'Myths & Mysteries': Cerberus Pt. 1

26/4/2011

As mentioned earlier, in between developing the two major pieces on 'Baphomet' and 'Typhon & Echidna', I had been producing a number of smaller sculptures. One particular sculpture was slightly more ambitious in scale but more importantly was my attempt to develop a piece using mixed media. I would entitle this piece Cerberus as Gluttony.

The heads were built from wind-up teeth, connected to the body by vacuum cleaner tubes as necks. The body itself was built from a soft, thick wire frame with plaster base to weigh it down. The 'skin' was made from a porous cloth dipped in latex. The latex-cloth was drapped over the body once its wire skeleton was filled with wadding.

Upon finishing construction of Cerberus's body many people, tutors and peers alike, compared its form to that of a roast chicken, due to its patchy skin texture and caramel tone. I could think of a means to make it more anatomical (as shown in the sketchbook design above) but I'm more concerned with thinking over the intergration between the sculpture's main body and necks. Bandages may be the most appropriate material for use.

'Myths & Mysteries': Baphomet Pt. 3

21/4/2011

I have been trying to consider what possible means there could be for me to construct the wings of the Baphomet sculpture. Fortunately, I have managed to develop a couple of ideas and noted them in my sketchbook.

 

Although it is not entirely clear to see from these page shots, two possible methods. One involved a triangular frame and the other was a mutli-jointed structure, much like a bat's wings, which I considered may be possible to build from an umbrella. Structurally, the former idea of the triangle frame is more practical.

'Myths & Mysteries': Typhon & Echidna Pt. 2

18/4/2011

I've looked back on my design for the Echidna and Typhon piece. Firstly, an idea occured to me to attempt producing a cobra-like 'hood' for Echidna in place of hair. It seemed to make sence that I simpy look into taking the hood of a jumper and try to shape it accordingly. I also intend to use a small jacket I found to serve as part of her arms.

Drawings for hood concept can be seen

in the bottom-right corner

It would be good to compose a list of the necessary materials. More so, the questionnaires should also be done by this weekend.

'Myths & Mysteries': Design and Sketchbook Pt. 6

18/4/2011

I feel as though I'm really making progress. I worked through any research to cover artists of primary interest, though I'll be sure to keep a look out for any other artists or other kinds of references that might intereste me along the way.

In addition, I've worked through designs based on ancient Greek and Medieval myths. I have now moved on to Celtic and Breton mythology, hoping to have finished covering European-based myths by the weekend.

The main problem has been that I feel I have focused too much on Greek mythology in particular. Regardless, I hope to cover other cultures that can provide ideas for even more interesting ideas.

'Myths & Mysteries': Baphomet Pt. 2

15/4/2011

I have picked out another vital component to the Baphomet sculpture, a gas mask.

I had considered a gas mask to be appropriate for the 'reconstruction' of Baphomet's head, a tool to ensure its survival in an environment that has become hazardous to even breathe in.

All that remains is to develop construction for the frame of the wings and how to cast a skull shape for the mask. Of course, I still need to get materials for 'Typhon & Echidna'.

'Myths & Mysteries': Baphomet Pt. 1

14/4/2011

The market at Oxford was open so I had a look for possible materials for more sculptures. I found a few items for other small-scaled pieces. However, what was perhaps the best find was the military clothing. Having looked up on how much certain items could have cost for one of sculptures, I ended up significantly reducing the total cost of materials.

Although not actively recorded throughout my project, I still felt it was relevant to ensure the developments of my projects were cost-effective.

I wanted to use the military clothing for one of my larger-scaled sculptural pieces. I have chosen to have this particular piece entitled '21st Century Baphomet' and this is most likely to be my most ambitious, boldest and riskiest piece to date. Because of the icon's common misuse and misconceptions, my work may potentially be vulnerable to undesired speculation.

However, it is also the most important piece as based on a personal level, certainly in comparison to other sculptures from the project thus far. I believe Baphomet embodies a form of philosophy and attitude from the experiences in life, at least to some extent. It's a misunderstood figure made to represent the need for understanding. My version Baphomet is also intended to emphasise mankind's preoccupation with conflict (in ways, not unlike Michael Sandle's 20th Century Memorial).

Baphomet as depicted by Eliphas Lévi Zahed

from Dogma & Rituals of High Magic (1854)

 

Hence, I intend for what were once natural components to this character's body have been replaced with tools for combat...

 

This explanation could be provided along with the exhibited piece.



'Myths & Mysteries': Design and Sketchbook Pt. 5

12/4/2011

I have gone well under way with producing small-scale sculptures. While I have not quite strictly followed the idea of using found objects per se, I have settled with acquiring items and materials were affordable.

A 'prototype' model for a sculpture, based on the Basilisk.

In particular, I've focused on the use of toys, owing greatly to the encouragement of one of my tutors. I have picked out my materials from a selection of minor retail outlets that offer an affordable (albeit limited) range.

I once looked into a more major retailer (Toys R Us), however, they only had higher priced 'mainstream' toys, instead of  the 'pocket money' sort I intended to work with. Also, the general incorporation of toys as materials is something of a homage to the style of some works by Jake and Dinos Chapman.

'Myths & Mysteries': Design and Sketchbook Pt. 4

9/4/2011

It has been a week since I wrote into my journal. However, that is due to urgently producing design for the sketchbook. I also intend to start producing designs and consider materials for my larger scaled sculptures. Unfortunately, I am also behind in terms of proper evauluation. I need to produce peer questionnaires within the following two weeks.

'Myths & Mysteries': Design and Sktechbook Pt. 3

2/4/2011

This was the last day that the exhibit 'Modern British Sculpture' was to be held at the Modern Academy of Arts. I took this day to view the exhibit for myself.

In the time I spent there, I had taken sketches of some of the sculptures that interested me. I made something of an experimental approach to drawing with pencil. The idea came to me by chance, when the pencil lead incidently broke. I used the broken-off piece to draw as if it were a small piece of charcoal.

 

Personally, I'm quite pleased with the results from this method. Along with other styled sketches, I intend to add them to my FMP sketchbook.

'Myths & Mysteries': 'Typhon & Echidna' Pt. 1

30/3/2011

I've initiated drawing out a design for one of the major pieces that I intend to exhibit. It is to be entitled 'Typhon & Echidna Coupling' and could be considered a homage to Constantin Brancusi's 'The Kiss'.

The Kiss (1907) by Constantin Brancusi

 

I had an idea to create a sculpture based on the two mythical figures shortly after the start of the project. However, while briefly looking into the development of modern sculpture since 1900, I came across this piece. Its totemic form makes it very relatable to other western artists I had looked into who began to take inspiration from African and Indo-Pacific arts.

'Myths & Mysteries': Research Pt. 3

25/3/2011

I have been taking into consideration the idea of beginning my plans for a series of questions to feature in a questionnaire for peer assessment of my work. Given my chosen specialties, I should mostly direct my questions towards peers of both the sculpture and metalworks.

The questionnaire should demand a comparison between the pieces from this current project and the wire sculptures produced from my 'Body & Form' project.

'Myths & Mysteries': Design and Sketchbook Pt. 2

23/3/2011

Notes and sketches of various tribal sculptures, as seen from the Pitt Rivers Museum collection.

Drawings on right page below are all considered designs for myth-based sculptures.

I produced my first carved sculpture. I used one of my designs based on the Minotaur, as partially inspired by various African sculptures. Personally, I found the end result very pleasing. The use of Indian ink and drybrushing really helped to give the sculpture its texture too.

 

Having worked on this as an attempt to create a representation of a male figure, I intend to make another at some point of a female figure.

'Myths & Mysteries': Design and Sketchbook Pt. 1

18/3/2011

Design for wire sculpture based on Harpy

Having already produced several designs within my sketchbook, I have also worked on two small-scale scuptures. The first of these was another wire sculpture. However, it was somewhat less 'wrapped-up' compared to my previous pieces.

Wire sculpture based on Harpy

The most recent of the two is particularly unconventional to my previous wire sculptures.

'Silver Centuar' (2011)

Modelled after the centaur, this sculpture was made to exhibit a sense of posessing both a two-dimensional and three-dimensional presence. This, to an extent, brings a connection to some influence drawn from Thomas Houseago's sculptures.

'Myths & Mysteries': Research Pt. 2

15/3/2011

A tutor suggested to me that I look up a contemporary artist named Sarah Lucas. I was given the recommendation because of her use of relatively unconventional materials for some of her sculptures. In particular, she produced a collection of sculptures called NUDS made from stockings and wadding.

'Myths & Mysteries': Research Pt. 1

For the first three weeks of the projects, I set to find a large number of sources for research towards my work, artists or otherwise. With artists in particular, I intended to look into those who primarily worked as sculptors and/or installation and look that those artists who I could associate with stylistically. I also looked to different artists to consider possible material to construct my own sculptures from.

11/3/2011

Already, within almost a week of starting the FMP, I had found numerous artists to look into. I noted their names down as a list to later apply to my sketchbook:

• Thomas Houseago

• Jacob Epstein

• Antony Gormley

• Alexander Calder
• Janet Cardiff & George Bures Miller
• Antony Caro
• Jake & Dinos Chapman

• Ron Mueck

Final Major Project: 'Choosing a Topic'

7/3/2011

I actually came up with two other ideas before my final decision. Firstly, I considered producing artwork of a more political approach (I had in fact, attempted to produce a few works with socio-political intentions in the past). However, after many discussions about my idea with friends, family and tutors, I sought for an alternative subject.

I decided to take on a more personal interest, as I admittedly cannot say I had been a person who could ideally discuss political matters (more specifically, current events). I also wanted a project that could be better expressed in sculpture as I had become increasingly interested in exploring the medium of sculpture due to earlier satisfactory pieces. Very shortly, I considered exploring certain themes I used to often focus on before taking up this Foundation course. However, this was most likely too disconnected for other people. With regards to the aesthetics as well, this would have dismissed too much for being 'comic art'.

Eventually, looking back on projects I finished earlier on within the course, I decided to develop from my wire sculptures made during the 'Body & Form' project. From this, I decided to focus on mythologies, expanding to various cultures of the world.

The aim is to produce a series of figures, each often varying in scale, based on creatures described in various mythologies. They are, for the most part to appear unusual, imposing or even unsettling. Those that may be generally described as intimidating or ferocious will be depicted in either a bizaare or amusing manner. I've thought of approaching this project to provide an unconventional view to recognisable images.

My project went under the title 'Myths & Mysteries'.

Introduction to FMP (Final Major Project)

For this last project I would be working on for my time in college, I knew I had to approach this differently to how I had done with earlier projects. I intended, to an extent, to carry on how I used my sketchbook for the previous brief on Art Books and aimed to produce a consistent demonstration of development in ideas, designs and outcomes while keeping it in a relatively ordered fashion.

However, the biggest difference for this project brief compared to all the others was my intention to further the use of my 'reflective journal', which I had admittedly often neglected to make use of (the most regularly I took note into the journal beforehand was for the Body & Form project, even then relatively little relfection could be said to have been done at the time). For my Final Major Project, I intended to make myself more consistently write entries into my journal reflecting upon my developments throughout the entire project, on not just my constructed pieces but also on developments of the designs, research and all other activity applied to the sketchbook. For the following entries on this that I'll enter into this blog, I will be referring to the past entries of my journal from the workings of my FMP.

'Art Books': Conclusion

Looking back, this project was the first brief where I felt I made any major progress not only through the outcome but through the overall development as shown in my sketchbook. I certainly feel that there has been some benefit to increasingly showing the development of my artwork through images of my sketchbooks for this blog.

In showing my sketchbook, this should provide an opportunity for people to gain better insight on how my work comes to form and in turn (hopefully) better justify itself. Also, I found it rather engaging for me to use a second-hand book not unlike the projects themselves, as it brought an amusing notion to adapt aspects of the original text and images to fit with my current ideas. I have even considered more basic illustrative projects that work on this as a full-on project, rather than a scrapbook.

As for the book projects themselves, my opinions on them have certainly changed over time. Admittedly, I originally had more interest in the Esquire's Look into Hell, it certainly required more time and effort to complete in comparison to Book of Matches. However, more recently, I have gone on to better appreciate the greater intrigue ...Matches had attracted. There was a far more simplistic charm to the piece that made better use of the primary material. Many of the ideas drawn for Esquire's... could have just as well been produced as a separate kind of piece altogether, or rather, it would have benefitted being produced on some other medium. The later idea for a possible exhibit of Esquire's... is, in ways, a clear sign of that.

I hope to better refine the idea developed from Esquire's... through another project some time in the future.

'Art Books': Exhibiting the Art Books

Although never applied as a final outcome, it was required of me to design possible means to exhibit my book-based projects. Given the two projects I ended up producing both worked on very different basis to each other, they could both be exhibited in very different ways. In some cases, they may be presented in a way that did not expect the viewer to 'read' them. With Book of Matches for example, one could further develop from the word-play by presenting the collection as if a legitimate set of books.

Through some feedback, it was suggested that the books could have been presented as a stack, to bring out the sculptural element of its construction.

Esquire's Look into Hell very much felt like a completely different matter in presentation. I had originally considered the possibility of how the book could be exhibited on a plinth, free to open and let people read through...

However, Esquire's... is far from straightforward is undoutably an akward one to read, due to it's construction and arrangement.

I shortly thought of how, in many ways the individual pages within Esquire's... may even stand as separate art works in their own right. So, a latter design featured the idea of presenting the book, surrounded by large-scaled images based on the depictions within the book.