When I started this project, I was still restricting myself in use of materials and hence, possibly restricting myself in range of ideas. My immediate reference had been Giacometti, still very much narrowing myself down to similar works to the wire sculptures I produced from my 'Body & Form' project.
However, I would fortunately expand on my range in a short amount of time as I discovered artists like Thomas Houseago, Jacob Epstein and even the likes of Chapman Brothers. As my knowledge for possible materials and methods increased, so did my rate in developing ideas. As a results, I had to select what seemed to be the best ideas to work from, either as maquettes (the small-scale sculptures) or as 'complete' scultural pieces. I found a great interest in the use of materials like plaster and balsa wood. Very shortly, I would expand to attempt producing mixed media sculptures, including my final pieces.
The most effective of my small-scale sculptures appeared to be my balsa wood figures. In particular, 'Bullman Idol', one of my earliest works from the project, had gained the most appeal. I had attempted to experiment, notably, with the use of toys. However, it would seem that a number of them appear to be the least substantial of my work. Perhaps further experimentation with such material is required. I have considered this for any possible future projects.
Altogether, I have produced three major sculptures to become final pieces. Firstly, 'Cerberus as Gluttony' was perhaps my best adapted piece in how it developed when I found it to not be entirely matching its design.
The second piece, 'Typhon & Echidna Coupling', has experienced very few changes in terms of its transition from design to final outcome. I personally consider it to be the least substantial of the three major artworks, mainly because I would have preferred it to stand out more from its influence, as it remained for me very closely connected to the works of Thomas Houseago throughout its development.
In my opinion, '21st Century Baphomet' has become the most developed, technically and ideallym arguably making it the strongest piece I made since taking up my Foundation course. I also consider it my most personal artwork conceived. Not only do I feel its focus represents a part of my own thoughts and beliefs, it was also ultimately drove me to do more than merely create and represent Baphomet. I was wanting to become Baphomet. Producing it as a theatrical piece as well as a sculptural one gave me this peculiar feeling that I gave life to the icon, even if only to an extent. More importantly, this project has given me the realisation of numerous possibilties from which I make my ideas take shape.
There still many ideas locked within my sketchbook, possibly more waiting to take their form within my mind. In any case, even upon 'finishing' this final brief, I feel as if the project has still very much begun.
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