Submission Week BA1b
Summary:
As this was submission week, I have spent the week finishing off work, fleshing out my reflective journal and documenting all my work from the workshops and my studio work. I therefore have presented every outcome I've made for this unit below.
Piece no#1, Untitled
Modelling
wax sculpture. During a seminar at the start of the sculpture workshop, we were
each handed a piece of modelling wax (roughly W 3cm, H 2cm, D 1cm), which we
were told to mould without considering what we were doing.
Piece no#2, untitled
Aluminium
cast of a key ring. My first attempt at a simple sand mould cast. Originally I
kept the excess material from the funnel, however the majority of this broke
off in following weeks. I wanted to keep it as this was a physical
representation of the negative space.
Piece No#3, untitled
Plaster
cast of my hand. Due to the limited amount of alginate available in the
workshop I was only able to cast a limited amount of my hand, therefore I
clenched a fist and splayed out my fingers, maximising the potential cast on a
limited amount of materials.
Piece No#4, Untitled
Plaster
cast of my palm. With the leftover plaster from the hand above, I chose to cast
the negative space of my palm.
Piece No#5, Untitled
Steel
sphere. For the second sculpture workshop, working in cooperation with three
other students we created a sphere from 1 metre diameter 6mm steel bar circles.
This is still a work in progress.
Piece No#6, untitled
Plaster
cube. Part 3 of the sculpture workshop, we were each given a cube of plaster
approximately 20cm3. Which I hollowed out and refilled the empty space with the
off cuts.
Piece No#7, untitled
Mask
creation 1. (Mod roc, plastacine and cotton) In response to my research into
Mathew Barneys work I began creating masks to reflect my own themes of internal
demons, or the beast in men. This was more of a trial piece which I expanded
upon in the next two pieces.
Piece No#8, Untitled
Mask
creation 2. (Mod Roc, plastacine and string) I tried to link both a beast like
face with a humane one, I covered the eyes and stitched the mouth so as to
create a sinister and harmful presence linking to the human capacity for
violence.
Piece No#9, Untitled
Mask
Creation 3. (Mod roc, plastacine and string) This is very similar to mask 2,
except rather than linking the capacity for violence to beasts and animalistic
human characteristics, I chose to make a link to morality by exposing details
of an exoskeleton.
Piece
No#10, Untitled
Brick
and Wax. This is a response to the sculpture workshop prompt appropriation I took
a standard red brick and decided to change this by considering my own themes,
therefore I decided to change its form. When I consider a brick I think it
resembles a sturdy form, a figure of durability, therefore I wanted to maintain
a similar shape yet completely alter this interpretation. So I decided to
shatter the brick with a hammer and then rescuer the sections with a very
brittle material, I chose to use wax as it can change state depending on shifts
in temperature.
Piece
No#11, Untitled
Study
of a scene of purple objects within an hour, part of the painting workshop part
1, on an A4 primed wooden board, in acrylic paint.
Piece No#12, Untitled
Study
of a scene of yellow objects within an hour, part of the painting workshop part
1, on an A3 primed wooden board, in acrylic paint.
Piece No#13, Untitled
Study
of a yellow scarf in an expressive style in acrylic paint on an A4 primed
wooden board.
Piece No#14, Untitled
Abstract
experimental piece 1, acrylic painting on an A2 sheet of card.
Piece No#15, Untitled
Abstract
experimental piece 2, acrylic painting on an A2 sheet of card.
Piece No#16, Untitled
Abstract
experimental piece 3, acrylic painting on an A2 sheet of card.
Piece No#17, Untitled
Abstract
experimental piece 4, acrylic painting on an A2 sheet of card.
Piece No#18, Untitled
Abstract
experimental piece 5, acrylic painting on an A2 sheet of card.
Piece No#19, Untitled
Abstract
experimental piece 6, acrylic painting on an A2 sheet of card.
Piece No#20, Untitled
Abstract
experimental piece 7, acrylic painting on 2x A2 sheets of calico.
Piece No#21, Untitled
Response
to painting workshop 10 rules, rule 1: A painting visibly including letters,
words, numbers or instructions. Studio wall painting used to convey my own
themes, acrylic paint.
Piece No#22, Untitled
Response to painting workshop 10 rules, rule 1:
A painting visibly including letters, words, numbers or instructions. A5
unprimed wooden board painting used to convey my own themes, acrylic paint.
Piece No#23, Untitled
Response
to painting workshop 10 rules, rule 2: A painting that is ephemeral. I painted
these letters using acrylic ink onto an A1 sheet of mount board which I screw
to a wooden palette before covering the text in bird feed. This is the
weathered remainder of the piece of work once the bird feed was completely gone.
Piece No#24, Untitled
Response
to painting workshop 10 rules, rule 3: A painting made on a non-art surface
(not canvas, fine art paper r new wood). Expressive acrylic painting on a
broken A3 lightbox.
Piece
No#25, Untitled
Response
to painting workshop 10 rules, rule 4: A painting featuring more than one
visual language or style. A1 sheet of mount board, two separate acrylic
paintings, one of the skull in a realistic detailed style, the other an
expressive style face above.
Piece No#26, “Cast Aside”
Response
to painting workshop 10 rules, rule 5: A painting of an ending. High detail
acrylic A1 painting of a roadkill badger.
Piece No#27, Untitled
Response
to painting workshop 10 rules, rule 6: A painting consisting of two or more
separate components or surfaces. Using an A1 chipboard canvas I made a large
version of the A5 text painting above which I painted on an A1 transparent
acrylic board in a similar style to my lightbox painting.
Piece No#28, Untitled
Response
to painting workshop 10 rules, rule 7: A painting with a glitch (interference,
disruption, interruption.) A1 mount board painted with airbrush in red acrylic
paint, with the glitch of a strip of masking tape across the centre of the
board.
Piece
No#29, Untitled
Response
to painting workshop 10 rules, rule 8: A painting made using one or more
non-art substance as paint or with at least one object attached to it. Based on
my theme of hybrid forms, I’ve made a simple A4 painting using coffee of an
animal I’ve created in my sketchbook, in the style of a cave painting.
Piece No#30, Untitled
Response
to painting workshop 10 rules, rule 9: A painting made with pressure. For this
I took an A3 canvas bard which I crushed up into a ball and poured watered down
acrylic paint inside of the cracks allowing the creases to dictate how the
painting would turn out.
Piece No#31, Untitled
Response
to painting workshop 10 rules, rule 10: A painting in which the frame or
framing device plays an integral role and is non-rectangular. I hung a sheet of
bubble wrap from the studio ceiling using string I then poured acrylic ink over
the contours.
Piece No#32, Untitled
Roadkill
form model. As a way to develop my work from the detailed painting of the
roadkill badger, I’ve made a plaster model of the badgers form.
Piece No#33, Untitled
Animal
head sculpture. As a way to convey my themes of the human capacity for
violence, and forms, by combining the anatomy of a horse head and wolf’s both
of which have had links to human conflict for centuries. The sculpture consists
of foam board, plastacine and mod roc.
Piece No#34, Untitled
In
the first part of the advanced sculpture workshop, I used the everyday plastic
materials to create a serpent like form, approximately 2.5, metres long.
(Plastic dust sheet, parcel tape, cable ties.)
Piece No#35, Untitled
Plastic
based animal sculpture. As a development from my work in the advanced sculpture
workshop, I’ve primarily used every day plastic materials to create a decaying
serpent like animal form linking to my own themes. The sculpture consists of
foam board, duct tape, chicken wire, plastic bags, and disposable dust sheet.
Piece No#36, Untitled
Response
to sculpture workshop prompt cloak and veil, here I was experimenting with form
by filling tights with rice to create a decaying organ like form which I used
to cloak small shrubs and branches.
Piece No#37, Untitled
Vacuum
form 1. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No#38, Untitled
Vacuum
form 2. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No#39, Untitled
Vacuum
form 3. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No#40, Untitled
Vacuum
form 4. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No#41, Untitled
Vacuum
form 5. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No#42, Untitled
Vacuum
form 6. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No# 43, Untitled
Vacuum
form 7. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No# 44, Untitled
Vacuum
form 8. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No# 45, Untitled
Vacuum
form 9. As part of the second week of the advanced sculpture workshop I created
a series of vacuum formed plastic forms by vacuuming an assortment of discarded
or abandoned rags.
Piece No# 46, Untitled
Vacuum
form 10. As part of the second week of the advanced sculpture workshop I
created a series of vacuum formed plastic forms by vacuuming an assortment of
discarded or abandoned rags.
Piece No# 47, Untitled
Vacuum
form 11. As part of the second week of the advanced sculpture workshop I
created a series of vacuum formed plastic forms by vacuuming an assortment of
discarded or abandoned rags.
Piece No# 48, Untitled
Bin
bag form. During the third part of the advanced sculpture workshop I
experimented further with adapting household plastic materials into animal
forms, therefore I blew up several bin bags into oval like shapes which I tied
together using cable ties. This resulted in a form similar to a sea urchin. I
therefore attached foam spines.
Piece
No# 49, Untitled
Hybrid
drawing. On A1 mount board using pencil and inks I’ve drawn a large scale
version of one of my animal creations from my sketchbook, conveying the theme
of the human capacity for violence, I tried to draw this quickly and
expressively.
1st Year
Exhibition
Student
Gallery Exhibition. For the end of year exhibition I chose to primarily link to
how I’ve combined my themes of animal forms to the human capacity for violence.
Therefore I chose to exhibit two pieces, number 26 and 33.
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