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Anish Kapoor's work in this exhibition plays a lot with deformed reflections in different surfaces, something I tried to bring to my own project.
Other famous Kapoor's sculptures that also play with reflection and caught my attention:
- Cloud Gate: http://anishkapoor.com/110/cloud-gate-2
- Sky Mirror:
http://anishkapoor.com/274/sky-mirror-2
- Turning the World Inside Out: http://anishkapoor.com/95/turning-the-world-inside-out
- Turning the World Inside Out II: http://anishkapoor.com/92/turning-the-world-inside-out-ii
-Reach: http://anishkapoor.com/4980/reach
-Turning the World Upside Down:
http://anishkapoor.com/111/turning-the-world-upside-down
-Islamic Mirror:
http://anishkapoor.com/564/islamic-mirror

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A rare exhibition of contemporary sculpture that intelligently crosses cultural and global boundaries

By John Batten

A five-day visit to Uluru (also known as Ayers Rock) in central Australia nearly 30 years ago gave British-Indian sculptor Anish Kapoor significant insight into his future work.

Interviewed for a retrospective at the Institute of Contemporary Art, in Boston, in 2008, Kapoor said the rock was a place that was "fully formed, pure, essential, unencumbered by making". As he walked the perimeter of the rock, "unbelievable things revealed themselves every day. I felt deeply connected with it, and with a kind of possible interpretation, a symbolic interpretation of the holes and the strips of stone that seem to be leaning against it."
Sculptor Anish Kapoor on sex, race, big art and Brexit
It was there that he envisaged a "white form on a white wall", which resulted in his seminal work When I am Pregnant (1992). Kapoor constructed a rounded white protuberance emerging from a white wall. The bulge is undetectable when viewed from the front, but the contours of the form and surrounding space are revealed when seen at an angle.

Kapoor's exploration of infinite space, originally experienced in When I am Pregnant, has progressed and further permutations can now be seen in his striking exhibition at the Gagosian Gallery, in Central.

He continues to explore the notion of endless space, the void, as he pointed to in the Boston show, "The idea of place has always been very important to my work. A place that is, in a sense, original. I mean, by the word original, to do with 'first', and I think that is to do with centring oneself - allowing a thing to occur specifically rather than in general. A lot of my works are about passage, about a passing through, and that necessitates a place."
Anish Kapoor's fury at Chinese sculpture almost identical to Chicago's 'Cloud Gate'
The Gagosian's high-ceilinged, rectangular gallery is a rarefied place. But the framed windows and muted, reflected natural light give great clarity and unadorned starkness to the exhibited sculptures, to be appreciated as individual pieces or as a synergetic group.

Splitting the gallery is Vertigo (2006), a standing slab of concave/convex stainless steel positioned in the middle of the exhibition. Its highly polished mirrored surface replicates feelings of vertigo: walking towards it gives an uncanny sense of magnified closeness and a temptation to fall into the work - or fall down.

Mirrors are seductive, and Kapoor's sculpture is a narcissist's treat. The attraction of self-admiration, however, wanes. The viewer's attention "passes through", and up and down the gallery as Vertigo 's sightlines give new angles of changing reflected light and space.

Mirror (Black) (2014) is a large circular concave wall-mounted sculpture that best displays "the skin, the outermost covering" that is, Kapoor explains, "for me the place of action. It is the moment of contact between the thing and the world." This blackest-of-black objects silently sits on the wall and mirrors everything in its vision. The mirrored effect quickly oscillates between the precision of a hyperrealist painting and a close-up clip of psychedelic cinema.

The stainless-steel Right Angle Triangle Twist (2016) offers another reality that complements the mirror effect. "The spatial questions it seems to ask were not about deep space but about present space ... and they seem to be very active, to be in various states of becoming," Kapoor says.

In contrast, sculptural classicism is at its most intriguing, accomplished best with Stone Saddle (2016). The rough-hewn alabaster outer edges differ in intended aesthetics to the sculpture's smooth, impossibly curved void: it is a gash of sex, or prosaically, a bottomless water trough. Less successful are the overtly curvaceous sexuality of Hysterical Sexual (2016), a fibreglass and gold edition, and the corner wall-mounted stainless-steel Clip (2016).

Anticipating the carved interior of Chamber 3 (2016), the artist's pencil drawing of the sculpture's intended shape can be seen on the alabaster exterior. Three interconnected carved inner chambers are painted in gold leaf and exude an internally generated luminosity and symbolic richness that strongly contrast with the raw stone exterior.

Despite the big-studio fabrication of much of Kapoor's sculpture, the aesthetics of beauty, artistic intrigue and the endless possibilities of space make this a rare and essential exhibition in Hong Kong for anyone interested in contemporary sculpture that crosses global and cultural boundaries - and it is executed with exemplary intelligence.

Anish Kapoor's solo exhibition will be on display at the Gagosian Gallery, 7/F, Pedder Building, 12 Pedder Street, Central, until November 5 .

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anish kapoor: sculptures that explore space and mirrors

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Anish Kapoor: sculptures that explore space and mirrors

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A rare exhibition of contemporary sculpture that intelligently crosses cultural and global boundaries By John Batten A five-day visit to Uluru (also known as Ayers Rock) in central Australia nearly 30 years ago gave British-Indian sculptor Anish Kapoor significant insight into his future work.

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I was thinking about puzzles like lego to work as a base for my project, when the classic game Tetris came to my mind. Since it is a 2D game, I searched for 3D more recent versions of it to look ate some pieces I could introduce to my work. Images like this one helped me to imagine how my 3D letter "L" would look like.

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All the meanings except "Bowl":

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Typographic terms, fonts glossary | Adobe Type

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Glossary of frequently used typographic terms in the type world and Adobe Type fonts.

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"Bowl":

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Saul Bass: Thought Made Visual (1958-60)

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"Design is thinking made visual." - Saul Bass While animation pioneers like Georges Méliès and Walt Disney paved the way in the early 20th century for later filmmakers (like Hawks) to infuse inanimate...

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This trending design in architecture can be seen a lot in São Paulo. The reflective effect in the building's facades called my attention when I moved here and inspired me to choose reflections as the theme of my collection, because of how they turn buildings into mirror and make the landscape stay in constant change.

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Reflective Glass for Building Design | Glazette.com - The Glass Portal

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Reflective glass is a solar control glass which is energy efficient and is used for green buildings. It has a wide range of applications in modern building design.

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This fashion show was the first thing that came into my mind when I read what the project was about. It helped me to think about paper outfits more like real clothing and try to do something more detailed. The top part of my outfit was quite inspired by the one in the picture, because I found it challenging but rewarding how the designer managed to braid the pieces of paper like that: http://www.jumnakao.com/english/wp-content/uploads/2004/06/costurainvisivel_14-480x647.jpg

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On June 17, 2004, at Latin-America's premier fashion event, SPFW, ultra-intricate dresses were created out of delicate paper and worn by models in Playmobil headdresses in a runway performance. The clothes were made from sheets of vegetal paper of varying grammage and were painstakingly fitted to the models' bodies, with handcrafted filigrees imitating lacework and high and bas-reliefs simulating brocades. A half a ton of paper and 700 man hours went into this project.

At the end of the show, these meticulously crafted dresses were torn to shreds by their respective models.

Sewing the Invisible was voted SPFW runway of the decade and was recognized as one of the catwalk shows of the century by the Fashion Museum of France. It is a reference in all the main publications on Fashion and Design worldwide and is documented in many international fashion and art museum collections.

Wardrobe: Silvana Marcondes and Marcos Botassi, Wardrobe team: Irene Flesh, Cláudia Diniz, Jorge Constantino, Lídia Yogui, Marcela Donato, Mônica Nassif, Ney Mesquita, Tina Simião, Mila Reyli (intern), Ateliê Jum Nakao: Beatriz Meirelles, Vange Siqueira, Hilda Gomes Martins, Paulo Henrique Simões, Style Assistant: Aline Lamm, Style Intern: Maria Agustina Comas Oyenard, Hats: Inez Sacay, Assistant: Daniella Sabetta, Runway Director: Kiko Araújo, Set design: Júlio Dojcsar, Assistant: Jairo Dojcsar, Stage design: Juliano Tramujas, Patrick Toosey Seitz, Props: Aroldo Patrício, Letícia Andrade, Leonardo Cardoso, Lightdesign: Carlos Moraes & Kiko Araújo, Styling: Jum Nakao, Make-up & Hair: Fernando Andrade, Musical Creation: Paulo Beto, PR: Namídia, Design: Irmãs de Criação, Release: Ricardo Oliveros, Models: Monica Silva, Julieta Caccione, Mariana Marcki, Bruna Marques, Cassiane Bohn, Ana Luisa Schiavo, Barbara Fialho, Juliana Arroyo, Izabel Goulart, Marie, Gianne Albertoni, Aline Weber, Viviane Surgek, Karina Pilon, Lara Gerin.

Runway photos: Fernando Louza. Collection photos: Sandra Bordin.
June 2004

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On June 17, 2004, at Latin-America's premier fashion event, SPFW, ultra-intricate dresses were created out of delicate paper and worn by models in Playmobil headdresses in a runway performance. The clothes were made from sheets of vegetal paper of varying grammage and were painstakingly fitted to the models' bodies, with handcrafted filigrees imitating lacework and high and bas-reliefs simulating brocades.

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FOLDING TECHNIQUES FOR DESIGNERS FROM SHEET TO FORM

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FOLDING TECHNIQUES FOR DESIGNERS FROM SHEET TO FORM

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This book amazed me with the possibilities of folding paper. It reminded me of origami, that is a type of paper art I love and am fascinated about. Due to the short period of time we had to do the project i only had the chance to use topics 1.1.2. Rotational Sixteenths Variations and 1.2.2_2 Reflection on my project.

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http://atelierdalves.com/projects/adormecida/
I found this poster in a book Leopoldo showed us (The Typographic Universe: Letterforms Found in Nature, the Built World and Human Imagination  by Gail Anderson and Steven Heller), and this typography really reminded me of meat, and since that's an issue in my protest I tried to recreate it, but focusing in the raw meat aspect.

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I always had this puzzles at home since I was a child, so they inspired me a lot do a 3D letter that's also a puzzle. The purpose is to use an amount of small pieces to create a bigger one.

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This design piece I have at home is a kind of game with different pieces that can turn into a "brick" but the real purpose is to use your imagination and use the pieces to create a lot of different 3D forms. This versatility is something I'd like to introduce to my letter.

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A Studio Lopomo está lançando no evento top100kaza o projeto @ ao_lab O Tijolo é uma ferramenta lú - studiolopomo

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A Studio Lopomo está lançando no evento top100kaza o projeto @ ao_lab O Tijolo é uma ferramenta lúdica com 9 módulos que permite montar maquetes.

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This image I cut out from a magazine at EBAC for the poster activity was crucial to my project. I remember that the article that came with it said it was a Candido Portinari's painting or a work from another artist with a similar style, but since I wasn't able to find the real source to this cut out, I'll not confirm this affirmation. The ox's face in this image really inspired me while developing the style for the animal faces stencil for my posters, because of how the artist was able to create the ox with so simple line. Since I've always been interested in more minimalistic images because of their clean aspect while transmitting information, this simple style was something I tried to recreate for the animal faces stencil.

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During the stitching part on the third image on Wednesday, I reminded of this book, and it inspired me, because it's a book that it's only composed by illustrations of the same place, but with frames of this place in different times in the same page. Something similar to my image because the two pictures I stitched together seamed like the same place in different times and I decided to keep the frame of the smaller one to maintain the book's influence and idea of showing this image was there but was not supposed to be, because it didn't belong to that time, only space.

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Richard McGuire’s ‘Here’ (Published 2015)

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An artist conjures the changes that occur over billions of years in his childhood living room.

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For the adding part image I got inspired by this Brazilian artist I follow on instagram (https://www.instagram.com/hendrelc/), because of how he manages to give so much life to black and white photographs by adding bright colours to it with brushes, crayons and coloured pencils.

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Men, Women, and Chain Saws: Gender in the Modern Horror Film

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Men, Women, and Chain Saws: Gender in the Modern Horror Film

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When I started searching about Final Girls, this book was the first thing that appeared everywhere I look, so I bought it on Amazon and started reading it. The author, Carol J. Clover, was the first to conceive this term, Final Girl, to refer to the least surviving victim in horror movies, usually a female, that spend a lot of time in the movie fleeing exhaustively from the killer, (sometimes) fighting him, and manages to survive so she can tell the story, being more like an "accidental survivor" or a "victim-hero" because of so much she has suffered trying to live after seeing the dead bodies of her friends or even witnessing their death.

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Since my project is about horror movie character, I had to use all the movies from the Final Girls I selected to do my research while producing my self-publish. This is the list of Final Girls followed by the first movie of each franchise they were part of:
Sally - The Texas Chain Saw Massacre (https://www.imdb.com/title/tt0072271/?ref_=nv_sr_1)
Laurie - Halloween (https://www.imdb.com/title/tt0077651/?ref_=nv_sr_3)
Ripley - Alien (https://www.imdb.com/title/tt0078748/?ref_=nv_sr_2)
Alice - Friday The 13th (https://www.imdb.com/title/tt0080761/?ref_=nv_sr_1)
Nancy - A Nightmare On Elm Street (https://www.imdb.com/title/tt0087800/?ref_=nv_sr_1)
Sidney - Scream (https://www.imdb.com/title/tt0117571/?ref_=nv_sr_2)

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This youtube channel helped me to save time during my research, because since I already watched all the movies before, it wouldn't make sense to see them again when I have such a short time to do the project. In this channel, they make short videos about horror movies summarising the stories and keeping a kill count of each one, so watching them I could get more precise informations in my self-publish about the movies.

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horror "dead meat" movies scary films kills "kill count" "body count"

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A horror movie channel by James A. Janisse. Home of the Kill Count series, tallying up the body count in all your favorite horror movies.

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This kind of archive was something I was looking for to develop the visual identity for my project, because I wanted to look like a formal but fictional form at the same time, so I didn't use an already existent type of case file. The one in the image (Cora Tannetti's one from Netflix series 'The Sinner') was the least fake looking fictional one I found, so I used it as a base for the one I created, searching for similar typography and trying to maintain the spaces occupied by written and white areas.

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To look more like an official document, I searched for how this folders look like. Since I couldn't manage to find similar kraft one for sale, I had to find existing exemples like the one in the photo to use as a base for folding the kraft papers I bought. The tab system used to organize files became useful to give a fine touch to my self-publish because since I'm planning on printing 5 of them, I'll do each print with a different tab, and the tabs will contain 'copy #1-5' written in it, since it's a limited edition

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I used this tutorials as a base to age the sheets of paper I printed on. I selected parts of the tutorial the uses tea and a baking sheet, because I did think I was necessary to make the paper look so destroyed. Since all the movies I selected are from 1974 to 1996, I thought it would be nice to make the sheets of paper darker to look like the case files were done when each movie was released, but since I only knew the technique using coffee, that turns the paper a lot darker than I wanted to, finding this tutorial helped me to create a different look to my publication.

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Whether you're looking to spruce up an art project or give a poem a better platform than printer paper, you might need to age a sheet of paper. While the internet has many aging methods for you to try, crumpling and spritzing is the top...

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Since my project is about main female characters from horror movie franchises, and I'm writing additional notes about each one of them for their case files, I'm protected by fair use because I made comments upon the original works.

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In its most general sense, a fair use is any copying of copyrighted material done for a limited and "transformative" purpose, such as to comment upon, criticize, or parody a copyrighted work. Such uses can be done without permission from the copyright owner. In other words, fair use is a defense against a claim of copyright infringement. If your use qualifies as a fair use, then it would not be considered an infringement.

So what is a "transformative" use? If this definition seems ambiguous or vague, be aware that millions of dollars in legal fees have been spent attempting to define what qualifies as a fair use. There are no hard-and-fast rules, only general guidelines and varied court decisions, because the judges and lawmakers who created the fair use exception did not want to limit its definition. Like free speech, they wanted it to have an expansive meaning that could be open to interpretation.

Most fair use analysis falls into two categories: (1) commentary and criticism, or (2) parody.

Commentary and Criticism

If you are commenting upon or critiquing a copyrighted work-for instance, writing a book review-fair use principles allow you to reproduce some of the work to achieve your purposes. Some examples of commentary and criticism include:

quoting a few lines from a Bob Dylan song in a music review

summarizing and quoting from a medical article on prostate cancer in a news report

copying a few paragraphs from a news article for use by a teacher or student in a lesson, or

copying a portion of a Sports Illustrated magazine article for use in a related court case.

The underlying rationale of this rule is that the public reaps benefits from your review, which is enhanced by including some of the copyrighted material. Additional examples of commentary or criticism are provided in the examples of fair use cases.

Parody

A parody is a work that ridicules another, usually well-known work, by imitating it in a comic way. Judges understand that, by its nature, parody demands some taking from the original work being parodied. Unlike other forms of fair use, a fairly extensive use of the original work is permitted in a parody in order to "conjure up" the original.

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What Is Fair Use? - Copyright Overview by Rich Stim - Stanford Copyright and Fair Use Center

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In its most general sense, a fair use is any copying of copyrighted material done for a limited and "transformative" purpose, such as to comment upon, criticize, or parody a copyrighted work. ...

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During Kevin's lecture I was really excited, because I've always been interested in 2D animation, even tho I don't have a lot of experience with it, and he showed a lot more about 2D than I expected. In my opinion it was really useful when he started showing the different opportunities of work in this area. The ones I've never heard of as actual occupations and caught my attention were Concept Artist and Environment Artist, because both of them seemed to relate moving image with illustration, that is something I'm also interested about.

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I really liked seeing the presentation of Split, because I thought the lecture would be more focused in 3D. It was interesting listening from them how is the national market for this area right now, and after looking at their work I got motivated to try gathering a group of friends and organise a visit there.

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Ao reunir artistas, unicórnios e apaixonados por animação em uma távola redonda, a Split tornou-se um estúdio de animação a navegar de vento em popa pelos mares dos mais diversos projetos animados, seja para TV, cinema, internet e ou games. Hurraaayy!

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I already knew ICONIC because of their "Congresso ICONIC" that organises lives online with known digital artists. After the guys from Split mentioned it again during the lecture, I searched more about ICONIC and started listening to the podcasts the do with different artists that work in a lot of areas.

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Desde 2015 o ICONIC vêm ajudando artistas a trilharem uma jornada mais rica tanto tecnicamente quanto mentalmente. Seja através de nossos cursos online, nossos vídeos ou nossos eventos, como nosso Congresso Online.

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Desde 2015 o ICONIC vêm ajudando artistas a trilharem uma jornada mais rica tanto tecnicamente quanto mentalmente. Seja através de nossos cursos online, nossos vídeos ou nossos eventos, como nosso Congresso Online.

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I discovered this studio while watching animated videoclips on Youtube, they did "Let's Go" by Stuck in the Sound. Their simple and minimalistic style, along with coloured shapes with no line, or the black and white textured works really caught my attention.

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We love to create Typographies, Characters & TypoCharactphies.

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Since I'm really considering 2D animation, I watched this video explaining its principals and it opened my eyes to aspects and details I wasn't able to notice before. I'll try exercising this principals during the Research Week, after assessment since the zine has been occupying a lot of my time.

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12 Principles of Animation (Official Full Series)