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.
Showing posts with label cerberus. Show all posts
Showing posts with label cerberus. Show all posts
Wednesday, 15 May 2013
'Myths & Mysteries': Portfolio and Exhibition Pt. 7
Main Artwork
This post is to feature the three main pieces I produced for the project: Cerberus as Gluttony, Typhon & Echidna Coupling and 21st Century Baphomet. I am also featuring additional artwork produced for the portfolio and the descriptions I provided with them for the exhibition.
This piece is inspired by Cerberus as described by Dante Alighieri in his poem 'The Divine Comedy I: Inferno'. In the poem, Cerberus has the role in Hell as the punisher of the Gluttunous, forever rending their gorged bodies. Dante employed the monster as the embodiment and perversion of the sinners' own unbridled appetite. My original design was to make it more anatomical and less "like a roast chicken" compared to the actual finished piece but this was developed to the point of serving as an even stronger depiction of Cerberus as the embodiment of gluttony. Although I had intended Cerberus to be genderless, the pastel drawing features a limp phallus. This was not incorporated to suggest Cerberus has definately male but to emphasise the creature's impotence (in almost every sense of the word).
In original ancient Greek descriptions, Typhon and Echidna are both frightful monsters that together conceived many of the now iconic beasts of Greek mythology; the Lernaean Hydra, the Chimera and Cerberus to name a few. However, in this piece, the two have been depicted as beings that are otherwordly yet possess great capacity for human compassion (certainly for each other). They embrace one another as if the most intimate of lovers. Constantin Brancussi's 'The Kiss' (1907) was a major influence on the sculpture's form and its construction inspired by the works of Thomas Houseago and Sarah Lucas.
The original figure is a mystery on its own, due to the continual misunderstanding of its existence. Although the name had existed centuries before its established image, Baphomet was officially conceived in 1855 by magician Eliphas Levi as a symbol of humanity attaining intellectual divinity through understanding and neutrality. However, with the passing of the 20th century, I feel Levi's romanticised image for humanity will never pass anything beyond a fantasy. So, this curious creature was to be depicted as something wretched and sinister. Its body is now broken and battered due to our preoccupation with conflict, hence much of piece was constructed from military uniform and equipment. Such composition is very much like Michael Sandle's similarly titled 'Twentieth Century Memorial' (1971-1978) and this Baphomet stands with a surprisingly imposing demeanour comparable to Jacob Epstein's original 'Rock Drill' (1913).
This post is to feature the three main pieces I produced for the project: Cerberus as Gluttony, Typhon & Echidna Coupling and 21st Century Baphomet. I am also featuring additional artwork produced for the portfolio and the descriptions I provided with them for the exhibition.
Cerberus as Gluttony (2011)
This piece is inspired by Cerberus as described by Dante Alighieri in his poem 'The Divine Comedy I: Inferno'. In the poem, Cerberus has the role in Hell as the punisher of the Gluttunous, forever rending their gorged bodies. Dante employed the monster as the embodiment and perversion of the sinners' own unbridled appetite. My original design was to make it more anatomical and less "like a roast chicken" compared to the actual finished piece but this was developed to the point of serving as an even stronger depiction of Cerberus as the embodiment of gluttony. Although I had intended Cerberus to be genderless, the pastel drawing features a limp phallus. This was not incorporated to suggest Cerberus has definately male but to emphasise the creature's impotence (in almost every sense of the word).
Typhon & Echidna Coupling (2011)
In original ancient Greek descriptions, Typhon and Echidna are both frightful monsters that together conceived many of the now iconic beasts of Greek mythology; the Lernaean Hydra, the Chimera and Cerberus to name a few. However, in this piece, the two have been depicted as beings that are otherwordly yet possess great capacity for human compassion (certainly for each other). They embrace one another as if the most intimate of lovers. Constantin Brancussi's 'The Kiss' (1907) was a major influence on the sculpture's form and its construction inspired by the works of Thomas Houseago and Sarah Lucas.
21st Century Baphomet (2011)
The original figure is a mystery on its own, due to the continual misunderstanding of its existence. Although the name had existed centuries before its established image, Baphomet was officially conceived in 1855 by magician Eliphas Levi as a symbol of humanity attaining intellectual divinity through understanding and neutrality. However, with the passing of the 20th century, I feel Levi's romanticised image for humanity will never pass anything beyond a fantasy. So, this curious creature was to be depicted as something wretched and sinister. Its body is now broken and battered due to our preoccupation with conflict, hence much of piece was constructed from military uniform and equipment. Such composition is very much like Michael Sandle's similarly titled 'Twentieth Century Memorial' (1971-1978) and this Baphomet stands with a surprisingly imposing demeanour comparable to Jacob Epstein's original 'Rock Drill' (1913).
Self Portrait as 21st Century Baphomet (2011)
Saturday, 11 May 2013
'Myths & Mysteries': Portfolio and Exhibition Pt. 4
Here are some photos I had taken of the exhibition for the Final Major Project art show in my college.
These are the small-scale sculptures that were eventually displayed for the final exhibit.
For the exhibition of Cerberus as Gluttony (2011), the sculpture was placed onto a dinner plate and had fresh vegetables surrounding it. The intention was to let the 'creature' stew in itself as a meal while the food around it began to rot.
I was glad to see how the final outcome for Typhon and Echidna turned out, as the jackets did well to hold the wire bodies close to the plaster torsos.
I found myself taking a liking to how 21st Century Baphomet was exhibited more than how I originally thought to display it. This made it feel more ominous as a figure, as it practically loomed over anyone approaching it. The frail, exposed wire taloned hands I also thought were a nice touch.
These are the small-scale sculptures that were eventually displayed for the final exhibit.
Left to right: Dagda Idol, Untitled (Basilisk), Coatlicue Idol and Untitled (Colchion Dragon) (2011)
Top to bottom: Untitled (Hydra), Bullman Idol and KFC (Kentucky Fried Cockatrice) (2011)
For the exhibition of Cerberus as Gluttony (2011), the sculpture was placed onto a dinner plate and had fresh vegetables surrounding it. The intention was to let the 'creature' stew in itself as a meal while the food around it began to rot.
I was glad to see how the final outcome for Typhon and Echidna turned out, as the jackets did well to hold the wire bodies close to the plaster torsos.
21st Century Baphomet exhibited as a sculpture.
I found myself taking a liking to how 21st Century Baphomet was exhibited more than how I originally thought to display it. This made it feel more ominous as a figure, as it practically loomed over anyone approaching it. The frail, exposed wire taloned hands I also thought were a nice touch.
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