3301 Studio Diagram

3301 Studio-Diagram

Tidying up my studio from last term project is tricky due to heavy lifting of two large-scale figures to an empty space at North Warwickshire in Hinckley not only to donated my lion and gorilla, but to make an album of what I’ve learned to develop my wonderful creations to absorb and experiment in the world of arts. It’s aftermath gives me motivation of organizing phase 2 “Nocturnal Beasts” once originated by Japanese netsuke figures alongside installation-arts of theater-props. Allows me of building inspirations in storytelling as if my models were interacting with each other, although adapting my doodle-painting they show graceful appearances amongst the audience was it because how they react with various behaviors both friendly or aggressive whilst showcasing in the forest-background.

  • Setting up my studio space with a selection of nocturnal prototypes leading up to my large-scale masterpiece
  • Can be messy when handling mix-media resources including plaster, doodle painting and taxidermy manipulation of fur/feathers
  • Followed by theater preparations of native theme in forest regions like Rainforests or North-America

Sorting out my sculptural figures of cultural animals of a total of six, some of them are small due to early netsuke and others were built to new heights like crafting them to limit their weights to avoid overweight. Which enables me to adjust on some of my term 2 artworks including doing a surgical methods, carving deep into the skeletal structure to drill in loop hooks for tighten results. Once fixed I’d positioned my hooks after drilled, filled old newspapers, redoing my batnala’s backside in molded plaster making a strong grip on the metal hook. Searching online for strong blacken rope-loop wires and that lead me to practice with them at floor 8’s studio rooms, where I had got a clear view of several ceiling hooks for my airborne animals to take flight in their appropriate spaces next to my wolf model and native props.

GS-Products website:

Doing most of large-scale development within my studio-space at DMU, were only to craft my most of my figures like my wereroc and batnala because they do weigh a ton. While I bring some of the small figures back at my home-studio, sketching up my blueprints of how I could organize my project’s work, where to hang my installation props both on ceiling and ground level alongside my animal-figures whilst assembling them in mix-media methods helps to insure of making adjustments to metal hooks and blacken rope/loop wires to hand much better instead of chains for a home stretch to degree-show.

3301 Crits

3301 Crit Feedback

In my developments of expanding my cultural-animals to large scale, to begin my Blazing-Solgaleo model which has DNA sample of a lion infused by elemental fires and had roam it’s desert-region/pridelands to hunt prey and if challenged by any rival it would fight to be crowned ultimate-monster. Followed by my Gillaboom with an appearance of a Gorilla that inhabits blushing rainforest/plant-life, known by its gentle-personally to move swift through trees in ancient-times and if provoked/threaten it would stand ground against any predatorial creatures including rivalry.

When two models are finished/varnished I had help with a maximum of four-people, to lift them to floor 9 before Crit to position them in front of one another as if they are face to face like ancient-rivals. Audience had told about how they should fit in their own environments like they were be traveling/guarding their territory reflecting childhood reactions in Pokémon and reviewing on each behavior of my replicas for friendly or aggressive nature.

  • Carefully positioned my Lion and gorilla replicas face to face in floor 9’s Crit
  • Making sure they don’t get crowded by tight corners
  • Staring one another like ancient rivals fought for supremacy over their territories

Since completing term 1 I’ve been organizing on my models daylight counterpart of Nocturnal theme like doing an nighttime atmosphere, that has given me motivation of crafting new hybrids some of them on ground-level and most are airborne with strong wiring attached via loop hooks. Moving my Ravknight. Snocidueye and Wereroc to their chosen positions to avoid them colliding with any hanged models, then one at a time I’d set my native plant-life props turning my space into a related rainforest-jungle or American forests.

Also my most intense challenge is for again up to four people to carry my Batnala, when arriving we had to use full of our muscles to extend its height to the ceiling-hooks with added equipment aid of ladders with strong chains next time I’ll search for blackened wires/rope loops for appropriate hanging. My new project Nocturnal-Beasts told of an ancient story of a legendary bat that roam every night when a moon is full to drive-away evil spirits whom to prey upon weak animals like if I’m doing a storytelling like installation theme with added sound atmosphere for my model to talk/communicate and hunt these spooky grounds at night of what my figures would react with my audience by their presence.

3302 Professional 3302 Website

3302 Website

After my multi-task of manufacturing native-masks/researching on animal presence in Contemporary-Arts during Christmas-holiday. I went to design-wing at the beginning of term 2 to login on WIX development, involves in building my own website to review on my journey at DMU of what I had developed over 2 years of Fine-Art studying. It’s tricky to get to know this new software but adapted with it and write-typing my influence on “Mixed-Media of cultural-arts” used in my primary methods in year 3 sculpture.

Once logged-on I started to review my motives of manufacturing handmade resources in workshops to build large scale figures focused on hybrids originated from various regions from ancient Greece to Japan most likely a case of mixed-animals/monsters were a primary inspirations of Pokémon and monsterverse themes in childhood arts.

  • Sorted them in order to record my DMU journey from year 2 to 3
  • Viewing on what I have created over these hours of developing my modeling techniques in mix-media plaster
  • Used to manipulate studio space into a theatre atmosphere

Retraced my steps of following a creative path, hobbies of shaping with blu-tac almost if I’m carving little figures from various films like examining onto different genres used in their categories like Sci-Fi James Cameron’s Avatar. My decision of choosing hybrid-arts because I’m really admire their mixed DNA making them very unique/special and gathered their textures throughout my imagined world of arts.

  • Recorded my steps into Fine-Art
  • Studied through hardships of creativity to achieve my goal of an artist
  • Practiced my taste into sculpture and doing mixed-media modeling for real at DMU sculpturing
  • Added my past educations of getting me for far to new heights
  • These are my previous year project of “Doodle-Hybrids”
  • Carved from reused-foam to manipulate mixed-bodies as old objects and fused them with monster parts like Mary-Shelly’s Frankenstein
  • Engaged in doodle-painting used by acrylics
  • Gave each one an open space and with an added normal studio-lighting effect

Moving to my these next menu sites, were to organize my collection of hybrids used in my mix-media methods of what I’ve been developing in plaster blended in doodle painting in term 1’s project “Elemental-Beasts”. Then I did a new breed of hybrids only on daylight’s counterpart of night-time where “Nocturnal-Beasts” are active around the chilling atmosphere which spiritual beings roam my spooky forest like ghosts to extend this towards the degree-show.

  • New adjustments like sound audio as if animals are communicating with one another/hunting, forest-noises and haunting-soundwaves

My WIX website:

3302 Artist Talk 2

3302 Artist-Talk of Honey Williams

Viewing on Honey-Williams lecture for my second artist talk she’d been studying about her journey into black arts, which are mainly used in multi-dimensional methods that sparks her personalities since originally born in Africa. Focused on her primary goal at tech college in Nottingham to achieve visual arts. But things took a struggle/dark reality when Honey was bullied by some of her peers/outside people because of racism, like some regions don’t take kindly to international people as a result this troubles her progress but continued her artworks in her own way and maintains cool under these hardship times.

Before long Honey had took an opportunity to take part in politics 2004, only to share her expression with her people would press on our journey through such struggling. When they start with childhood inspirations of their artworks showing off each style, differences, how we treat one another and to be creative some black people are changing hair colour thought it might affect Jamaica-arts used to be the very source in ink & Acrylic development.

  • Worked on music albums within early 2000s given Honey to experiment with sound vibrations by all kinds of artists/musicians
  • Been to see “The-Pickheads” better known as contemporary hair development
  • Joined a band of Brazilian friends called C.O.A Choir
  • Her diary keeps her records of various textures of illustration arts of what makes her unique/special from her peers at college
  • Said to had been practical with mix-media colours blended by stain liquids of paints
  • Meant to be effective in African graphic-arts

Viewing on her research blogs to help black people including woman to achieve their popularity describing them of decoloring aesthetic beauty from centering their expression amongst each other’s society preferred to have examined Afrotherapy influences.

  • Digging-Deep tells about honoring their role of black coal referred to having religious ways of extending such scales of mixed characteristic coloured-liquids
  • Leftian-Magazine poliet were to explain on black peoples society to the world of arts said to being each race of humans together avoiding any aggression of racism
  • Muralist-Residency asks about mix techniques used in Honey’s “Paint-up yah space at Studio 174 exhibition. Kingston/Jamaica-British Council
  • Additional blogs like Snakey-Friends had inflicted with racism causes harm via mixed faces as a difference of awareness of hatred-individuals/groups
  • Exhibiting role banned from Britain as if holding a long year decolonsation-programme
  • Inspired a local hero called Mural of Eric Irons OBE originated in graffiti-arts via Nottingham/Beeston canal at castle Wharf’s wall
  • Used her wonderful methods to manipulate coloured-liquids of latest works of Black-Today 2021 City Arts Residency
3302 Artist Talk

3302 Kasia Redzisz talk

Attending Kasia Redzisz’s meeting who is a very interesting curator, museum director/polish artist, graduated in art history-MoMA 2007 in Poland, in both Tate modern and Liverpool. Cross-paths in Romania because Redzisz mentioned to have chosen Lala’s motivation of describing beliefs in artwork techniques and creating an exhibition called “How to be Together” theme.

  • Bind themselves into relationships between artists/nature
  • Sense of drawing to a point of criticism via public-influence

This gallery space reveals many forms in historical-arts been used by biannual methods within exhibitions, influenced our theories of contemporary artworks.

  • Mentioned by young Polish artist in Garden-Point
  • Walking distance of divided sections of their exhibitions/ museums
  • Redzisz’s purposeful of researching in contemporary methods in natural or mechanisms/substances
  • Used to advance inner connections mostly in sculptural talents like bonding with mix-media
  • Balancing installations and evolves beyond their backgrounds both Sci-fi/humanist-creatures
  • Contemporary-arts used by French artists
  • Reactions to food production from mechanisms which leads to uneasy consequences
  • Related in childhood memories like land-arts
  • Meant on geographically influence via Susanne-Huskey French-American arts
  • Very interested in social realism
  • Originated in Eat Exhibition/Czech Republic
  • Tokyo modernism affects perfect sync into manipulation materials
  • Tells of Redzisz’s facts about why she’d left Albania, Kosovo to study in England for Goldsmiths University in London
  • 30 years were not only determined forms by humans, but also by animals arts in our presence
  • Reflects apocalyptic totems traditionally to protect from evil spirits
  • Underprivileged conditions yet face to face of these theories by Pullela
  • Two humanoid statures carved in rock/coal by Malgorzata M. Garces and Roma
  • Constructive resources of recycle, wood and metal structures within galleries
  • Community they once called “Young-Girl”
  • These two statures used to symbolize the defense of shutting down the mines

Another take into sculptural ways of gallery-spaces, used as a playground of fabric arts by Devin Robinson, London artist who adapted in different approaches via colour-scheme experiences meant on black-arts presence in nature/legacies of colonialism.

  • Originally to collect soil/earth from various areas of neighborhoods
  • Shape into ideal-vision of a Utopian influence via nature
  • Could be traceable of chemical reactions used by primary metal-resources
  • Abstract Expressionism to be a clarify from American influences

Last section are these pink figures which were sharing a local monologue from a region of Bulgaria, which is a directive race of affecting few artists with their own personalities. Self-taught to women about certain objects used for primary resources of health expressions and could lead into awareness if fictional interviewing both journalist/founder of these challenges of feminist beliefs from Redzisz’s inspirations.

3301 Nocturnal-Modeling 3301 Practical-Sculpture arts

Term 2/3 Nocturnal-Beasts

Moving to my phase 2 method of Elemental-Beasts only this time is working onto nocturnal animals that were appeared in night-time, as if my counterpart of Blazing Solgaleo is a replica of Lunala wanted to name my masterpiece batnala merging with bat DNA. Alongside my nocturnal theme are selecting small animals as prototypes via raven and snowy-owl and wolf versions to begin crafting their unique appearances in my own way of evolution experiments.

Viewing on Term 2 blueprints of how I was drawing my nocturnal-animals in a careful means of shaping various resources in mix-media, just like last term using assembled wood/plastic-foam into skeletal figures, wrapped in molded plaster followed with surgical carving to drill in loop hooks only to adjust my models weight with blacken rope/loop wires, then using doodle-painting as my methods of shaping netsuke-evolution and manipulate bizarre but realistic appearances using taxidermy materials of fur/feathers.

  • Taken DNA samples of selective Pokemon to experiment their evolutions to my plaster animals
  • Worked on their inner structures like an surgeon doctor only to use this as my carving method
  • Also to keep my resources intact I’d decorated my sketchbook with materials I used to build my models/forest props from installation methods
  • Using workshops via AV loans to craft six skeletal wooden figures
  • Absorbing my blueprints to manipulate their three-dimensional state
  • Sorting out my forest props to make a native-american theme were spiritual-beings roam these woodlands as if doing a dueling habitat or doing a storytelling

Operating in workshops has enabled my motivations to assemble multiple wood, trimmed, saw and wood glue them all together also including shaping metal-wiring giving each one perspective appearances to go with all kinds of DNA combinations via wrapping chicken-wire, molding in plaster, painting in doodle scheme, manipulate fur/feather materials within taxidermy development and I’d put all of my talents/strength into building my hybrid-beasts together even though it can be tough but I managed to keep pushing on forward not letting fear or muscle-strain to hold me back.

  • Used surgical methods to carve into the deeper layer of my model structures to find and drill in hoop hooks to figure skeletons
  • Redo in plaster-arts to tighten the hooks in effectively
  • Sorting out taxidermy materials of giving them perspective way of showing their graceful way of roaming in my studio-space

Tidying up my models new look requires my use of hairbrush to brush off any trimmed fur, to get a better reflection of their textures like expressing my magical influences of put on a theater referred to be a storytelling and to focus on my primary motive in mix-media sculpture.

3302 Atkins-Exhibition 3302 Professional


Meeting my friends in studio 9 to discuss on an exhibition, to express my emotions through art organized by Jasmine and Cat at Atkins-gallery, Hinckley the very building I recently saw during my studies next door at North-Warwickshire college, lower bond street. Before attending I must craft any small sculptural models, focusing on what give artists the need of love to create deep within our inspirations. Childhood memories could be a critical sense of seeing what we seen like festival events of Carnevale di Venezia/Carnival in Venice, Italy where people wearing masks for an identical feeling of fun/joy blending native-spirits of animals as were symbolism of childhood-arts like when I’d first played with blu-tac and crafted many figures of James-Cameron’s Avatar.

Are You Ready For Avatar 2? - movies
Great Leonopteryx | Pandorapedia: The Official Guide to Pandora
Sol 《Thanator》 | Wiki | Avatar Community (Movie) Amino
Pin on coco
  • Shown by wonderful characteristics of doodle-arts
  • Absorbing Carnival of Venice masks helps me to craft five masks of my chosen animal carvings, decorated in festive materials of fabric-scheme
Carnival of Venice - Wikipedia
The Masks of the Carnival of Venice - eDreams Travel Blog
An online guide to Venice Carnival
  • Using handmade talents of cutting, shaping and decorated in doodle-painting giving them a perspective style of identical mysteries but with festival expression
  • Carefully manipulate my resources of chicken-wiring, wrapped in modroc making them strong without breaking apart
  • Happy with my mask results I’ve used mix-media arts to adapt by Carnevale di Venezia influence
  • Carving my Navi mask as a spiritual appearance

Navi-Mask: 27cm x 49cm

  • Eagle-mask gives people freedom/liberty from doubt/fear
  • Referred to be apex-predator of the skies to decorated in festive-arts

Eagle-Mask: 25cm x 27cm

  • Shaping my jaguar identity into Pepita’s appearance from Disney’s Coco focused on Mexico’s Day of the Dead.

Jaguar/Pepita-mask: 27cm x 26cm

  • Forging my snake-mask from a serpent-spirit of showing cunning/ambition of gathering resources for my creativity of hybrids

Snake-mask: 22cm x 28cm

  • Building a wolf-mask telling it’s symbolism of loyalty, teamwork, protection, wildness, kinship and freedom
  • Related to dog-family
  • Active-predator by night

Wolf Mask: 32cm x 29cm

Title Native/Venice animal masks

Arriving in Atkins gallery-lower bond street, Hinckley to deliver artworks safety there. Sorting my five masks into finding a perfect wall-space mounting them into place to express joy/happy feelings from festival-arts and spiritual-animal combinations.

  • Taken an opportunity of exploring Atkins gallery-rooms, to select my chosen-space to positioned my native-masks via gallery-hooks and attached strings
  • Mounted onto walls to view my masks aesthetic style of festival inspirations while spreading joy and dig deep our characteristic beliefs in animal-presence
  • Furthermore checking my five masks in perfect conditions without falling off the galleries wall amongst my friends work mounted as well

3302 Professional

3302 Professional

Starting my year 3 professional-studies, organizing exhibitions in Leicester-city to attend public-events for showcasing artworks due to their selective subject/genre. Using my year 2 models of “Doodle Hybrids” after tided up any white-gaps in doodle-painting and varnish them in shiny results.

Transported by car is tricky but with support we safely positioned any light weight models via strings. Bringing me to New-Walk Museum for the upcoming Open 32-The People’s Exhibition, because an artist who is current students or old can develop their own artwork in all mix-media categories most mounted on gallery-walls while others are displayed in glass-boxes including my doodle hybrids.

  • Arriving at New Walk Museum with my models to sign up and deliver for the shows preparation
  • Bringing my replica of Disney’s Coco to my mentor who is fascinated by Peptia’s beauty in aesthetic doodles as he is flying in the Land of the Dead during Mexico’s festival event

Here is my CV of how my motivation of creativity which lead me an opportunity of a journey into becoming an artist, how can I adapt to my modeling-scheme within Sculpture/Visual-Arts career, grades I’ve achieve my colleges including my current studies at DMU and to organize my exhibiting only in Crits but in public spaces of a Degree-Show.

Continuing my large-scale models of alpha beast staring each as rivals, which as led me to attend the Open Exhibition due to:

  • Winning a reward of scholarship to Two Queens gallery for their judging of my model’s Egyptian-Beetle
  • Begin a quick tour around the gallery where various themes of creativity are mounted
  • Express on our artworks could change the lifes for young-generations
  • Most of these portraits are letting our imaginations roam free in these gallery-corridors
  • Viewing onto these paintings mounted on studio-walls showing a perspective form into self-portraits with a face with three eyes
  • Some of them have dark-influence like two halves of Venom/Carnage similar to having split-personalities while been divine by their unhinged-balance if pitted against positive-energy.
  • Quick idea of crafting my own masks from blended culture in Venice, Italy focusing it’s influence on Carnevale di Venezia

Looking at my next path into DMU was apply for Fine-Art masters, once I’d graduated or sign-in would help me to extend my sculptural talents to achieve much greater things as if I’m becoming a very soul in worlds of arts. Throughout my creation of mix-media monsters of my primary motive into large-scale and a proposal of building up a theater inspiration of storytelling.

3302 Contextual

3302 Contextual-Studies 2

Continuing my contextual-research with another set of practitioners, studying onto “Becoming-Animal” like we are in their presence of what we feel so different as we are unique or dangerous.

Researching on Jane-Alexander, one of the most important artists in contemporary-arts enables her critical-facts into South-Africa’s reputation and spread within international-recognitions. Shares on how her artwork can express our reactions if we face our deepest-fears of mutilated forms and used to absorb her influence in my methods of dark-hybrids

  • Born in Johannesburg/South-Africa
  • Expert on mutilated/exposed skin textures
  • Key-Elements of Alexander’s genre-horror
  • Created figures in plaster then cast in fiberglass before completed in oil-paint
  • Her techniques figurative-sculptural, installation, tableaux and photomontages
  • Responded in both political and social environment
  • Prized models of Butcher Boy’s 1985-6
  • Primary theories of Xenohabilzoophobia

Jane Alexander, Bom Boys (detail), 1998, fiberglas sculptures, found  clothing and fiberboard squares, dimens… | South african art, South african  artists, Art theory
Surveys (from the Cape of Good Hope) – The Georgia Review
Gr 12 T2 W3 Visual Arts | WCED ePortal

From Alexander’s key elements in her art-genre of horror when she is a current student at University of Witwatersrand in Johannesburg, when involves in shaping within exposed/mutation textures like viewing on her masterpiece called Butcher Boys been exhibited into South African National Gallery’s collection 1985-6.

  • Her three-models sitting on a bench referred as “Watchmen”
  • Mixed development of mutilated artworks of Bom-Boys 1998 to exploring vulnerability of children’s deep-fears
  • Drives them to wear animal-masks like hoods as our dark-reflections
  • Personalities of mixing with deformed-tissues

Reading David-Altmejd’s research of studying onto various resources of heady mix of magic/science:

  • Meant to build up conditions of mixed bodies of twisted states of inside-out appearance particularity head-pieces
  • Examining on Sci-Fi/Gothic-Romanticism
  • Meant into post-apocalyptic theories
  • Reflection of horrific-effects of skin-transfiguration
  • Focusing onto crude-expressionism piecing together fur/mass-produce
  • Several-limbs of inhuman DNA and infused with animal-textures
Portfolio of Kordansky David
David Altmejd | David altmejd, 3d art sculpture, Art
David Altmejd at the Brant Foundation Art Study Center - artnet Magazine

  • These criticise his primary-source of twisted appearances, even being aware of people’s reactions on mutated-development
  • Built on related evidence of Labyrinthine/Plexiglas mentioned as mirror-elements
  • Multiple-stages of evolution to affect on plaster heads are rare methods of orthogonal theories or illusion-arts

Elvira-Carrasco’s work is focused on dazzling-paintings covering her models in doodle-arts, because I did the same method on my “Elemental-Beasts” in term 1:

  • Captures her own image to be self-knowledge within representation of her needs of colour-schemes
  • Critical-leads into contemporary-arts, “FACES-PROJECT”/”Body-Art
  • Mostly a source of light-colours, psyche, human-soul, shocking/saturated and explosive
  • Cultural-expressions of digging up Mediterranean-roots
  • Best known for multi-layer effects in liquid-patterning
  • Perfect symbiosis between realism/abstraction

Elvira Carrasco : contemporary Spanish Painter, Photographer, Sculptor -  SINGULART
Elvira Carrasco | Purple dimension (2021) | Feria Art Madrid'22
Elvira Carrasco | Bull Terrier Gaga (2021) | Available for Sale | Artsy
Elvira Carrasco | Cocodrilo Color (2021) | Available for Sale | Artsy

Searching for Sayana-Ganz who is an expert on Japanese-carving, mostly her work are focused on putting household-plastics referred as jigsaw methods to create multiple animal-forms in a directive state of movement/self-awareness.

Ganz can manipulate/assemble these beautiful-models together, she is using a similar technique of brushstroke-scheme by Van-Gogh and a response to three-dimensional in her latest-exhibition called “Reclaimed-Creations”

  • Shaping energy/harmony from old-plastics objects
  • Acts like a message of hope
  • Raised under Japanese-Philosophy of Shinto, believe of reused-objects have spirit/soul
  • Gathers in previously-used/discard plastics, transfigures them into wonders of animal-forms

Critical-facts on Ganz’s motivation:

Reviewing her methods are like a puzzle, keeps in check of what pieces were properly assigned after Ganz originated her talents at kindergarten.

Sayana-Ganz’s weblinks:

3301 Fine-Arts/Taxidermy 3301 Practical-Sculpture arts

3301 Origins of Taxidermy-Art

Finding out animals being in our presence was mainly found in zoos or even in wildlife, but for others were used in art reveals a dark-secret of Taxidermy, it’s a cruel method of poachers to hunt endangered animals for sport. After being captured or killed they are manufactured as stuffed models like living-trophies, been mounted on walls, displaying plinths in galleries and private museums.

TalkAboutIt: Five things you may not have known about taxidermy - ABC News
Taxidermy - this hobby is dead cool | The Independent | The Independent

By searching for the truth of these figures used as prized artworks, normally it could be a negative influence of used from taxidermist techniques via skinning, carving and manipulated their own pattern materials. At my investigation of building my own creations as a positive motivation when shaping with plaster, also for mix media painting into doodle development.

Taxidermy Comes Alive! On the Web, the Silver Screen, and in Your Living  Room | Collectors Weekly,and%20burying%20them%20in%20tombs.

UK ministers accused of 'dithering' as trophy hunting law delayed again |  Wildlife | The Guardian
Mounted Taxidermy Scottish Red Deer Head - Georgian Antiques

Searching for answers about this cruel method in animal skin patterning, was digging deep into origins of mummifying the deceased as the very source of Egyptian influence. Almost like my identical technique of shaping into assembling my wooden skeletal figures and wrapping in plaster arts, very first taxidermists were making these samples of dead figures as well of living replicas. It all started in Egyptian era of 2200 BC, were to develop these early preservation from injections, spices, oils and many sorts of resources. This lead me to dig in their roots of these old models buried in ancient tombs, such purpose of creating their existence through art even in death as a similar form of shaping a balance of life.

The History of Taxidermy - Kodiak Bones and Bugs Taxidermy
Animal mummy - Wikipedia
Researching Animal Mummies | National Museums Liverpool

Over time in Victorian times, taxidermy became a popular form of sculptural development for British Taxidermists as do most European scientists would examine them otherwise like never seem to give feedback to audience were only to view in private events. But these studies are very strict by the law which includes illegal killing of certain or exotic animals, often to being mislead by negative doubts when threating wildlife as if also meant on mounting them as trophies. Shown by their true motive of crafting them not just for sculpturing but also a quality of extending their artistic ability of modern materials used by fashionable means to showcasing them in public events or mounted in galleries.

At my theory to clarify this evidence of animal reproduction through Taxidermy, are only to adapt with their original purpose of manipulating inner bodies used by mixed media arts and of course molded by plaster resources to reach bigger heights during my term 2 planning of Elemental-Beasts phase 2.