Wednesday, 17 December 2008
Friday, 28 November 2008
Monday, 24 November 2008
Monday, 20 October 2008
This is a metal rod with papier machee, mod-roc, iron wool and pva. I am not sure if it is at all finished yet, and am having problems as to how it should stand. At present it leans against the wall, very heavy and unstable. I am not sure if a metal base would make it too monumental.
Tuesday, 20 May 2008
‘Aesthetics is commonly known as the study of sensory or sensori-emotional values….Aesthetics studies new ways of seeing and of perceiving the world.’
‘We can call a person, a house, a symphony, a fragrance….beautiful. What characteristics do they share which give them that status? What possible feature could a proof and a fragrance both share in virtue of which they both count as beautiful? …each art form has its own system for the judgement of aesthetics.
…there has been long debate on how perception of beauty in the natural world …is supposed to relate to perceiving beauty in art or artefacts.’
This is the bronze at the beginning of the cleaning process. You can see where the channels of wax were attached underneath the sculpture in order to pour the bronze into the plaster mould.
If I look at my work, the way I make it and what I say if I am questioned about it... I would say that 'process' and 'materials' are the essential part.
A vague form is controlled at the initial stage.
I.e, if it is going to hang, it will be formed around a length of rope. If it is going to be cube shaped, a cube mould will be used...etc
However, there is not a particular theme to which I am trying to direct the spectators attention. I simply enjoy the messy proceedures and the uncontrollable textures of the materials. It is a hedonistic process for me and I am not trying to achieve anything. The sculptures are a result of 'play'.
But why all the sculptures have a continuity or a characteristic of work produced by the same one person must be something to do with something subconcious. My inner characteristics of what I enjoy and finding aesthetically pleasing and my interests. I am aware of my interest in insects and the small intricate cycles of nature. I've always been fascinated with biology. And I think it is evident in my work. It is unintentional and I was not aware until it was pointed out.
But to find a subject of my work to contextualise and discuss is difficult. Prehaps I should look at the simple aesthetic value of art and the validity of meaningless art. Or materials and processes and what defines 'beauty'?
Wednesday, 9 April 2008
The subjective experience of "beauty" often involves the interpretation of some entity as being in balance and harmony with nature, which may lead to feelings of attraction and emotional well-being. "Beauty is in the eye of the beholder" is a common phrase that expresses this concept.
In its most profound sense, beauty may engender a salient experience of positive reflection about the meaning of one's own existence. An "object of beauty" is anything that reveals or resonates with personal meaning.
Tuesday, 1 April 2008
Monday, 17 March 2008
The music in the background has no vocals and is lighthearted.
These are photos of the feat of engineering that we have come up with to give the effect of the road moving...
There have been plenty errors along the way due to not having a clue what to do when or how. But with the help of some sympathic students and a lot of charrades, i am approaching a finished sculpture.
The egg-like form was primarily made out of clay around a contruction of wood and metal wire.
Once the clay form was complete, small rectangular pieces of metal were pressed into the clay to make a dividing wall in order to divide the sculpture into two halves. Special ceramic plaster was dribbled over the entire sculpture as a primary layer, and then two more layers were added in a thicker consistency. On the outer layer, pieces of wood were secured to the outside of the cast on each of the two halves using a hair-like grass with the plaster.
After this stage, once the plaster was dry, the line of metal pieces divided the cast into two halves which were gently pryed open. Unfortunately nobody informed me about the puzzle effect the crevasses and protruding parts of the form were going to have, and so the cast broke in complex places and the clay had to be dug out of the cast to free it.
After washing the cast and rescuing the broken pieces, I fixed the cast by patiently holding the shards in place and fixing them with thick plaster and hair-like grass. Once the cast was dry I sanded down the inside until they were smooth and washed off the dust ready to be used to form the ceramics.
Taking a small chunk of pre-prepared red clay at a time, I formed a smooth layer, about 1 inch thick, over the majority of the cast. I missed out the complex areas as I was aware from previous mistakes that the ceramic form would break. I added a supporting, grid-like structure of the ceramics to the interior of the sculpture. I am now at the stage of putting together the separate pieces to form the final sculpture.