeing. I’ll see a new form or a particular movement that reminds me of an experience or image that I’ve seen, but the end results are not planned out ahead of time. I don’t actually sketch out ideas for these works. In this sense, it is very much about discovery. This manipulated image then gets refined more precisely using a variety of animation techniques. I key-frame the effects to alter the image over time to emphasize a particular gesture, change a texture or color of the image. I then begin creating the sound design to help reinforce the lifelikeness of the new image. In the software I use, I am able to create custom effects beyond what is provided with the software, I’m continually learning how to better create the tools I need to get the results I’m looking for. One thing that I always feel I need to say is that these works are not 3D animation. I am not using 3D animation software only video editing software to create these. Any three-dimensional effects are an illusion. It is one of the limitations but one of the benefits as well. I think if I was to create these with actual animation software the impressionistic aspect would be lost. Things would become too real. I’m not interested in making something that is simply a digital replication of something else, but instead I want to leave things open to a level of interpretation.
PH: I go through different modes of working depending on life situations and inspiration. Most of my work in the past ten years has been more about discovery and reaction whereas work prior to that was more based on methodical research. The Threshold Series and Morphology Series were first begun by a technique that I’ve visited a number of times in my artistic career. Usually between those larger more research driven projects. It’s a process of sketching and doodling in video. I typically begin with an image or form and begin manipulating the image by building up layers of effects within the software. The more I layer, the more complex the distortion and manipulation of the original image becomes.
As this process continues I react to what I am seeing. I’ll see a new form or a particular movement that reminds me of an experience or image that I’ve seen, but the end results are not planned out ahead of time. I don’t actually sketch out ideas for these works. In this sense, it is very much about discovery. This manipulated image then gets refined more precisely using a variety of animation techniques. I key-frame the effects to alter the image over time to emphasize a particular gesture, change a texture or color of the image. I then begin creating the sound design to help reinforce the lifelikeness of the new image. In the software I use, I am able to create custom effects beyond what is provided with the software, I’m continually learning how to better create the tools I need to get the results I’m looking for. One thing that I always feel I need to say is that these works are not 3D animation. I am not using 3D animation software only video editing software to create these. Any three-dimensional effects are an illusion. It is one of the limitations but one of the benefits as well. I think if I was to create these with actual animation software the impressionistic aspect would be lost. Things would become too real. I’m not interested in making something that is simply a digital replication of something else, but instead I want to leave things open to a level of interpretation.
Threshold, Rendering samples, Phil Hastings
Sua Cancroma 2017 7:20 1920x1080 - Threshold Series
KS: Do you have any projects or exhibitions you are working on?
PH: This last year or so I’ve been really involved with the day to day process of teaching, trying to grow my Film and Video Arts BFA program where I teach and upgrade our facilities and equipment. This has taken a lot of focus away from my personal creative process and pursuits, but within the last few months I’ve been getting back into my creative work. Creating new work has been rejuvenating and I’m at a point with the new work that I need to start that process of reaching out to secure shows with deadlines that can help focus a final push. One of the problems of creating the work like the Threshold Series, is that every manipulation leads to another iteration. It is really easy to start chasing the rabbit down the hole. The evolution of the image can often go on forever but it is also fragile and easily destroyed in the manipulation process. It’s hard to say stop when what you want to do keep pushing through that threshold to the next thing.
PH: This last year or so I’ve been really involved with the day to day process of teaching, trying to grow my Film and Video Arts BFA program where I teach and upgrade our facilities and equipment. This has taken a lot of focus away from my personal creative process and pursuits, but within the last few months I’ve been getting back into my creative work. Creating new work has been rejuvenating and I’m at a point with the new work that I need to start that process of reaching out to secure shows with deadlines that can help focus a final push. One of the problems of creating the work like the Threshold Series, is that every manipulation leads to another iteration. It is really easy to start chasing the rabbit down the hole. The evolution of the image can often go on forever but it is also fragile and easily destroyed in the manipulation process. It’s hard to say stop when what you want to do keep pushing through that threshold to the next thing.
Threshold Series, Phil Hastings
