Week 20

11/04/2016-17/04/2016
Summary:

This week I have been focused on working towards my deadline for submission next week therefore I have been finishing off paperwork and continuing research. Specifically I have been researching ideas which could develop into my practice over the summer into the next unit of work.
After my exhibition last week I considered how people saw my work and their responses. Most people saw the animal head sculpture as a statement about animal experimentation. Specifically animal genetic experimentation resulting in animal hybrid abominations. I researched animal genetics during wars the most interesting that I found was the Nazi breeding project before and during the second world war.
Hitler and Goering wanted to return to the idealistic past where Germany was covered in dense forests that were inhabited by a species of cow called Aurochs which were large buffalo like animal with highly aggressive characteristics. The Nazis therefore wanted to bring this animal back from extinction as a trophy animal for a hunt.
A breeding project was therefore developed to create a genetic recreation of the aurochs from modern day species of cattle. This resulted in the Heck cattle. A new species of cow that was similar in size and shape to the Aurochs with similarly aggressive characteristics, just before the outbreak of the war a small population was released into Germany's forests. Below is an image of a Heck cattle bull.

This is an example of animal genetic experimentation which has created monstrous beast like organisms. I'm not sure whether or not I want to focus on working around this specific example however the idea of looking at animal genetic experimentation with links to the theme of human conflict. Perhaps in a similar way to the work of Charles Avery. A project created around a fictional back story which is an embodiment of my themes.

Week 19

04/04/2016-10/04/2016
1st Year Exhibition Week
Summary:

This week was the 1st year exhibition, which would be on display for a week in the student gallery spaces. We were given four hours on Monday to install our work. This was a useful experience as we had to cooperate and consider how our work complements one another's indicating whose work should go next to whose. Also we had to be practical considering lighting spacing and power socket placement for projections or monitors. I chose to present my animal head sculpture and my road kill badger painting. The two of which seem to complement one another. I initially wanted to use my new A1 hybrid animal drawing from last week however this neither complemented my work or my piers. Therefore I chose not to include it. This was a good choice as without the third piece of work I was able to place the two pieces in line with one another forming an S shape which helped the viewers eyes flow from one piece to another helping to establish the link between the two pieces.

For the first week back after Easter  we were set the task of creating a 1st year exhibition, which would be on display for a week in the student gallery areas/ Project spaces around the studios. For this each student in the first year was assigned to a group of roughly ten. In these groups we were given four hours on Monday to install our work. This was a useful experience as we had to cooperate and consider how our work complements one another's indicating whose work should go next to whose. Also we had to be practical considering lighting spacing and power socket placement for projections or monitors. I chose to present my animal head sculpture and my road kill badger painting as shown in image 1 below. The two of which seem to complement one another. The road kill badger was my first combination of the themes animal forms, and the human capacity for violence. Which looks at the animal form in a pathetic feeble carcass like state due to human violence. The animal head on the other hand is a solid sinister take on the animal form due to human violence. Therefore the two complement one another.

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I initially wanted to use my new A1 hybrid animal drawing (image 2) from last week however this neither complemented my work or my piers. Therefore I chose not to include it. This was a good choice as without the third piece of work I was able to place the two pieces in line with one another helping to establish the link between the two pieces.

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Below image 3, I've tried to show with the red line how the sculpture and painting formed an S shape which helped the viewers eyes flow from one piece to another.

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Below I have documented the exhibition installation.

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Below I have photographed further exhibits that were installed by my piers.

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Below is my finished installation which stayed up until the Friday, that morning we had to take town our exhibition so that the next group of first years could install their work. On the Tuesday however as a group we gave a presentation to three members of staff about our work.

Week 18

28/03/2016-03/04/2016
Easter break week 2
Summary:

This week I decided to try and finish my 2000 word text, which I almost did, albeit for referencing which I decided to add next week. For the remainder of the week I focused on deciding what I would do for the first year exhibition the next week. I wanted to make a large scale drawing of one of the hybrid animal creations I've made in my sketchbook. I chose to focus on the vulture horse cross over as this reflects the human capacity for violence in the most sinister way due to the threatening appearance of the animal. Below is the original concept for the animal hybrid.

 Below I have documented the drawing of the animal hybrid, I chose to use an A1 mount board, I started by quickly sketching out the shape in pencil, I planned on drawing this in a quick expressive style to convey the idea that this is more of a field sketch as if I was observing this creature. On top of the simple sketch I started working in more detail using Indian ink. At the time I was drinking tea therefore I spilt patches to emphasise the idea that this is a field sketch.

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Week 17

21/03/2016-27/03/2016
Easter break week 1
Summary:

This is the first of a two week Easter break. I have focused my attention on finishing the 10 painting rules the remaining being rule being rule 2 an ephemeral painting. For the remainder of the week I focussed on completing or the majority of my written assessment. The painting I made created an interesting idea, what is the artwork? The board with the seed? The process of making the work? The documentation of the work? Or the final result? Personally I'm undecided however I think it’s either the finished result or the process as the process was were the ephemeral theme was activated, however the finished piece is a physical representation of the aftermath. I based my text on the theme of "The Beasts in Men" as this related to my own practice, to explore this theme I selected four piece of art to research and examine: 1. William Blake's Nebuchadnezzar colour Monotype print 1795. 2. Pablo Picasso's Vollard Suite, series of 100 etchings 1930-37. 3. Charles Avery's The Islanders 2004-present day. 4. Jane Alexander's the Butcher Boys, Sculpture, 1986.

This week I have focused my attention on finishing the 10 painting rules the only rule remaining being rule being rule 2 an ephemeral painting. For the remainder of the week I focussed on completing or at least finishing the bulk of my 2000 word written assessment. Below I have documented my ephemeral painting. To do this I used a plain white sheet of mount board which I wrote the phrase, using black acrylic paint, "How long will this seed last, how long will the bird last", I then screwed the board to a wooden palate before covering the text in bird seed. The concept being I was considering the passage of time. As the seed would be consumed quickly (ephemeral) and it would be used to fuel the birds that feed upon it, but how long will it fuel the birds, furthermore how long will the birds survive?  

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Above is the finished piece, once the seed was fully gone after a week the board had been exposed to the wind and rain warping it. Furthermore bird crap was left around the board. This creates an interesting idea, what is the artwork? the board with the seed? the process of making the work? The documentation of the work? or the final result? Personally I'm undecided however I think its either the finished result or the process as the process was were the ephemeral theme was activated, however the finished piece is a physical representation of the aftermath.

As I said for the remainder of the week I worked on my written assessment. I based my txt on the theme of "The Beasts in Men" as this related to my own practice, the theme of the human capacity for violence, the exploration of hybrid forms and internal demons. To explore this theme I selected four piece of art to research and examine, the brief for the text restricted me to using four pieces of art at maximum two of which had to be created before 1980. The work I selected was as follows:

 

1. William Blake's Nebuchadnezzar colour Monotype print 1795.

Literal interpretation of the Nebuchadnezzar is that Blake is simply depicting a biblical scene as many have done before him. My interpretation, Blake is a known questioner of many tenants of Christianity, especially the all-powerful divinity of god. Therefore I refuse to believe Blake would simply translate a biblical tale into an image without at least subtly hinting at a second interpretation. I think Blake has subtly argued against Christianity’s message that Humans are above animals which is suggested by the fact the King had to be lowered to the level of an animal. However Blake chooses to depict the beast King with a clearly human form, making it transparent that this used to be human implying that not much has been changed thus the margin between man and beast is very narrow.

2. Pablo Picasso's Vollard Suite, series of 100 etchings 1930-37.

Throughout the Vollard Suite Picasso explores the darker areas of his psyche. It is a Phantasmagoria of sex and violence. Throughout the series a depiction of a minotaur from the depths of mythology often portrayed as a savage beast. Which Picasso seems to use as an alter-ego; an alter-ego who is portrayed in scenes of tenderness and violence, carousing and humiliation, reflecting aspects of Picasso’s own personality. Furthermore the minotaur seems to progress through a character arch from tender lover, to violent devourer of women and finally to become a pathetic blind animal lead through the night by a girl with the features of Picasso’s mistress and model Marie-Therese Walter. Seemingly a parallel arch to Picasso himself during this time beginning with the increased estrangement from his wife Olga to the point when she left him after Marie-Therese Walter’s pregnancy could no longer be kept secret, which left Picasso lost and artistically blind. The Minotaur can therefore be seen as a reflection of Picasso’s internal Omen or rather beast. Furthermore the Vollard Suite could also, to an extent, be seen as a visual representation of the beast in men.

 

3. Charles Avery's The Islanders 2004-present day.

What concerns me about the Islanders project is the focus on the hunt. The island was made from a man’s imagination intended to be the embodiment of mystery, the pinnacle of this being the elusive Noumenon an animal which has never been seen, and therefore is hunted relentlessly. Even the imagined indigenous population of this imaginary island are as eager to hunt and therefore kill for fun, Revealing that even in a fantasy a beast lurks within men.

 

4. Jane Alexander's The Butcher Boys, Sculpture, 1986.

By creating these grotesque hybrid forms each with a clearly human form all three equally grotesque yet all three equally human, Alexander seems to have tried to protest against the Apartheid by visually representing that we are all grotesque in our own way yet we are all  human, we are all equal. I find this a curious concept we all are beastly in our own way but this beast it proves we are no better than the other yet we have it in us to be civilized, to be human therefore no matter how we are on the inside or out we are all human all equal.

 

 



Week 16

14/03/2016-20/03/2016
Advanced Sculpture Workshop Part 3
Summary:

This is the final week of the workshop, therefore there was a group tutorial, I explained about the animal menagerie. I was given the suggestion that I stop considering these hybrids as existing animals instead I should see these as future abominations. In addition I should in that case consider how these animals would displayed in the future. Furthermore When I explained that these animal menageries were physical representations of negative human characteristics mainly violence, I was told I should possibly re visit the idea from my first unit BA1a of personal demons/omens, and therefore create a human beast hybrid. Which is interesting as I have recently begun researching Jane Alexander's work, most importantly her sculpture "The Butcher Boys." Butcher boys Is an oil painted plaster sculpture of three figures with beastly horns and animal bone structure details all sat in a row on a bench. I think this is an interesting concept however I'm more interested at the moment in continuing to look at hybrid animal forms to create beasts that reflect humanities inner beast. I like that sentence. "A beast to reflect humanities inner beast." Furthermore the Tutorial took place in the 3rd year studio. which was brilliant for me as I could see the work of students in the higher years, and draw inspiration from their work, I was surprised to find several relatable practices.

This is the final week of the workshop, therefore there was a group tutorial, in groups of five. I found it really useful as although I didn't get a chance to talk about my entire project I did get to talk about the key pieces and ideas, therefore the feedback I got was really useful, I explained about the animal menagerie and how I wanted to exhibit the work in a series of drawings and faux taxidermy sculptures that would look like recordings from a hunt or expedition from the past and therefore I would exhibit/display these pieces in old rustic viewing boxes of wood and glass; unexpectedly I was given the suggestion that I stop considering these hybrids as existing animals instead I should see these as future abominations. In addition I should in that case consider how these animals would displayed in the future. Furthermore When I explained that these animal menageries were physical representations of negative human characteristics mainly violence, I was told I should possibly re visit the idea from my first unit BA1a of personal demons/omens, and therefore create a human beast hybrid. Which is interesting as I have recently begun researching Jane Alexander's work, most importantly her sculpture "The Butcher Boys." Butcher boys Is an oil painted plaster sculpture of three figures with beastly horns and animal bone structure details all sat in a row on a bench. The sculpture was a part of her MAFA submission at the university of the Witwatersrand and was first exhibited at the Market Theatre Gallery in Johannesburg in 1986. A photo of the Butcher Boys is shown below.

I think this is an interesting concept however I'm more interested at the moment in continuing to look at hybrid animal forms to create beasts that reflect humanities inner beast. I like that sentence. "A beast to reflect humanities inner beast." Furthermore the Tutorial took place in the 3rd year studio.which was brilliant for me as I could see the work of students in the higher years, and draw inspiration from their work, I was surprised to find several relatable practices.

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Above, this is an example of a studio space which relates to my practice, due to the animal imagery and the taxidermy aspects. 

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Above this studio has given me some inspiration, as this looks relatable to my theme of unique forms. Therefore I want to experiment with using tights or other stretchable fabrics to create unusual forms that I can place around the studio or even the woods.

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To be honest looking at the studio spaces of the 3rd year students was the highlight of the workshop, I prefer looking at artists studios to their exhibits I find t more interesting as if the studio is a visual representation of their thought process and the mistakes or successes of their experiments.

 Below I have documented the workshop, in which I was again experimenting with everyday plastic objects, combining them to create a new form.

   Therefore using plastic bin bags, and cable ties I've made a very simple but unusual form, by pulling the bags down quickly then closing the opening, trapping the air to create these balloon like shapes, that when tied together become this huge bulbous form, in the end I had a dozen of these air bubbles all tied together. However this form was ephemeral as the air was slowly seeping out therefore this form had a life span.

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Above, I should have left this sculpture as it was, however I chose to use the foam from the material pool to create spine like shapes based on the concept that this form is similar to a sea urchin. This was an interesting idea however once I had added these spines, I felt that they completely compromised the forms quality and impact on the viewer, yet when I attempted to remove them the tape ripped the bin bag slightly which therefore meant that the air was escaping quicker than before therefore I had injured my sculpture and reduced its life span. However the main bubbles remained inflated and carried on clawing for life, this gave me an idea that I wanted to entertain so I cut a hand in a claw like form out of foam and attached inside the form so the sculpture is reaching out.

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Above is the finished version of sculpture, however several days later only half of the bubbles remained inflated, it was in the twilight of its life span.

For the remainder of the week I continued finishing off assessments for the previous workshops, the sculpture task of answering two briefs from the list of fie, I chose to look at the cloak/veil brief, which suggested creating an object which could be used to cloak or veil therefore partially or completely cover an every day object. To do this I took inspiration from my theme of forms and the third year studio, which I have shown above. I therefore collected a variety of tights which I filled with rice, using these I hoped to create a form which could wrap around smaller objects like a vines or tentacles. I then threw the object at trees and gates that I passed as I walked around the fields where I live.

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 Above I have documented the walk I took with the tight sculpture, showing all the placements I cloaked the objects around where I live. In a way the new form acted like a parasite like a leach grabbing onto hosts relying on them to sustain its shape and form.

Below This week I have also worked on finishing the 10 rules paintings from the painting workshop. I began looking at rule 6, a painting using two separate surfaces. To do this I took an A1 sheet of chip board approximately 3mm thick, and an A1 sheet of transparent acrylic. Using these I combined the A5 painting with text image I've previously made with the light box painting I also previously made. To do this I wrote a quote on to the chip board in white paint saying "Pleasant be the simple truth...We can all be violent" suggesting its pleasant to stay ignorant to the fact we all have the capacity for great violence. This I wrote on top of a purple background which I made using an airbrush to create an even smooth wash of the colour which soaked into the chip board at different spots depending on the individual chips of wood creating a hectic effect. I then painted a violent face in the expressive style I'd used in the light box painting, on to the sheet of plastic the benefit of which was that the brush strokes looked more energetic on transparent canvas as there was a light floating appearance to the strokes. This layer was then placed on top of the purple background. This is still a work in progress as I am yet to create a working stand which will keep these two panels parallel with at least a 2 inch gap between the two. This painting is documented below.

 

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Below I then worked on rule number 7, a painting including a glitch, to do this I used an A1 mount board canvas which I loosely taped a single strip of masking tape horizontally across the centre. I then used the airbrush to spray a mist of re acrylic covering the canvas I then removed the tape/ the glitch revealing the glitch in the painting. I've documented this below.

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