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IT WORKED! I can't take photos that do it justice, and I need to clean the soap residue out, but I have the lettering and the curved edges of the soap!

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Going to try this tonight.

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How to make photo soap (basic method) - Christmas Soap Tutorial

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soap inspo

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Wednesday November 26: Have soap finished, ready to film video

Friday November 28: Video Filmed

Tueaday November 1st: Video Edited & ready

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What works:
- I love the transparencies
- The swirls and blots of colour.

What doesn't work:
- Pictures are Blurred / Ripped
- Soap is a little too opaque
- Hard to shape/ carve
- Don't love the blue: more muted tones or maybe a reddish

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Bit Late, but here is the photo from my first, non-disasterous mould.

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Bit Late, but here is the photo from my first, non-disasterous mould.

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I think I was too cocky about my mould success rate lol .

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Tried to make a mould using materials from the grocery store/pharmacy? So wet, so Leaky.. Keeping it in the fridge overnight, but my expectations are very very very low.

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- bowl
- slow, calm, silent for video
- loop/run-though? (how would it be exhibited)
- CASTING
-tweezers, or sticking on top?
- Simon Belleau- Champs Elysees
- B.G. Osbourne- Game Face

https://vimeo.com/380077059
https://simonbelleau.com/Champs-Elysees

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SOAP! Putting photographs (objects? keys etc?) in soap, video of washing hands? Video project?

Wash that man right out of my hair type of situation.

Perishable: Memory, Soap, Water
Permanent: Photos, Memories (kinda), Small objects (keys)

Questions: is this too similar to the work I presented in class?
I've never worked with video before
Objects vs. Photos
Is anything even permanent in this project?

Is this a stupid idea?

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Why bother making work when things like this exist in the wild

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I'm not completely sure about this idea yet, but I like this idea and general aesthetic

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Thoughts to remember for describing

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I've realized that I am too precious about my collection of found messages to transform them into anything else. They are my babies and I'm not ready to modify them yet.

So basically, I would like to stick with the idea of making a soothing blanket out of paper, but instead of using found messages, I will be using scraps of paper (receipts, grocery lists, metro passes, labels, etc.) that I have collected inadvertently in my past month of living on my own. The idea behind the project is that I am now no longer living with my parents, and on my own, and that is a new and challenging experience for me. Being alone in a new environment has made me need to search for new ways to soothe myself, something that is all the more necessary given the pandemic. 

Baby blankets are given to a child typically at birth. These blankets frequently serve as soothing items that give the child a sense of security. In a way, I have just had the birth of my adult life. This blanket is the gift that I am giving myself, a reference point that I can keep with me to instill in myself a sense of security when times get rough. The use of materials in this project is crucial. The collected scraps that are used are symbols of adult life: grocery lists, receipts. The combination of these adult materials with the childhood object that is the small soothing blanket creates a dissonance and invites the viewer to reflect on the "second birth" that is beginning one's life alone. 

As for Tool or Toy, for this project I am taking items that could once have been described as tools  (the papers) into a “toy”, something that a child uses for play. 

There is something to be said about the homemade nature of the blanket as well, quilting and hand-sewing and how, in this project, those elements are juxtaposed with the harsh, real-life realities of adult life. Tool vs. Toy. 

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playing with the idea of memory + collage

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Found on a Pandemic Walk in April. Experimenting with scanning (vs. photography or other documentation. I like it.

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Kelly Jazvac, Sticky (detail), (2008)

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Kelly Jazvac's installation work Sticky, 2008, features scraps of vinyl, discarded by fabricators of advertising signage. These shiny bits of waste have been stuck together to form seven textiles, positioned throughout the gallery on makeshift pedestals or backdrops made of humble plywood or cardboard. On the floor, viewers first encounter a doormat-size piece composed of long cream-hued strips. The work's thinness, glossiness, and propped-up position, along with its seductively glistening golden vinyl border, render it just enough of an aesthetic object to prevent unknowing visitors from wiping their feet, or a janitor from sweeping it away entirely.

In contrast to such smaller and mainly monochromatic pieces, a sizable multicolored tapestry of vinyl fragments has been draped over a crude plywood support leaning against the wall. The piece seems provisional-unfinished or drying-an impression emphasized by holes in the composition and by shiny textures, resembling wet pigment. These qualities serve to foreground further the process-based nature of Jazvac's project: as a labor-intensive, potentially ongoing and expanding assembly of fabric that addresses the activities of creasing, sticking, melding, folding, bending, and crinkling. It is almost as though Jazvac were attempting to demonstrate the tensile strengths and physical limitations of her lowly material, as in the case of artist Geoffrey Farmer's similarly sticky situating of masking-tape rolls and strips in his installation Entrepreneur Alone Returning Back to Sculptural Form, 2002. Jazvac's emphasis on differences in contours, textures, and shapes-ranging from crudely ripped and jagged to neatly folded and rounded-also recalls Lee Krasner's collages from the 1950s that redeployed discarded paintings by her husband, Jackson Pollock.

Yet Jazvac's practice finds its own set of ecological overtones, as a salvaging enterprise that might result in a wearable quilt or a habitable shelter. Thorough scanning of the tapestry, though, reveals hints about the vinyl fragments' individual origins as parts of myriad marketing campaigns: Details such as airbrushed and blurry bits of landscape or the collar of a shirt seem fragmentary and ambiguous-and as such, they function as a critique of advertising industries that thrive on conveying messages that bring about a comforting sense of wholeness. Jazvac's clever work denies such seamless communicability and challenges us to reevaluate how we fetishize and aestheticize images and products.

- Daniel Adler

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Kelly Jazvac's installation work Sticky, 2008, features scraps of vinyl, discarded by fabricators of advertising signage. These shiny bits of waste have been stuck together to form seven textiles, positioned throughout the gallery on makeshift pedestals or backdrops made of humble plywood or cardboard.

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Kelly Jazvac, Salp (2014)

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Found on Instagram --- find source

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Cindy Steiler, Forgotten 42-46 (2014)

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Gabriel Kuri, Untitled (2011)

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Kirsty Whitlock, Losses (2009)

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Sarah Lucas, Spread Yourself Little Table (2005)

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Robert Rauschenberg, Dylaby (Combine Painting) (1962)

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Sarah Lucas, Au Naturel (1994)

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Lisa Kokin, Homosexual Lifestyle (2001)

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Liz Plahn, detail from a larger installation