# data[].attributes.body
4ft tall, everything is attached via screws.

# data[].attributes.body
I chose Alexander Calder to contextualise my work because i wanted to look at a sculptor who works with metal. however, Calder typically works with wire, not sheets of metal like i plan to.

He combines his background in mechanical engineering to create kinetic art, relying on structure and weight to balance mid air during the avant-garde movement. His most famous work, Mobile (1932) interests me because as Kathrine Kuh said “The mobile has actual movement in itself, while the stabile is back at the old painting idea of implied movement. You have to walk around a stabile or through it- a mobile dances in front of you”. Calder is praised for bringing movement into the sculpture- space, which i think is fascinating: he is credited for bringing movement into art.

Another sculpture that i have referenced is I Can’t Help Myself, by Sun Yuan and Peng Yu. This is a moving installation piece/ sculpture that possibly wouldn’t have existed without Calder’s influence.

I like Calder’s work and it made me consider adding movement to my own piece, however my original plan to include screws to connect my pieces wouldn’t have allowed this.

Tate (2015). Who is Alexander Calder? | Tate. [online] Tate. Available at:

https://www.tate.org.uk/art/artists/alexander-calder-848/who-is-alexander-calder

Calder Foundation. (n.d.). Calder Foundation. [online] Available at:

https://calder.org/

National Gallery of Art. (2015). Alexander Calder. [online] Available at:

https://www.nga.gov/artists/2047-alexander-calder

# data[].attributes.body
creating a pattern to work with was relatively simple, i used ink and fine liner to create quick shapes using inspiration from my primary images curated over the weekend.

# data[].attributes.body
concept art made in class,

references to German Expressionism with curved architecture warped to create a round set, as well as references to Nosferatu 1922, a film that utilises perspective to invoke uncomfortable feelings in the audience .

Sci-fi elements taken from Ruby’s summer project.

Claymation nosferatu taken from Niamh’s summer project.

# data[].attributes.body
(the file was too large for padlet so i split it in two)

# data[].attributes.body
summer work, used to inspire our group movie set project.

Elements taken from three different students pieces including my building pencil sketch

# data[].attributes.body
We used styrofoam to make the building more dimensional.

when cutting out the window squares some split down the middle which i utilised by making shutters for the windows (similar to my summer project inspiration).

i plan to use this perspective scale for my future work

# data[].attributes.body
modelled with inspiration from Nosferato 1922 with exaggerated features and distortion

# data[].attributes.body
Final set for filming

we added moss which created a realistic texture for the bottom of the set.

I appreciated the lighting for the set more than i thought i would originally, it definitely reenforces the depth of the set and applies some realism to our otherwise cartoonish style.

# data[].attributes.body
story board for filming

# data[].attributes.body
our finished stop- motion film, edited in CapCut.

The home style videography is endearing and i’m impressed with how the groups elements complimented eachother so well.

Finishing touches such as the 2D moving spaceships tied the project together perfectly.

# data[].attributes.body
geometric fine line pen and sharpie.

produced from the promt “nothing”

# data[].attributes.body
grey-scale pencil on black paper.

i like grey-scale on black paper, it subverts the usual light to dark as well as improving the appearance of negative space

# data[].attributes.body
charcoal and pencil collage intended to imitate a chalk rock- like texture

# data[].attributes.body
enlarged colour pencil drawing of extractor.

worms eye perspective

# data[].attributes.body
charcoal drawing that includes elements from all three of the observational drawing prompts. (A3)

i really like the chaotic style and energy of the charcoal in this and i am considering refining this medium and working with it again later on in my project.

# data[].attributes.body
pattern work using white charcoal pencil on black cartridge paper

# data[].attributes.body
enlarged pattern using white and black charcoal.

# data[].attributes.body
i’m not a colourful person and it reflects in my responses. for the balloon prompt i decided to go very conceptual and deconstruct the shapes and colours from the balloons themselves.

i made the emulsion a rough circular shape and used ink to infer randomness in my piece.

my intention was to create the illusion of colourful balloons but change the audiences association of balloons with positivity to something more abstract.

# data[].attributes.body
pattern work inspired by the twisted streamers from the balloon room

# data[].attributes.body
3D collage, black cartridge paper, black tissue paper and charcoal.

The aim was to test how using only black mediums would affect the depth of the surface i worked with and image i was trying to produce.

i would use it again perhaps with a different colour scheme

# data[].attributes.body
White emulsion applied using impasto with a pallette knife.

red ink dropped using pipette for ‘drip effect’

# data[].attributes.body
i began this task by creating a repeating pattern from my art work

# data[].attributes.body
using items that are special to me, i created an A1 collage with lino print representing myself.

# data[].attributes.body
Kenyon’s subject matter is cars, however he explains that cars have a family history to him therefore it is more meaningful than a hobby or interest. i like that he has a genuine connection to his work.

his lino prints are a combination of reduction, collage and layered lino.

Reduction lino is a method i have attempted before that i found incredibly difficult, however kenyons work has really inspired me to have another go perhaps later in the year with more time on my hands.

Kenyon, T. (2025). Artist Statement - Tom Kenyon - Artist. Kenyonmotorco.com. Available at: https://www.kenyonmotorco.com/pages/artist-statement%0A%0A

# data[].attributes.attachment_caption
Arakawa, S. and Ginsburg, M. (2001). The Mechanism of Meaning.

# data[].attributes.headline
THE MECHANISM OF MEANING by Shusaku Arakawa

# data[].attributes.subject
THE MECHANISM OF MEANING by Shusaku Arakawa

# data[].attributes.body
i read ‘the mechanism of meaning’ and then further researched the Artist prior to the fashion task in our fourth week.

# data[].attributes.body
made from a monster can, usb sticks and tin foil. i underestimated what i would need to build a robot, so i had to improvise with my monster can.

# data[].attributes.body
included a range of textures and scales.

tissue paper, ink and clear film were used to compliment my pattern work turned into clothing pieces.

i like the ink because it took me out of a shape and style ‘rut’, preventing me from doing the same clothing design each time.

the clear overlay looks visually interesting by adding tattoo-like appearance to my design.

i scaled up some of the model poses to get more detailed outfit designs

# data[].attributes.body
i forgot to take process photos but essentially done in three parts, the wire body assembled by ‘sewing’ the wire mesh together with long strips of singular wire. similarly the neck and head were constructed through wire sewing and put together with the same method

# data[].attributes.body
i found communication design difficult at first, building a robot was a challenging task. However, the communication aspect (poster/ user manual) came naturally. i enjoyed creating a theoretical user base for a product and integrating marketing aspects into creativity.

This could be the specialist subject i chose partly because i want to do product design engineering in university.

# data[].attributes.headline
CONTEXTUAL RESEARCH LECTURE + INTRODUCTION TO COMMUNICATION DESIGN

# data[].attributes.subject
CONTEXTUAL RESEARCH LECTURE + INTRODUCTION TO COMMUNICATION DESIGN

# data[].attributes.body
communication design and contextual studies go hand in hand. communication design to me is a gateway to product design, therefore it’s focus is to work for an audience; it must provide something for the ‘consumer’, ‘customer’, or spectator that perhaps they didn’t know, or didn’t know they were missing.

contextual studies is about applying real world problems to your artwork to create meaning for yourself, and for others.

when creating artwork that is practical like a product, you need contextual studies to explain why it was developed, who it was developed for and which artists and visuals made you want to develop it.

in our lecture Stu also discussed harvard referencing, alongside some visual inspiration such as period artwork like the renaissance and medieval times.

# data[].attributes.body
Nnena Kalu’s artwork in cartwright hall had two effects via its two components. her sculptures didn’t mean much to me, however her drawings drew me in hugely. their style was untameable, and the scale was what allowed kalu’s work to embrace the sheer pencil lines. it was clear to me there was method in her randomness which grew on me the longer i took it all in. firstly, having three consecutive drawings using up to four different mediums (pencil, graphite, soft pastels and acrylic pens) and having them all come together to look almost uniform, identical is so incredibly impressive and satisfying to my eyes.

the actual shape of the pencil work and overall outcome is apparent in the individual lines that bring it all together. i decided at this point to make my A00 robot poster using coloured pencil to mimic kalu’s scratchy defined pencil lines. there is something about the definition of layers to the piece that were made obvious by choosing not to blend the lines that i felt i needed to explore with my own work.

# data[].attributes.body
all my designs include the necessary information that would be included in a business card. some have newer ways of presenting that information such as qr codes.

# data[].attributes.body
robot concept designs including hight, pose and mediums.

the logo on the top right is my favourite and i wish i had enlarged it instead, however practically i didn’t have anything to make a circle large enough

# data[].attributes.body
this week i did three workshops to learn the basics of photography, photoshop and metal/ woodwork.

# data[].attributes.body
my original idea was to use beer kegs from my work as the body but unfortunately they’re too expensive, plus, impossible to drill into for arm and leg attachments.

i’ve had to rework the idea for a different body.

# data[].attributes.attachment_caption
Plowman, J. (1995). The Encyclopedia of Sculpting Techniques.

# data[].attributes.body
in order to become well informed on sculpting techniques i read “encyclopaedia of sculpting techniques” by John Plowman. The book actually has some really impressive tips on which materials to use in different situations, for example using clay will allow you to make crevices and cracks which can be used for textures like rustic metal or skin very easily.

it also contained instructions on how to use welding in sculptures: although i decided against welding for this project (time consuming considering the length of project) it’s a method i really want to  try in later projects.

The book had all the information on different surfaces to use when sculpting from wood to metal which was really informative on how to attach elements together in a multitude of ways.

generally, the book was incredibly useful for how to make a structurally sound sculpture and really helped to inform my work.

i did read this book in digital format so i don’t have any pictures of the images or words from inside the book.

# data[].attributes.body
sayaka ganz’s Emergence II sculpture is really inspiring to me. Although my subject matter is already a robot, which is not living nor organic matter, i am using reclaimed plastic and materials in my model because of her influence.

A key part of Ganz’s meaning behind her work is sustainability and conservation, which is why i think she chose to portray horses over another animal for this particular sculpture. Horses typically symbolise freedom and independence, plus in her japanese culture horses symbolise hard work and occasionally good luck.

the juxtaposition between recycled ‘rubbish’ and discarded objects and the freedom and movement in the pose of the horses reenforces the artists meaning of rebirth.

Nouveau realism is cited (presenting friend and artist- Sayaka Ganz, 2017, barbaranohinek) as influence for Ganz’s work, a movement that began in Paris in the 1960s that was based in artists using everyday ‘trash’ objects in their works as a commentary on the rise in consumerism, mass production and growing globalisation. The translation between the movement and Ganz’s pieces is evident in the subject matter however Ganz refines her work into detailed depictions of animals rather than more abstract and obscure imagery.

I love her work and i am going to work both the nouveau realism movement and Sayaka Ganz’s refined ‘junk’ style into my robot planning.

barbaranohinek. (2017). Presenting Friend and Artist-Sayaka Ganz. [online] Available at:

Presenting Friend and Artist-Sayaka Ganz – barbaranohinek

Instagram.com. (2025). Welcome To Zscaler Directory Authentication. [online] Available at:
https://www.instagram.com/sayakaganz_reclaimedcreations/?hl=e

www.japan-experience.com. (n.d.). The horse in Japan | Japan Experience. [online] Available at:

Horses in Japan | Japan Experience

Ganz, S. (n.d.). Sayaka Ganz; Reclaimed Creations - Vibrant sculptures of the natural world and animals made from discarded materials. [online] Sayaka Ganz; Reclaimed Creations. Available at:

https://sayakaganz.com/

# data[].attributes.body
3D screw hat, i tested clay, polystyrene and cardboard. the tests concluded that cardboard was the best option

# data[].attributes.body
Warren King is an artist based in NYC, who creates sculptures from cardboard. the process involves building a small structure off a wooden beam for the basic shape such as chest and legs, then uses cut to size pieces of cardboard to build up the bodily shape and details. He uses hot glue to attach all the pieces. King has a stop motion video of this process on his instagram which is brilliant to show followers how skilled the work is.

The cardboard itself is used very purposefully, he often follows the grain to imply direction like brushstrokes; such as skin texture or armour cladding.

i will use cardboard in my robot for the ‘screw hat’. i media tested it beforehand and it works well for the structure (compared to clay and styrofoam) and can be easily manipulated into the spiral shape i need to achieve.

i was inspired by Warren Kings work from the sleek appearance of the cardboard achieved by the meticulous cutting process and following the card grain. unlike king, the grain matters less to me because i’m not using bare card surface (spray painting), and i’m using double sided sticky tape rather than hot glue because it shows up less under the spray paint.

stop motion video showing process https://www.instagram.com/reel/CjfrBbUsMTu/?igsh=MTRsbHlyaGR4dnJl

http://wrnking.com/chinatown#/canal-street-purse-vendor/

# data[].attributes.attachment_caption
Weng, X. (2016). Can’t Help Myself. The Guggenheim Museums and Foundation. https://www.guggenheim.org/artwork/34812.

# data[].attributes.body
displayed in the Guggenheim museum, New York, by Sun Yuan and Peng Yu, ‘I can’t help myself’ is one of my favourite contemporary installations and artworks. The piece contains an industrial robot that swipes up dark red liquid before it roams too far away using inbuilt sensors. the message behind the work has been largely debated online: i like the theory that the robot needs the liquid to survive, and that is why it makes these frantic aggressive movements in effort to bring the liquid back to itself. to me, it suggests the difficulty of having to clean up your own mess over and over again.

However, the actual meaning behind the concept is actually an analysis of how our society is becoming increasingly controlled and divided mechanically, which i think is a reference to migration and border control. the dark red liquid is a reference to the violence involved in issues of sovereignty and power. I love this meaning just as much as my own interpretation and it reminds me that art doesn’t have to be understood to be appreciated.

Yuan and Yu actually worked with two robotic engineers in order to bring the project to life- to animate the robotic arm. the robot has 33 pre programmed movements it can preform such as “scratch an itch” and “bow and shake” which is intended to give the robot more human characteristics. it is supposed to be somewhat humorous and an embrace of ‘dark humour’.

This will influence my work by making me consider deeper meanings behind everything i create. i am making a robot as well, however mine is far less complex in terms of socio political meaning.

Weng, X. (2016). Can’t Help Myself. [online] The Guggenheim Museums and Foundation. Available at:

https://www.guggenheim.org/artwork/34812

Hampsink, I.O. (2022). Can’t Help Myself – How a Relatable Robot Offers a Critical Reflection on Modern Society. [online] Diggit Magazine. Available at:

https://www.diggitmagazine.com/papers/can-t-help-myself-how-relatable-robot-offers-critical-reflection-modern-society