Terror

I have been currently reading the book 'Don't Brand my Public Space!' ,where the following passage comes from:

"In their capacity as "makers", graphic designers bear immense responsibility for this disaster, a responsibility that cannot be mitigated by the role of the commissioning agent: an art of resistance, inspired by the tradition of figuralia, should be constantly sprouting from graphic design studios summoned to create what should not be created" 

(Everything Must Go! An Approach to Contemporary Ceremonial Writings by Sebastien Thiery from the book "Don't brand My Public Space!", p.201)

When I first arrived in Norwich I was surprised by the following sign:

I had read about how Norwich is one of the safest cities in the UK but I have to admit that I did not expect to see such signs in most of the neighborhoods. Inspired by my signs project I decided to create a public intervention that would respond to this warning that 'thieves are being watched', and therefore, the particular area is safe.

This constant reminder seems terrifying to me. I decided to give life to the black figure that is pictured running on the sign. I am going to create multiple life-size copies of the figure which will be placed in various neighborhoods around the city.

Here is the work in progress:

A vector image of the black silhouette is created as a base for the life-size figures, and potentially for stickers.

"Artificial Terror" - Home Watch Area Night Photo Shooting Session 1

Next steps after the life-size silhouettes made out of cardboard was to paint them black. With the help of a friend, we went around our neighbourhood (which is a "Home Watch Area") and tried to capture the black silhouette lurking in the shadows. Ideally the photos would show a quiet neighbourhood, like the one one the Home Watch sign, and the thief's running figure.

The material I used was cardboard and therefore I faced some difficulties. The silhouette tended to fold, so it could not stand alone, and a person holding it would be visible in the pictures.

Consequently, I captured the shadow of the cardboard in most of the pictures. However, this added a nice atmosphere in the whole scene as I was not showing the actual danger but a glimpse of it as the robber approaches a door, a garage, a car, some bicycles, or runs away.

 The picture below was shot at this particular spot as there is a "Home Watch Area" sign on that post.
 Although the person holding it is not visible, the shape of the silhouette appears distorted as the legs fold and the whole body is crooked.

Artificial terror invades famous paintings' neighbourhoods.

As an extension of my "Artificial Terror" project and based on the concept of invasion, I explored the idea of placing the "Terror Silhouette" in famous paintings that show both indoor and outdoor space.

In René Magritte's, (“The Blank Signature,” oil on canvas, 1965)

In David Hockney's, The Arrival of Spring in Woldgate, East Yorkshire in 2011, iPad drawing printed on paper.

In Van Gogh's ,Bedroom in Arles, Third version, end September 1889. Oil on canvas, 57.5 x 74 cm

"Artificial Terror Stickers"

I created small stickers using the terror silhouette and started putting them around the streets of Home Watch Areas. It was very interesting to work in such a small scale as I have not done it before. Even though I have been working in the streets and dealing with public surfaces and materials like concrete, bricks, metal or wood as a background I have always used it for much larger pieces.

Placing tiny stickers of an "artificial terror" figure ,as it is presented to citizens by signs ,is an ironic comment on the idea of public danger itself as the danger is scaled down to something totally harmless, even unnoticeable.

On the other hand, the action of spreading those "dangerous" figures around the city prompts a question. How is this area considered "Home Watch Area" if someone is able to treat public space as he desires?

The scenery changes when two or more of these figures appear together. Are they more threatening now? Maybe for ants.

Another way to present the idea in the streets was to place the stickers in places where people have something to read. An invasion to public space will not ask for permission, there it is, appearing where you do not expect.

Moreover, I experimented more by looking for places where the figure of the sticker would conceptually interact with the background. What if it is placed on a sign that warns thieves that they are being watched? 

Perhaps it enhances the message of the sign itself as the thief appears to be so small or even helpless before the eyes of the Police.

On signs with street names:

In a dialogue with stickers by other people in the streets:

On the pedestrian crossing buttons:

  

Last but not least: On promotional platforms for Norwich's sights. Going against the public branding of a city and how it is chosen by authorities to be presented to the public. Obviously, signs that indicate actions or even the existence of anything related to crime are deliberately avoided. Norwich is branded as a "Fine City" and when it comes to promotion no one would like to even mention chances of criminality. However, some tourists will come across the "terror silhouette" sticker whilst looking for the next sight to visit. 

Alternatively we could read:

"Discover Norwich, a fine city with chances of crime"

"Discover Norwich, a crime city)"

"Discover norwich, discover crime"

But who would want such a public image for a city to be presented as a representative image?

No one tells us though that we cannot handle the image of the city we inhabit according to our likes, even if legislation is harsh when it comes to public property defacing, there are still ways to interfere and alter the public space.

"It is easier to forbid people to see than to allow them to think. One decides to control the image to guarantee the silence of thought, and when thought has lost its rights, the image is accused of every ill under the pretext that is out of control. The violence perpetrated against the image, that is the question. In the violence of this entire debate around the visible, we must understand that the violence of the visible is due to the war that is being waged against the image, the war against thought.... To defend the image is to oppose everything that eliminates the otherness of the gazes constructing the invisibility of meaning. The power of the image is equal to the voices inhabiting it."

 Daniel Fabre, "Gavroche et l'Elephant ou Vivre aver le monument," in L'abus monumental?, Paris, 1999, p.278

Another text on a touristic map invites people to download an app on their phones in order to receive information about events and the city's heritage. A sticker next to the mobile phone logo fits well the visuals of the board. Without being mentioned in the text or having a descriptive text of its own, it makes an implication about something unresolved. Are the tourists now in a comfortable position? Are they really ready or willing to "Discover Norwich"? 

"As soon as cities or territories (districts, regions, countries) start claiming to be products to be sold on the market, they logically adopt the attributes of brands. What are the effects, the ravages of those impositions of symbolic violence on such vulnerable systems of human settlement? 

It is no coincidence if, since the 1960s (Marlaux's law of 1962 on protected sectors), the concepts of historical urban groups and urban legacy have now joined that of the historical landmark. Forged in England in the second half of the 19th century, these concepts only won recognition in France when the worst threatened. In a word, the city is becoming a historical landmark and [a] question arises that splits in two, i.e., how is one to both preserve this legacy and take on the future of the non-city that is coming after it?" - Francoise Choay, Pour un anthropology de l'espace, Paris, 2006, p.42

"Have you seen him?" Calling people to act

As the end of the term approaches I am completing my "Artificial Terror" project by inviting people to be involved. Today I created two "Have you seen this man?" posters that are going to be put around the streets of my neighbourhood.

The images used show only some suspicious shadow of a man that was documented at night.
The text underneath the picture reads: "If you have any information about this man please contact us via email at: watchingdover@gmail.com".

The email address was created particularly for my project as a way to receive people's feedback and "us" shows that there is a group's initiative and not just one person. This will give the feeling of a coordinated effort.

The posters are going to be seen exactly at the place where the pictures where taken, as well as the neighbouring streets.

During my research I came across many humorous examples that i would like to avoid. However it was quite helpful as to the visual language that I should adopt. My poster should be clear for its message but at the same time it should look serious  in a personal manner.

I did not include a phone number or email address in the form of a detachable part as I want the information to be seen by everyone that reads the poster. Additionally, no reward is offered as it is more of a moral issue that should concern the public rather than an individual missing a pet.

Ready for the streets.

My aim was to mimic the visual language of similar notes in the streets. Integration with the neighbourhood and clarity were essential. The following days three of the four posters were torn down and only the one above remains there until today. I have yet received no emails but it was very interesting to see people being attracted by the poster. People would stop while walking the dog and wander, puzzled about the mysterious shadow that appeared in their area.