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Forwarding my research to this final article that tells the motivation of the Denmark Exhibition theme’ We Walk the Earth, which is shown at Venice, Italy the northern city’s region of the country mostly lined within Renaissance and Gothic influences. At Venice’s exhibition on 23rd April 2022 “The Commissioners” of the Danish arts foundation helped to organize the show’s national demonstration of oversight in every section of the studio-rooms followed by the show’s “Curator” Jacob Lillemose making preparations of placing each model that are to help maintain separate spaces between us and artworks and the “Exhibitor” Uffe Isolotto who had experimented into mixed DNAs of Greek-Mythological arts including centaurs.

Looking at the Exhibition’s Description to explain on Venice’s Biennale Danish pavilion’s motive in Greek inspiration of mixed centaur DNA:

Stepping into a reflected source of performance demonstrations if used in my last year’s sound-effects of “Nocturnal-Beasts” it used to adapt with forest environment.

Meant to step into a hyperrealistic world of unexpected drama, setting in a hybrid time period were elements from the historical past of Danish farm life blended with unfamiliar phenomena from sci-fi future of a trans-human world like traveling back to Ancient-Greece next to centaur DNA and drama revolves around a family of three.

However no ordinary family, in which to be obvious from the moment we’ve enter their home, encountering the inhabitants as if are walking in the studio rooms containing almost all belongings. But who is this family, what has happened to them and in the world of what we live in?

It’s not so obvious, whole setting by Uffe Isolotto who is haunted by a deep uncertainty. It’s impossible to tell the difference of tragic or hopeful, perhaps it is both?

Does the family embody the complex and unsettling experience of going forward in today’s radically changing world? if so, the more general question becomes, do seek refuge theories in what we were or do we look for escape routes in what we might become.

Since not attending the actual trip to Venice, but I can view on where the exhibition would take place at the southern part of Venice at the Viale Trieste district. Which I zoomed in the city map to get to know the site to visit online of Giardini Della Biennale gallery.

Moving onto my process of experimenting in moulding materials like clay or plasticine was to firstly do most sketching in my sketchbook along with most papers of the acquirement of blueprints, needed to build my prototypes through my mix-media technique in manipulating wiring adjusted to main bodies and carefully trimmed off some chunks of overdose clay on separate sections of my leopard models.

Here is just one of my diagrams od leopard prototypes drawn by my pencil technique, that I used my calm mind of patience like I’m thinking a happy place of emotions of what drives my motivation in a safe place referred as a sanctuary from negative influences of the outside world. Furthermore, to truly learn more of animal sculpture I must begin to improve from Nocturnal-Beasts’ stood like state of stage fright by manipulating their skeletal structures next to shaping body joints for more mobility as well of moulding clay textures all around the metal lines surfaces and to gently carve in my own animal patterning within folklore evolutions.

Listening on Nick Mackman’s method of adapting into animal craftsmanship was to involve in what Mackman seen in the animals in real life, for example she has a unique ability of photographic memory which I’ve used all the time in my childhood when I’d played with blu-tac in my own method of sculpturing hybrids. In her technique she’s added in multiple layers of clay to be mixed in paper-fibre which acts like a kind of stronger surface of paper-clay so that helps to blend with air and water can transfer more effectively without any blowouts of cracks or perhaps too many amounts of clay.

Which allowed Mackman can develop the animal’s main bodies more perfectly it can take more than seven or eight days, using kiln props to hold the weight of the models until they were completely dry with an added additional equipment of glaze firing effect and in that result will be permanent once it’s used to harden the clay textures and for the finishing touch was casting them in metal resources like bronze or sliver forging before cleaning up any plates from Saudis-Dust for public expressions.

Watching this video of one of the greatest French-sculptors or referred as animalier named Antoine-Louis Barye, who had learned from all of his career before his death to produce one of his masterpieces is the monumental stature of Lion vs Serpent (1832). That he’d manufactured it’d big hunk of bronze materials like me feel a massive presence in front of people at our reaction of this historical piece it truly takes our breath away just viewing it the Louve-Museum in Paris, France. while designing on the stature’s harden surface of an inside wax and to adjust with outer professional details of why I can reflect in my French Practitioner’s work can impact into cultural effects.

It really shapes my inspiration of memorizing each of the body sections of what this sculpture can tell me not only their rivalry behaviour but with mobility to work in my diagrams to development in my carving improvements.

Reading on a newest practitioner was named Antoine-Louis Barye, a Romantic French sculptor who is famously for studied on wildlife animals which he’d carved in practical sculptures but is also known in his influence as an animalier.

• Born on 24th September 1795 in Paris, France
• Died on 25th June 1875, Paris, France
• Period: Romanticism
• Nationality: French
• Children: Alfred Barye
• Parents: Pierre and Marguerite Barye

He’d lived his entire life in Paris which results of him never leaving his city of France, he reported to have a directive way in minimal formal educations of liberal arts on his own style of initial professional training when experimenting in metalworks. Originally worked with his father, a goldsmith from Lyons and then Martin-Guillaume Biennais (active 1800-1832), master goldsmith to the Napoleon stature.

• Trained to extend his practical skills in Fine-Arts with fellow sculptor Francois-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835)
• Studied at Ecole des Beaux-Arts from (1818 to 1823)
• Won an honourable mention in metal engraving in (1819) but failed to win the Prix de Rome
• Worked as a craftsman for goldsmith Jacques-Henri Fauconnier (1779-1823)
• Barye made his Salon debut with a selection of busts in (1823-1831)

Biography of Antoine-Louis Barye: https://www.nga.gov/collection/artist-info.39083.html

At Barye’s peak of making his critical development of animalier work that gave public markings of a sculptor over four years later, in the salon of Salon (1831) within groups of what representing a felt of predatory emotions in the wild. Listening from his first government commission had come to The Minister of Interior whom to purchased Barye’s monumental plaster on one of the most magnificent animals on earth-Lion (since called Lion Crushing a Serpent), shown in (1833) and it had been cast into bronze by Honore Gonon and had been exhibited in (1836) before placing it in the public Tuileries Gardens (now Musee du Louvre, Paris).

Chosen for a project that are never executed, furthermore colossal eagle is possibly the crowning element of the triumphal arch at the Etoile:

• Around (1836) the government had commissioned Antoine-Louis Barye to execute the emblematic animal decoration onto July Column at the place de la Bastille inaugurated in (1840)
• Produced a monumental effigy of Saint Clotilde for the Church of Madeleine, Paris in early (1840s)

Throughout these years at the succession of the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). At the time of the royal family began buying or commissioning small scale works by Barye’s methods in their private collections, at around (1834) Duc d’Orléans have communicated within high publicized of surtout de table representing their influences of hunting in different regions and historical periods mostly one of several tabletop projects that were organized effectively from Barye.

Submitted in Barye’s development to the Salon only rarely after the jury had rejected his surtout elements in (1837), if being capitalize on that outlet amongst royal patronage and which was declined at the aftermath of the Duc d Orleans in (1842), He’d embarked on a new venture that has lasted his entire career, begins to market his figurative/ornamental models as small-scale serial bronzes and this impacted in the public-directive of working in social partnerships with entrepreneur Emile-Martin from (1845 to 1857) after which he’d proceeded independently.

Starting on my new module of MA’s Research Skills, was to study on four selective articles of what I’ve learned throughout the academic methods of planning my contemporary art into animal presences.

Firstly is “The Animal Sculptors of Paris” I’ve looked into its art magazine from the library archives:

• Author: Mario-Amaya
• Publication-Title: Apollo (London. 1925)
• Volume: 76
• Issue: 9
• Language: English
• Publisher: Apollo, etc
• Date: 11/1962
• Source: Art and Architecture-Archive Collection 1
• Start-Page: 710
• ISSN: 0003-6536
• EISSN: 2059-5247

Learned on what its despites from fine traditional methods into practical sculpture next to animal patterning through mix-media painting, in the nineteenth century Victorian-practitioners would explain about their influence of what they’ve developed over the course of animal-modelling, or this technique is referred as animaliers. From sketching blueprints of how animal poses would be shown in real-life to building them with technical form of metal casting in French bronze textures and in my case of clay manipulation.

Felt by any French artists whom to had experimented on their small figurines, alongside most of large-scale versions that are published as public arts. A rare feeling of why we neglected some of well talented individuals that are currently used to make an animalier’s exhibition at “Mallet at Bourdon-House” (Davies Street)

Includes French Practitioners:

• Antoine-Louis Barye
• Pierre-Jules Mêne
• Christopher Fratin
• Jules Moigniez
• Emmanuel Frémiet
• Isidore Bonheur
• Auguste Cain
• Paul-Edouard Delabrierre

By recognising an artist’s opinion to subpress our weaknesses of overworking with stress only to let our emotions run wild, but in Barye’s inspiration of course far more advanced in his journey since education and been mentioned as one of greatest French-Animaliers able to produce multiple collections of table-sized bronzes which sold in equal quantities from both English and American collectors.

In several years at the aftermath of “appareil reducteur”, these wonderful carvings of Antoine Louis Barye’s sculptures that captured in the public eyes of imaginations in its strikingly bold simplifications of what I really admired with most exotic-beasts (fig 1). Invested into extensive sense of practitioners’ dynamic tension/fierce strengths that I’d used my talents in handmade techniques enabling to reflect from the late Renaissance statures.

• Lions, Tigers and Leopards whether devouring prey, striding majestically or just to stood silently with mobility
• All had an inbred heroic grandeur that allows to make them expressly romantic
• Barye’s work has always been closely associated in the beginnings of Romantic’ movement in France

Alongside the research methods of Brascassat-Alfred de Dreux and Delacroix, also lifelong-friend who once turned to him for advice while approved to considered taking up sculpture. Written in his journals (1857) of what Barye would describe his lions were approached to classical influences by sculptors and painted a lion strikingly with a similar personality to his friend’s Lion and Serpent after it was modelled thirty years ago.

At despite connections with other Romantics such as Daumier, Courbet, Decamps and Theodore Rousseau, who all met up at Sculptor’s studio (1847) to sign a protest against the Salon. What drives the artwork of Bayre is what I should use in my carving advantages from his romantic realism had almost reached in Greek stylisation, which brings me to Bayre’s power equal into Balzac theories and perhaps he’d be thinking of a writer’s short story “Une Passion Dans le Desert” which was first appeared in (1832).

By fascinating each piece of fiction that meant to carried out a description of a she-panther magnificently heroic and graceful as one of many of Bayre’s bronze manufacturing in French-Sculptural arts.

Page 710: (fig 1) ‘Running Elephant by Antoine Louis Barye (1795-1875), described by him as Elephant du Senegal. Plaster original is in the Louvre, and a bronze version is currently on exhibition at Mallet at Bourdon House. Height, 13.3cm

Antoine-Louis Barye’s Lion vs Serpent (1832), measurement: 1.35 by 1.78 by 0.96 metres

• Originally crafted in plaster and exhibited at Louvre-Museum
• Barye’s period of Romanticism and subject of Wildlife

Louvre-Museum website: https://www.louvre.fr/en