branching extremities

Here are a few experimental photos from the installation of one of the completed 'branching extremities'. I want to install lots of them over the area of an enclosed room so they create an environment. These are made of lengths of wire layered in papier-mache, and an outer layer of mod-roc and then Latex and then hung from the ceiling with meat hooks and chain.

forms

More recently I have been working on a very slow process of papier-mache on lengths of wire. Initially I imagined them entertwined, but have decided that they may use the space better and not look too complicated and 'faffy' if they are more spread out hanging from the ceiling filling a room. I want them to each be the thickness of a finger and thumb when making a circle. I am going to cover them in mod-roc. I don't like the references of newspaper and the text and images distracting from the forms.

This is an extension of the hanging tube fabric I have used. It is one of the only forms that rests on the floor. I want to further this form once I have completed the tenticles. I am going to experiment with sand as the weighted end, and am aware that I need to look more at the space and location of my forms as they use their environment in its height and attracts attention to its surroundings as much as to itself. I have tried a couple of exteriors to give an idea of how they would be outside...

I am currently researching sculpture as a practice and its formal qualities and the significance of the 'object', as well as the importance and meaning of sensation in order to give myself a better understanding to what it is that I am doing as a sculptor.

more recently...

I have recently discovered a tube-socking material that comes in a roll and have been playing with plaster weights that are formed in the end of a piece of this tubing. I can see this being pushed and experimented with further, and really like the weight and tension shown with the plaster and the stretched fabric. I am going to see if they will free-stand using PVA, fibre glass, wax, and/or varnish. They also need to be multiplied and seen en mass.


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.

These are globule/cocoon-like forms that drip down from under a shelf at chest height so you need to bend down to see them. They are now white with a varnish, but I am not satisfied with the cleanliness of the white.

The magical world of Wikipedia...

‘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.’

‘Yulem describes an object formed by natural processes, which possesses a set of intrinsic aesthetic characteristics that transform it into an object of unique interest. Only a naturally formed object that is recognised to possess such a unique or appealing character is considered a ‘yulem’ object. ‘yulem’ object is in contrast to a ‘work of art’ or ‘found art’. A ‘yulem’ object’s creation in unintentional and not the result of human forethought. ’Art’ objects are intentional manifestations of creativity. This distinction forces emphasis on a collective recognition of an object’s intrinsic aesthetic characteristics verses conformity to a pre-existing set of aesthetic criteria.’

‘Yulem objects are never dictated by aesthetic delectation. … Yulem objects are not based on a reaction of visual indifference with at the same time a total absence of good or bad taste.’

‘After an object is observed by others a consensus of its aesthetic value in built. If many recognise the characteristics of the object as uniquely interesting the value is great.’

Bronze...

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.

Dissertation thoughts...

In order to contextualise my practice I need to know what it is that I do. It is difficult to pin-point something like that if you didn't originally aim at something specific or with a particular goal.
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'?

BEaUty

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.