- May 2018
- March 2018
- February 2018
- December 2017
- November 2017
- September 2017
- August 2017
- July 2017
- June 2017
- April 2017
- February 2017
- December 2016
- November 2016
- October 2016
- June 2016
- May 2016
- April 2016
- March 2016
- February 2016
- January 2016
- December 2015
- November 2015
- October 2015
- September 2015
- August 2015
- July 2015
- June 2015
- May 2015
- April 2015
- March 2015
- February 2015
- January 2015
- December 2014
- November 2014
- October 2014
- September 2014
- July 2014
- June 2014
- May 2014
- April 2014
- March 2014
- February 2014
- January 2014
- December 2013
- November 2013
- October 2013
- September 2013
- August 2013
- July 2013
- January 2013
- December 2012
- November 2012
- August 2012
- July 2012
- June 2012
- May 2012
- April 2012
- March 2012
Monthly Archives: September 2015
My tutor suggested printing out and binding my blog to make it easier for the assessors to view. That would entail printing 189 pages, so instead I have produced PDF’s of my blog and bookmarked the different sections. Hopefully this will be OK.
Images (submitted at A1 size) and artistic statements:
1) ‘Untitled’ – stage 1, assignment 1
Created by playing around with the materials I had available, this sculpture has no conscious connection to any theme or artist.
2) ‘The flick’ – stage 2, project 3
A modelled hand (based on my own) flicking over matchboxes in a domino effect, inspired by looking at Lorenzo Quinn’s work and the course notes describing the use of matchboxes.
3) ‘Tower’ – stage 2, assignment 2
A development of a small scale stacked structure made out of matchboxes. The hanging glass elements of this sculpture are inspired by the mobile work of Alexander Calder.
4) ‘Flow’ – stage 3, project 6
A development of my still life arrangement of a cloth over a box and bottles, this sculpture shows the organic flow of a substance though two dripping pillars, bringing destruction and oblivion.
5) ‘Residency No.5’ & ‘Residency No.8’ – stage 3, assignment 3
A series of unusual sculptures in ceramic, split by rusted steel shelves. The development of the idea from a thistle root has retained the idea of what is above and below the surface, through splitting the work above and below a shelf. The work has developed from its origins, but retained a natural shape, dissected by an urban/industrial metal shelf. This provides contrast between the two elements, as well as raising questions about the piece and inviting speculation as to its origins and meaning.
6) ‘Untitled’ – stage 4, project 7
This sculpture started off as an experiment with slip casting spheres and leftover plaster cast in plastic boxes. The use of unfired clay and using poured slip onto plaster to get it to crack up as it dried was inspired by the work of Adrián Villar Rojas.
7) ‘The flick 2’ – stage 4, project 7
A casted repeat of my earlier ‘The flick’ sculpture. This time trying out casting from life and seeing how this sculpture works without the metal boxes of the original.
8) ‘Wooden box’ – stage 4, project 8
A six-panel bas-relief sculpture forming a cube placed on one of its corners. This sculpture shows the trapping/compressing of irregular natural objects (tree branches) into a fixed regular container, representing man’s need to control nature.
9) ‘Esther’ – stage 4, assignment 4
Inspired by life drawing classes and the challenge to first model a figure from life, then the technical achievements needed to produce a multi-part mould to cast such a complex shape in wax and then bronze.
10) ‘Landscape 1’, ‘Landscape 2’ & ‘Landscape 3’ – stage 4, assignment 4
The landscape series consists of a 3D map tile, suspended above a metal construction representing grid lines on a map.
‘Landscape 1’ is cast in clear resin to represent the ‘perfect’ landscape.
‘Landscape 2’ is cast in clear wax with holes bored into the tile and filled with red candles and set alight. Representing man’s treatment of this landscape, with particular reference drilling for oil and the news images of the Kuwait oil fields alight.
‘Landscape 3’ is cast in ice which then melts in the sun, representing our ability to destroy the landscape through global warming.
11) ‘Untitled’ – stage 5, assignment 5
Taking inspiration from looking at works by Isamu Noguchi and Barbara Hepworth, with the design more inspired by the flow of water around obstructions (or holes in this case). I have chosen to emphasise the carving marks around the holes to show how it has been created and to provide contrast with the smooth raised areas. It has been painted to represent the colours that could be achieved if this sculpture was cast in bronze.
12) ‘Inward Looking’ – stage 5, assignment 5
This sculpture takes its shape from the lens of an eye with the raised areas depicting retinal blood vessels coming from the optic nerve, with the black colour from the pupil. The retinal blood vessels in an eye form a concave shape going towards the lens of the eye. However, with this sculpture the veins join together at the edges or go into the pupil in the centre, hence the name of this piece ‘Inward looking’. This sculpture also offers the viewer a very restricted view through the optic nerve hole, showing a fragment of the scene behind it. Inspired by Giuseppe Penone, in particular ‘Anatomia / Anatomy’ (2011) where he carved veins in marble, and also the work of Geoff Rushton.
Because I often worked on large sheets of paper for my sketches, I have enclosed 4 small sketchbooks, 1 assembled book of smaller sketches and 1 assembled book of larger sketches.
I have submitted my assignment submissions of photographs and videos on a USB stick and DVD, plus printed out (and electronic) copies of my tutor reports.
My tutor left some very positive feedback about my submission for this assignment, with my main failing being in my sketchbook work.
I need to work much harder on documenting my inspiration for sculptures, working in my sketchbook to show the development of ideas which happen mostly in my head at the moment. I also need to work on sketches of how work could be developed in the future. He suggested 20 drawings of development ideas. I haven’t managed quite that many, but have added some of these to my blog.
My tutor would like to see more on my reflections of my work, but says that I am moving in the right direction, which is very encouraging.
He suggests printing out my blog as a bound copy as the inclusion of my other courses can make it hard to find the areas they need to see. I will look at this and see how my blog could be re-organised for the next courses also.
I need to comment more to show my opinions in relation to what I feel I can take away from looking at their work.
I need to be more robust with all the aspects of my drawing. This needs to be my key focus at the start of ‘Sculpture 2’.
Suggested reading and viewing
Suggested by my tutor as my ‘Untitled’ sculpture brought his work to mind.
His work is interesting, often made of steel or concrete and monumental in size. It is very angular in shape and usually makes use of a square rod shape bent into different shapes. My tutor suggested a link to his work after talking about combining the naturalistic, with a sort of cosmic geometry. I get what he was saying about these elements in my work, but I am struggling to see the same link in Eduardo’s work. Despite their very blocky form, they do have a naturalistic feel about them from the semi-circular shapes that appear to be his trademark shape. I guess they could be considered cosmic in that the lines he uses sometimes feel like an alien language, or marks on a spaceship. Maybe this is the link he is making.
The simple form of his works makes them very suited to large outdoor sculptures. If his Mount Tindaya sculpture is ever completed it would take monumental to a whole new level. Despite this looking like a very impressive sculpture, which would be an amazing piece of engineering to complete, I do disagree with the large scale destruction and desecration of the mountain which would be required to make this project into a reality.
In terms of what I can take away from viewing his work, the bold simple lines carved in stone pieces like Lurra G-41, 1984 or Lurra G 167, 1990 are very effective and could be explored if the course requires carving in any future projects (might save my hands!). Also, the more I look at other artists, the more you can identify their different styles or motifs. Sculptors often also seem to work in 2D mediums as well and these styles/motifs carry through to these pictures. I know I need to improve my sketchbook work, so trying to expand my ideas into different mediums would be a good thing to try more of. Nothing else immediately springs to mind, but as with most inspiration, it may come after a while of mulling it over.
David Nash works predominantly in wood, utilising a chainsaw or axe to shape the wood, and often a blowtorch to char it, or working with living trees to shape them into regular forms. I quite like his work, but the one piece which really works well for me is his ‘blue ring’, a blue pastel ring accompanied by a ring of bluebell seeds which is shown in the Royal Academy video here. I think this piece is one I am most likely to take away and use in my own work, but time will tell.
Black sphere is also interesting and reminiscent of Ursula Von Rydingsvard. The regular grooves around this sphere work better for me than some of his more naturalistic forms.
I need to choose around 15 and no more than 20 of my best sculptures which show my development through this course. He also suggests including a DVD of my videos and the audio file from our Skype tutorial.