Month: March 2021

Origins of Mexican development Year 2: Sculpture

Day of the Dead origins in Mexico

Post author By p2534372
Post date 18 March 2021
No Comments on Day of the Dead origins in Mexico

In my approach of reviewing on one of my favorite holiday events, but in a inspiring way to do practical modelling from a primary genre of comedy to combine with a theme that goes bump in the night or spooky arts to reflect onto my sculptural journey in year 2.

From my chosen path to research on certain holiday’s in different countries/regions, is what I had examined into a country of Mexico because its culture are used to influence our thoughts of emotions like its focused on memories of whose who passed away during lifetimes. Which I found Mexican arts very fascinated to look at, because their festival arts had me fond of aesthetic colours to produce on any items or products like skeletons and skulls and the Mexican people named Día de los Muertos or translate in English – Day of the Dead celebrated every year on 2nd November 2021.

When reading on the origins of Mexican’s Day of the Dead, are about digging up its roots of going into their early contemporary arts amongst many heritage throughout the United States. It once happened around 3,000 years ago where the Aztecs honored with their deceased in pre-Columbian Mesoamerica. In my critical response of how they originally used to examine on death, like when a person dies they travel to Chicunamictlan in most cases Land of the Dead where souls went on a journey to their final resting place.

Day of the Dead origins/website: https://www.history.com/topics/halloween/day-of-the-dead

After my investigation onto Mexican’s origins involving with Day of the Dead, I felt the emotion of festive joy/sad when someone passed away but its our way of honoring the dead. To remember their love-ones family members brings the offerings of food, water and accessories to aid the deceased on their journey and that helps to keep their memories alive.

At my response into Mexican’s influence of festival arts, are what I could use my doodle techniques to transform my old-fashioned shoes into something zaniness like laughter and my manufacture of foam materials/equipment. Then to combine with cartoon patterns in acrylic methods to make them like 4D models, like the Mexican people used to decorate the graves as their beloved burial place and to absorb the festival’s love of colourful arts to skeletons appearance of pale textures also to use illustrations in my expressions into comedy development onto my Simpsons telephone models.

Culture influences in Mexican arts:

Mexican version of Halloween
Festival parties and parades
Border between spirit and real worlds
Offerings brought to burial graves
Reflected on Disney’s film Coco (2017)

Contextual Research

Contextual diary 2

Moving onto my next slot of hybrid practitioners, who has influenced me of their recent techniques used to reflect on my original search in various genres like they are shown into stories and even from legends that are adapted to humanoid-arts.

Different genres of Hybrid movement:

Fantasy
Folklore-tales
Original animals in Greek and Egyptian Mythology

Reading on Kate Clark’s work on experimental models of transfusing a human face to a animal bodies, they meant to acknowledged to her primary theme of natural instincts which are also used for contemporary art and these can be absorb into my personally of face carving textures of humanoid skin patterns to have an impact with my related references of Na’vi people/Avatar.

Viewing on Clark’s work in transfusion of human faces to animal bodies, they really share to my inspiration of becoming a animal but some people might had fearphobia about this reaction and she showcased her models in her exhibitions.

Clark’s Exhibitions:

Solo show: Claire Oliver Gallery in New York (2008)
Group show: Aldrich Museum of contemporary art

Clark’s website: https://www.kateclark.com/artist-statement

Next up is Damien Hirst who was one of the young British artists to had achieve his way of manipulating on unnatural effects used in UK arts during the 1990s and is also an collector of interviewing with most of his models have an increased costs from his buyers.

His key elements are based on death which are kind of harsh, but its his direct way of being famous of a series of animal models incased in glassed boxes. At Hirst’s influence onto a reflected technique in “Spin Paintings”, which he created on a spinning circular surface and uses “Spot Painting” in random coloured circles.

Animal models incased in glass boxes:

Shark
Sheep
Cowl

Viewed at Hirst’s Exhibition: UCCA Center for Contemporary art

Hirst’s website: https://www.tate.org.uk/art/artists/damien-hirst-2308

Looking at Walton Ford who is a American artist had been researching into monumental watercolors that is blended with editioned prints, as his technique are primary used on historical arts which is how both animals and hybrid creatures are treated as equals amongst intersection of human culture/natural-world.

Seeing Ford’s technique on large-scale paintings mainly to use his influence of illustration effects onto animals or hybrids, because it would seem his creatures are in a condition of their jungle or forest homes been destroyed by humans followed by forcing against an animal’s will of enslavement and what could impact into my environmental state for my humanoid inspiration.

Ford’s website: https://www.kasmingallery.com/artist/walton-ford

Professional Research Visual exhibition/artstep

Online Exhibition/Artstep 2021

Post author By p2534372
Post date 15 March 2021
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Doing an visual exhibition on artstep is about putting up my very own studio in technical development, as it’s almost like I am building a maze before I can explore its wide camera screen for when I click on a path to automatically move. After signing my profile onto artstep to make preparations of studio walls in different marked areas, to practice on my corridors and walls to place stands for my hybrid models.

To begin my visual exhibition on artstep, I must measure on how my studio walls can stand up whilst building different rooms or gallery sections as if I’m walking in a labyrinth of digital art-show and what I could memorize my path when sharing my finished models to my friends.

While putting up my gallery walls I need to place my sculpture stands on my chosen areas, because this allows my hybrid models to stand out like they are in a 3D/4D appearance just to set up their open spaces in each section to position my crafted models on 5 or 6 stands and to adjust on how my stands should act on my marked space.

By adjusting on how my showcased props can be neatly positioned, were to carefully move my stands in the center/corner of each gallery room which I can rotate to see the shadow tone shown on the floor and making them a bit big like medium scale next to their expanded boards where my models are placed upon.

Continuing to position my stands in each of the gallery’s sections, are what I should put my favorite hybrid models in place only to shape their scales depends on what my projects in foam will help to express the emotions of laughter to had an affect to my cartoon animals and what their reaction could be meant on zaniness from comedy influence.

When sorting out my last improvements to my visual gallery walls, followed by artifact stands to expand their scale of medium, positioned in rooms center/corners and boards to set my models on stage just to build my designs in physical development and upload them to my artstep’s software for my foam exhibition.

Even if I had trouble to upload my models as 3D objects, which I engaged on putting my designs on the exhibition walls where my starting position is at my Spyzilla and to continue with my 5 remaining models in different rooms of my gallery just so they don’t overlap the walls.

Here is my finished gallery called doodle hybrids, because it allows my imaginations to roam wild when I was fusing with unused items like a person stops using them. It enables me of transfuse with something old into monstrous development, as if I’ve been absorbing the influence of Frankenstein for my experimentation in foam, modroc and doodle painting only to make them stand out at my work-desk at home despite tight corners and to rotate my models in the physical world instead of digital setbacks on Artsteps.

Doodle Hybrid gallery tour:

https://www.artsteps.com/view/6082a7f82a92900372911fcd?currentUser

Professional Research

Professional Writing

After my studies I would find jobs of doing illustration works, which is using digital manipulation of colours to my hybrids to help me practice on new textures and shaping their deep layers of scales, patterns or skin hides for my creation from old artifacts.

In other ways of building my career is starting my own gallery, because I’m intended of crafting my further models or portraits to sell just to earn money and if make loads to give to charities to help poor people/children.

Here is my evidence of building my own gallery which I am currently on artstep, because I would love to set my own large space to expand my artworks and sorting out equipment needed for practical handling.

By putting my models in place once crafted, is how I could organize my displayed stands for my hybrid models and to build my real gallery to set up portraits.

London Pangolin Gallery: https://www.pangolinlondon.com/about-us/

CV Evidence:

Here is my creative CV sheet of how my technique had lead me throughout my journey of becoming an artist, is about my related colouring could be a career of studying onto illustration, grades I’ve achieved in my previous colleges and what I can engage on organizing my own gallery after graduation.

To help achieve my designs I looked at a competition called Up-cycling which is active at DMU, because its suitable for all students based in Fine Art so that I should craft my hybrid models just to showcase one of them as I was adaptable of doing humorist development to my animal ideas with any young kids who are fond of comedy effects used in cartoon shows and how my childhood characteristics could react with my foam experimentation during my audience’s feedback to my models.

DMU’s Up-cycling website: https://www.dmu.ac.uk/current-students/hot-topics/2021/february/get-involved-with-the-upcycling-art-craft-and-design-competition.aspx

These are example of building their own models from recycled materials, which I could participate in DMU’s competition with my crafted models from hybrids only to manipulate into humorist effects and share my inspiration among young generations of artists.

Then searching on exhibitions to exhibit my models at New Walk Museum-Leicester but all of the galleries are Temporarily closed, so I must do an visual tour like organizing an artstep show to make it a reflection of the museum’s gallery and I would share my museum show to my audience once published to express my primary source of doodle painting along with my secondary of illustration arts.

New walk Museum’s website: https://www.leicestermuseums.org/leicester-museum-art-gallery/

Studio Review

Studio practice

In my term 2 journey of crafting my next project in sculpture, I continued to experiment on plastics because my audience really likes my early models-shoes and telephones in term 1 and thinks I’am in the zone of building something new but added with devastated outcome into monstrous imaginations.

My primary art genre in Comedy/humorist
Original hybrids in Greek Mythology
Worked in recent theme of Classical Styles
Meant to transfuse both unused item and mixed humanoids

Focusing my recent themes from North Warwickshire-previous college, to begin sketching up various ideas into animal/monster textures from fantasy, folklore tales, mythology and Sci-fi which they originally inspired me to come up with all kinds of hybrid ideas to go practical with reused-foam material.

Here is my evidence of practical drawings throughout the first half in term 2, I was really fond of animals from their favorite habitats and certain films like monster-verse. Which I’d used photograph-memory to absorb their textures, appearances and patterns whilst expanding my blueprints on the workbench-wall and criticise my selected ideas to build up to six figures used into my primary objective of mixing and matching with hybrid parts like being Frankenstein into reality.

After producing my hybrid ideas, I need to manipulate the next set of recycled objects like finding an old bag. Then to work onto thanator’s front/back legs merged to my own foam bag via glue gun after trimming with foam-sander and adapting my doodle painting my animal patterns.

Primary method of cartoon manipulation:

Shared by the connection of Spyro the dragon characteristics
Examining on wings, scales and skin patterns
Meant to practical paintings with cartoon influence
Examined my favorite monster-Godzilla in Japanese legends
Mainly fond into Egyptian, Greek and Aztec

Helps to describe my chosen resource of foam to combine into doodle experimentation, meant on what characteristics can shape my model into a hybrid carrier when holding its handle, maintaining my cartoon lines to stand out not to look too messy and express’s funny emotions. Next is sticking my humanoid-dragon parts together, because I was really adaptable with my doodle personalities for Godzilla’s spikes and Spyro’s textures to absorb in my practical experimentation depends on how huge my model would look like.

This time I crafted a cereal box from my continuation of foam, then bend with metal wires into deer antlers which can be tricky to move its hard surface and my arms muscle begins to get bolder like doing the lift weighting. At first my Aunbikirin seems to reflect from a Japanese beast in ifs ancient culture in a samurai film-47 Ronin.

Next up is my sphinx figure which I had combine it with Na’vi DNA from its sci-fi influence on Avatar, followed by carving an Egyptian crown of the pharaoh and place it on the head part. Almost if my own hybrid is worshipped as a god and could had affect my technique of mummification my remaining models in modroc alongside keeping the colours very wacky.

Recorded talk and handmade-work:

This is my recording of my progress of foam carving with my humanoid blueprints followed by practical development in doodle carving and painting:

Contextual Research

Contextual Diary 1

My contextual research tells of my inspiration of artists in sculpture, like Mick Peter’s work of cartoon models in line drawings and to help criticise my talents of doing something humorist for my colourful manipulation into structures.

Peter’s website: http://www.mickpeter.com/

Peter’s exhibition: https://baltic.art/whats-on/exhibitions/mick-peter

By absorbing Peter’s talent of cartoon modeling in hard materials, they seem to interact with props in their own world like being alive which allows me to reflect his technique. Followed with combining creative shoes in foam and blend them in spooky-arts used for Mexican culture.

Here are my basic cartoon patterns used in my foam models then to sketch all-over my shoes/telephones, using painting in a humorist way I experiment on two prototypes in aesthetic colours that helps me to transforming old artifacts into something excited and scary to work on.

Searching on Frida Kahlo’s connection to Mexican arts from her self-portraits, because they showed me vibrant effects of her inspiration of bonding with animals particularly with monkeys and to absorb her culture into my foam-craftsmanship.

Website of Kahlo: https://www.fridakahlo.org/

At my critical point of Mexican influence used in doodle arts, because I am fond into cartoon colours to paint both Dead of the Dead shoes/Simpsons-telephones and to continue my next theme of mixed media of recycled objects/foam into hybrids.

Reading on Marcus Coates who has an unique ability of mimicking voices of various animals, as if he is becoming an humanoid being and it helps him to perform rituals of spiritual effects, which Coates channels his inner voice into Shamanic reactions and to communicate between human and animal worlds.

Methods in Coates’s mimic-voices:

Shamanism-development
Chanting, drumming and dream-catcher
Wears different array of animal costumes

Coates’s website: https://www.workplacegallery.co.uk/artists/9-marcus-coates/cover/

Planning on new hybrid diagrams once I drawn them, looking into artists related to my recent theme like Jane Alexander who is one of an important contemporary artists. Which helps to criticise on Alexander’s models by their expression of an unexpected twist, to examine on a person’s fearaphobia of becoming a animal because it felt on Mary Shelly’s Frankenstein and are putted together of our differences of each other in the outside-world.

Fear of becoming a animal: Xenohabilzoophobia

Shelly’s Frankenstein’s website: https://www.newyorker.com/magazine/2018/02/12/the-strange-and-twisted-life-of-frankenstein

Alexander’s website: https://www.tate.org.uk/art/artists/jane-alexander-18870

Reading on Ken Little who works on mixed media of animal models, used from old-artifacts like shoes or many kinds of recycled textures to assemble his creations as replicas compelled to real animals. Furthermore, he carves his designs of animal masks from bronze material as if they are a reflection of a wonderland theme and how Little’s technique can affect my inspiration of hybrid arts blended with foam modeling.

Key elements in mixed arts in recycled animals:

Influenced by American-entrepreneur Walt Disney
Experimented on old items into reassembled models
Used in wonderland arts on animals also in bronze masks
Textures of skin/hides used in fabric materials
Related from paper-mache or modroc
Manipulated on shoe leathers

Little’s website: http://art.utsa.edu/faculty/ken-little