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Artist Salman Khoshroo builds figured our of electrical cable, resulting is a highly gestural piece- his figures both being made for close inspection and movement. Khoshroo’s kinetic sculptures reveal the inherent ability in which both machines and humans move. The artist use of brightly coloured electrical wires wrapped around a wire frame form or shape of a human or post human head. In fact, his evolution from previously painting the human to sculpting the post human reflects the philosophical thoughts of the visionary Futurist, FM – 2030. Shamans recent exploration of the sculpted, tangible phycial form is a stark difference tis earliest and impressionist portraits. His favour for bold colours shows a ray mix of emotions, the bold and swift sweeps of primary colours conform ultimately to the limits in which they were bound to form the outline of a portrait, the insulated material conceals the shine and converse of energy that would normally roar through with electricity, while there are no visible ending the the wires in his works on the figure itself, there are sharp and direct lines that end suddenly- in some effects resembling hair or broken containment.

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Phoebe Cummings is an artist who works exclusively with unfired clay to create poetic and performative sculptures, with her emphasis focused on processes of time, materiality, creation, decay, and delicate state of being. Cummings focuses on creating floral arrangements, the fragile and malleable sculptures last only as long as the exhibition. Thus with this in mind they are made on-site to specifically responding to the present and the short time in which they and their environment exists in. Inspired by the natural world as well as botanical illustrations, yet they exist bleak in colour, opposing the real colours with the monochromatic shades of raw clay. This monochromatic appearance implies great age, as the viewer feels as although they’re peering into the past- examining the smallest of details that are preserved in an artifact appearance. The large scale of these works shows the progressions of time as the clay drys, a sense of reflection back on its ancient culture of origin, like a timeline or story of ephemeral events.

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Oppositional to mine, Holzer’s text based work is clear and simple in its execution. Specifically her series’s Inflammatory Essays- produced between 1979-1982, displayed as posters around various places in her current city residence New York. These works are 2D and are not physically textural, asides from the cold, flat surface of gloss, coloured, cartridge paper. Jenny Holzer is a neo-conceptual artist who works with large-scale installations.  There are 31 different texts in this series each 20 lines long, however the physical object size can vary greatly as Holzer plasters her work across advertising billboards, projections on buildings and other structures, and illuminated electronic displays. Jenny Holzer employs text, her right and freedom to speech, to address the politics of discourse. The essays are printed in alphabetical order, first small in scale on posters, followed by a manuscript entitled the Black Book (1979).

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As push finally came to shove today on the 31.05 I successfully did an install of my final works for this semester of Open Studio alongside my peers who’ve studied with me so far. A new experience that was warmly welcomed and insightful to both myself and others of my journey so far.

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Although the image is blurred, it is a cropped version of a larger space - covering approximately 3x2 meters. Using prints I have brought and been gifted, my collection of old magazines and exhibition flyers I pieced together a large wall of all the aforementioned clippings and collectables. As a whole the work shows who I am and who I have been, my interests and hobbies and so on. By some measure it is so far a story of my life.

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Displaying a work of my own within my house came as a small challenge as, I am confined only to a room in a larger share house with others. Although this challenge was limited under my circumstances I was able to suffice by arranging the furniture in my room to accommodate for a free wall to display my works. Whether or not they were finished I was able to hang them on a wall of their own and later using this again as a space for a collage of collected pages over time. As my walls are a light, bleak grey, it was not hard for the bright colours of my canvas to stand out against.

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For my final open work piece I used an entire role of 30 meter aluminium foil, working it in different ways to reflect light and create new textures. I creased and curled and bound together pieces, first creating a stem which grew into a brain and thickened into a spine and bursted out to creased foil resembling lungs.

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This was the final outcome for what I had initially thought would be final for my second Open Work. It ended up becoming as a very personally and impactful piece, acting as although pensive for my own self reflection from a brief visit from home after 3 months away.

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On a seperate calico canvas to the final black text tarp piece I first developed this draft work which branched from a piece I created roughly 2-3 years ago. See image below for the reference image:

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This piece was very spontaneous and done in the early hours of the morning. The black tarp or canvas is held to the wall by 3 thumbtacks and is marked with acrylic spread across the top. The words I wrote with my hands and the text for the most part I had premeditated as an adjusted journal entry I had previously written.

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This theme of this set is a reflection of one of my earliest memories of my childhood. Flowers into tea cups, mushrooms into tea plates, and leaves into spoons. The pieces are fragile and delicate, although as a child I was wild and rolling in the mud.

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Having limited access to proper clay tools I utilised what was around me to achieve similar effects. For the most part, with each of these tools I used all sides and surfaces to create a variety of different effects and patterns.

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In class GIF:
As my first time creating a GIF, let alone using photoshop, I was  wanting to do so much but knew so little on how to achieve that. I had planned to expand on this already exisiting work as a potential Open Task, and by some measure I began doing so, but drove away from it because of my inability to access photoshop on my own device in my own time. Although I found a similar alternative it was not the same.

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For our week 6 installation project we each were randomly partnered with our work to another to install collectively. Completely juxtaposed to my large acrylic painting piece I was partnered will a small digital iPad drawing. Initially we both had grand plans to combine each of our works but under the time frame we were in we would’ve been unable to successfully achieve our goal. As a final effort idea, we simply laid our pieces out on the floor. As the digital drawing was of a shielded head we opposed the uncovered body by having this cover the head of the naked woman.

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Natural beeswax, wood, glass, Cor-ten steel, 2019-20

Image of work: Titia Hahne

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Ceramic alba, or in layman’s terms; beeswax, is a naturally found substance; established by the Ancient Greeks as an artistic medium in encaustic paintings. By their use, it was brought to the peak of its technical perfection in the 4th century BCE. Though, artistically it is more commonly used as a binder, encaustics can also be sculpted also. This use is less so common, however proven to be extremely effective when done correctly.

Inspired by Beeswax and its unique natural properties, the Netherlands-based artist Tomáš Libertíny spent two years building a “new queen.” He began by constructing a 3D model of the original bust before introducing the assistance of 60,000 bees which brought the piece to life. Talking about his work, Tomas said that his job was directing the bees to “create a fragile and valuable object - like a pearl. This takes time and time creates value.”

Beeswax is an organic and ancient material; although light and thin, its tolerance and high durability against harsher conditions is substantial. The use of this particular material for those reasons suggest that this woman is eternal, against all odds. The piece titled ‘Eternity,’ is made entirely unique because of this. Representing both the fragility and durability of femininity. In an interview for this piece the artist questions the duality or contradictions between fragility and endurance; much like people, who go unsuspected as sensitive beings appearing externally with opposing tough skin. Presented in the form of one of the most recognizable and influential women in all of history, Pharaoh Nefertiti, the subject, separate to the artists material speaks a very a powerful message. Eternity addresses the contemporary gender discussion, however the piece addresses more so femininity rather than feminism. A concept the artist has connect to vulnerability. This judgement becomes clearest so when Tomas talks about his material, beeswax, describing it as an ultimately female material. In prehistory times, a sculpture was created in wax before bronze was poured over it. In this process the softer material makes a place for something more sturdy and, as the artist calls it, masculine. This debatable point of view concerning in gendered material replacement explains that he ultimately strives towards preserving beauty. In this particular piece, Eternity, the artist quests that “Nature will do what it wants to, when it wants to,” this idea adds a level of tension as its positions natural as an unstoppable force.” This challenge of femininity versus masculinity has been a controversial topic; however in Eternity, it questions feminists, authenticity, embracing change, sacrifice, and destination, which simultaneously makes the artists work not only incredibly layered, but also changes contemporary views in a beautiful way.

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All the pieces of the set are highly texturised with additions to the base object i.e. the spoon handles, or otherwise have layers removed i.e. where the cups show a tree like pattern on them.

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For my second open task I am using clay to create a themed tea set. This tea set is themed around my recollections of my childhood, in the garden with my sisters building fairy gardens and playing pretend. Intentionally the tea set will be made to look organic in shape, meaning that the shapes and structure of the pieces will be in odd proportions. Each of the tea set pieces will connect to form a garden setting:

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In my second attempt for my open task I again adjusted the position of the figure and the object it was holding. The object there in the image was just a fill as I had wanted to make it a baby instead. I planned to add onto this by adding a second figure leaning over from behind the first.

This piece went unfinished as it broke before I had the chance. See Open Task 1.2 for the outcomes of this firs piece.

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Plan + notes for HALFDOZEN piece. This was a very time consuming piece to make as I threaded TBC

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https://youtu.be/OIwflZL7Ku8

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This Studio class asked that we reimagine a previous piece made in a previous task from this class as a photo shop image. This is my first image as it largely was practice for me; however I am reattempting this task for a better outcome. For my first photoshop task I used my art work from the 4 hour task back in week 1. For my second approach to this task I am considering using my collaborative task from linear motion in week 2.

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Taking the shortest time to make, this piece demonstrated very simple uses of the three materials, for in the most part, they stayed as their first form. It walls proved as an effective way to disposal the materials as, pending the beginning, it drew the viewers sight in a disrupted line through the work. In addition to this, it was narrowed down an obvious choice and easy use of these materials- meaning I had one less HALFDOZEN piece to create.

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These progress photos show the dry brush paint strokes over the surfaces created with rolled magazines and hessian.

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The outcome of this HALFDOZEN piece was very unlike how I first imagined it would turn out. It is my largest HALFDOZEN work and was fun to create as I was able to experiment with difference uses and compositions of the materials on each leave shaped surface. Overall, it is simple enough but provides a nice, textural contrast between the leaves and soft blue background that enacts a sense of calmness in the viewer.

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Halfway photos for peacock feather task

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Plan + notes for HALFDOZEN piece

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For another one of my HALFDOZEN works, I mimicked the likes of a peacock feather by fraying and dying the hessian that I transformed again from twine. The process of fraying the twine was very tedious as I was not just able to brush it out with a comb, I had to use a needle and tweezers to seperate the fibres. Leaving roughly 2 centimetres of undone twine at the bottom so it could be adhered to the magazines which, layered, formed the central, coloured part of the feather.

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Half way photos for peacock feather task

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Plan + notes for HALFDOZEN piece

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I enjoyed making this HALFDOZEN work as I was able to be quick and messy with it. There was no method to the colours, nor how the uncoloured area was stencilled around this (colour). Though the 3rd material, magazine, is not especially obvious on the hessian made canvas, it was using the magazine as a cover to avoid colouring areas that it was used most.

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This particular HALFDOZEN work only used the 3 materials with not other external materials. Though some of the uses were not as effective as intended, they still upheld their acted use.

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These photos are an update of my first open task. The position of the figure shows a clear difference to the reference drawing, particularly in how the arms are resting around the small object of focus at the centre. This figure is very unrefined as it was purposefully done so to experiment with a difference position.

To make the sculpture lighter both the head and torso are hollowed out, with this decision there has to be an outwards opening to the hollowed areas so the area doesn’t burst.

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“Interior Scroll” by Carole Schneemann, First performed August 1975 in East Hampton, New York.

Schneemann entered the performance space wrapped in a white sheet and carrying a bucket of mud. After undressing, she ritualistically painted her body with the mud and read a text from her book “Cezanne, She Was A Great Painter.” Schneemann then slowly extracted a scroll from her vagina and read a text that was a response to criticism from a male artist accusing her of making messy, female work. Interior Scroll was performed a second and last time at the Telluride Film Festival, Colorado in 1977. “I thought of the vagina in many ways— physically, conceptually: as sculptural form, an architectural referents the second source of sacred knowledge, ecstasy, birth passage, transformation. I saw the vagina as a translucent chamber of which the serpent was an outward model: enlivened by its passage from the visible to the invisible, a spiraled coil ringed with the shape of desire and generative mysteries, attributes of both female and male sexual powers. This source of ‘interior knowledge’ would be symbolised as the primary index unifying spirit and files in Goddess worship.” - Carole Schneemann

https://www.brooklynmuseum.org/opencollection/objects/168941

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Boyhood by Director Richard Linklater (2014)

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Boyhood by Director Richard Linklater (2014)

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“Boyhood” by Director Richard Linklater, 2014

Boyhood exhibits the authentic aspects of growing up with grace and honesty. Richard Linklater, directed how the impacts of formative, early childhood experiences are largely so significant in one’s life and pave the future, the steps to an adulthood personality. Time in this piece was processed over 12 years, literally. Director Linklater stated in a 2014 interview “We filmed 39 days over about a 4,200-day stretch ... which is incredible,” he went on further to say “It gave me so much time to just think and process everything we had done so far.” It is uncommon, therefore interesting to note that this movie was shot over this extensive period of 12 years, providing the characters their own real authenticity rather than a nuance to the fact. The story was fostered as the character grew and the surroundings changed. The visuals on what is happening is accented by the music and other audios; stirring and developing in parallel with the layers of emotions and circumstances of the characters. Through the guise of well written dialogues, the audience is drawn to question the purpose of existence. Boyhood throws light on the hollow nature of life but still reminds us it is a gift we must learn to cherish.

https://www.npr.org/2014/07/10/330291891/filmed-over-12-years-boyhood-follows-a-kids-coming-of-age

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“Supervenus” by Frederic Doazan

The viewer is initially introduced to a basic medical illustration of a ‘Femme Adulte’. Where the artist, Doazan, reimagines himself as unseen surgeon with only god like hand appearing to do the work; using photoshop Doazan illustrates a 3 minute short that progressively transitions from a humorous to a horrific journey, all inspired by the disasters of plastic surgery. The camera pushes back to reveal the female body to be beyond recognition to the viewer. Supervenus provides a sight to the unethical and immoral pressures of society that have influenced body image standards, especially for women. The transition through this work, animates the standards of modern beauty and their evolution throughout the years.

https://www.shortoftheweek.com/2016/02/12/supervenus/

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Tonight before bed I read a news article online. It’s not the same as reading words off of a page but nevertheless it was a nice, short read.

ARTICLE LINK:

https://www.vanityfair.com/style/2021/04/hannah-gadsby-on-the-comfort-cocoon-she-calls-her-clothes/amp

The article was written by Hannah Gadsby and published in Vanity Fair. The topic of the article is primarily around what she was wearing as she wrote the article, a strange topic but her writing illustrates a clear visual. Later in the article, Gadsby delves further into the why’s and expectations of appearance based of gender in society, however within herself it is her sexuality as a butch “variety” lesbian but also as someone who is autistic that determines much of what she wears. This follows down to the colours, or rather, the singular colour - blue, that she wears.

I don’t often save articles for a read again later, and I didn’t expect that I would save this one; but clearly so I have as I enjoyed it very much.

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For this weeks homework task we as the students had to select a palette of 3 materials and from these materials we were directed to compose a body of 6 works. Creating 6 different compositions using the materials began as an in class work but ventured onto home as independent.

For my 3 materials I chose paint, hessian and non-gloss magazine. I chose these materials specifically because they can each be transformed and this was very helpful as it meant I could use the same materials in different forms for each piece.

Hessian = Twine
Paint = Dye
Magazine = Ash

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During this weeks tutorial lesson the class analysed a select few of the Material II works, wherein they responded to Week 1’s 4 hour task.

My response to my first task is justified under ‘Week 2’

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https://youtu.be/DR9mYl2amDw

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1) Stemmed from the idea of this work, my materials were all chosen based of what they could be transformed into. Although I could’ve easily has brought twine and acted as if it was unthreaded from the hessian sheet, I chose not to so I could maintain the truth to using 3 materials. Even though it was not the most time consuming element of this piece, pulling the hessian threads apart was a process I had to repeat several times in order to get the full length of the side. Threading the twine though the magazine and hessian with a printing needle became a very brain dead task and fairly meticulous with many little needle pricks in my fingers. It proved effective as this piece was from back to front, top to bottom a display of the use of the 3 primary materials and their transforming capabilities.

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02.03.2021, Individual response to loop:

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02.03.2021, Individual response to loop:

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Initially I planned to recreate my response to this sound by re-imagining where the sound belonged. This plan led me off task, however I was still able to hint to the existence of this drawing in what is the final outcome. The recorded loop of the workings of a cafe provided several sounds of which had to be responded to, the best depiction of this I could form was by creating these layers and merging them as one.

Though there is a stark difference between the use of coloured oil pastels verses the crisp black charcoal, it is within the gestures of these two forms that similarities exist.

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See image for task notes. Figure planning for appearance=meaning.

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Today’s class task was rather simple, but was not something I had thought to do before. However, it shares a likeness to how we create art already, by listening and responding to our senses: sounds, taste, sight, touch and smell.

In partners, we were asked to seek out, record and loop a sound from the space around us. We decisively decided to record the sounds from the near by coffee stall. It was a balanced mix of harsh grinds and turns and soft pours and slides. Though there is a visible connection between both our responses it is clear that our pieces both represent difference views to this experience.

See photo attached for combined works:

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02.03.2021, Homework - 4 Hours Uninterrupted ART

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02.03.2021, Homework - 4 Hours Uninterrupted ART

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Our assigned task for homework this week was to spend 4 hours, uninterrupted, creating an artwork under no other constraints.

I first thought that 4 short hours would not nearly be enough, as I entered this ordeal with a preconceived idea of what I would create. However, soon after meeting what I sought out, I still had much time left so I kept at this work, developing it into something more. By the end of the 4 hours, there was not a clear sight of what I first illustrated on the canvas 4 hours ago. The final work, still resembled a meaning but spoke very loudly without much reason.

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Progression of inspiration from previous unfinished piece to what it became:

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Already, I have learnt this piece will take many more hours than 8.
The attached photos are progress from the first 1 1/2.

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For my first 8hr open task work, I returned to an outstanding idea. In this new environment, and fancy city with so much opportunity I have found that embracing

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‘The Birth of Venus’ by Sandro Botticelli (Mid 1480s)

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‘The Birth of Venus’ by Sandro Botticelli (Mid 1480s)

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The Birth of Venus was painted by the Italian Artist Sandro Botticelli in the mid 1480’s and is indicative of the XV century Italian painting style; rich in meaning and allegorical references to antiquity. This work, considered a masterpiece, is a power symbol of love and beauty in both spiritual as well as physical terms, this masterpiece represents humanistic values and a medium to get closer to what is the divine.

The goddess is standing tall on a enlarged scallop shell, her figure is almost entirely exposed, the lesser part of this is covered by her hands and long and enviable locks of vibrant red hair. Her hair blows away from her face, showing her delicate features clearly, her eyes stare forward with an lifeless glare and the viewer is questioned why by this. Other subjects surround her, however they are obviously ignored as she hold the eyes of onlookers and beauty in the scene. She is pure and perfect as a pearl with her unblemished soft and fair skin.

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Red notes = In class
Green notes = Homework
Yellow notes = Artist Research
Blue notes = Assessment/Open Task
Purple notes = Progress photos

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“Dirty Girls” by Michael Lucid, 1996.

The short documentary focuses on a group of 13 year old girls in high school in Los Angeles who gained the nickname “Dirty Girls” by their classmates due to their appearances and alleged bad hygiene. In their own words, the girls referred to themselves as “Riot Grrls” - Riot Grrrl was a feminist movement that was most prominent in the mid 90s and combined feminist consciousness with punk and politics. In a 2013 vice interview, two of the “Dirty Girls” who featured in the documentary, Amber and Harper, spoke about how it feels looking back at their high school selves, with Harper saying “ I remember in the moment, feeling like we were given a voice that we didn’t have without that video being shown to the rest of the school. I felt proud of the commentary then, and I do now too.” With Amber going on to add “we did something. Not just sitting around being Kids, but making a statement.”

https://m.youtube.com/watch?v=wrLWTGj7XE0

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There are a lot of linear motions displayed in this piece. This linear component comes clearest through the chair itself and the lace off-springs intertwined within themselves. This display guides the audiences eyes in all matter of ways all leading to one, with each of the materials connecting, the further away it is viewed from; ultimately the largest spiral is seem, this forms a unity between each of the work’s components.

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09.03.2021, GRANULAR VERSUS FLAT MATERIALS: 

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09.03.2021, GRANULAR VERSUS FLAT MATERIALS: 

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This task states that “In pairs, produce a work that combines 2 different materials: FLAT or GRANULAR (as allocated in class)”. However, in my circumstance I landed a trio: 2 flat materials (synthetic, elasticised lace and an old plastic pool side chair) and 1 granular (dry fine grain sand).

Working collaboratively as now a trio over the 2 hours that followed we produced a large enough piece to cover most the entirety of the work bench (FIND MEASUREMENTS)

See below for final work (POV- Above):

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09.03.2021, THE Process, FLAT VERSUS GRANULAR

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09.03.2021, THE Process, FLAT VERSUS GRANULAR

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As a group we collectively came up with the direction we wanted to take this work in, and fortunately so, we did not deviate far from this. However, to more clearly represent our 3 materials we used amounts in excess of the materials to demonstrate their uses to the viewer.

Utilising contrast:
We showed a comparison between a straight line, the quickest way to get from point A to point B, and a swirl which creates a smoothness and sense of flow between the reach of 2 ends. To subtly unify these two stark differences: both the flow of the lace, arching over itself, and the sand that leaves its trail behind; we aimed to make it clear that there is a small crescent of a line, transforming into a whole in the NE to SW half of the installation. This mostly seen my the spread and direction the lace and sand components.

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16.03.2021, Considering Compositional Details to previous Homework Task (Colour):

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16.03.2021, Considering Compositional Details to previous Homework Task (Colour):

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Additionally to this being highly textured, there is also a large display of colour. The vibrancy of this colour sits well against the exposed ply timber canvas, but additionally the colour frames smaller parts of the timber in spaces more central to the canvas.

The lighter values of colour are much more saturated as they were applied, or reapplied, last so they could be clearest and the least interfered with. Also, the thickness of the 3D modelling paste (mentioned in slide below), stopped the thinner acrylic paint from mixing too much into the boldness of the natural white colour of the medium.

Also to be noted is the synthetic colour from the paints and other man made materials, versus that of the natural spectrum of warm browns and cool green tones; coming from that of the various leaves and small branches found after a storm.

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Considering Overall Structure and how this could be reflected in response work:

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Considering Overall Structure and how this could be reflected in response work:

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As a response to my first Homework task, I choose to focus on the colour and texture elements of the piece, thus the elaboration in pins below. To reflect this in a second piece, it will be necessary to use elements of these forms in a similar manner to near a resemblance to the first task creating a pair.

My first homework piece is both a 3D and 2D combination piece as it is the variety of textures and layers atop the 2D surface that bring forth the 3D aspects. Therefore, in my responding piece I have chosen to make a pair within the existing pair already; with one focusing on the 2D form and the other on the 3D.

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I began this second attempt at creating a GIF using Procreate. I stitched multiple layers together of the same image with alterations in colour and pattern each third. Initially, I created this GIF with the intention of setting it up as a 3x3 grid with different colours and textures etc. in each.  This was simply because of managing my time and schedule became a challenge between work, classes and other commitments.

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16.03.2021, Considering Compositional Details to previous Homework Task (Texture):

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16.03.2021, Considering Compositional Details to previous Homework Task (Texture):

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Homework task 1, is a highly textural piece off of an initially 2D surface. Texture is the most obvious composition in this piece as it clearly dominates most others asides from colour. There are multiple textures across the canvas, these textures are displayed in many ways but not limited to the following:
> Thickened paint by mixing 3D Modelling paste with various coloured acrylic paints;
> Folded chicken wire;
> Natural materials such as leaves and small branches;
> Hessian and paper collages in different ways i.e. rolled paper, geometrically cut coloured paper, and folded hessian strips;
> Layered timber off-cuts

Using the thickened paint, I also wrote words in a large font across the final third of the canvas. I chose to limit how much paint I mixed with the 3D modelling paste in this particular area so the raised area would stand out further in white against a vividly coloured background. Also with this 3D mix I created a repeated pattern of small and condensed swirls across all surfaces of the canvas. Both these decisions covered a great area of the canvas but provided a continuity throughout.

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Plan + notes for HALFDOZEN piece