After my completion of year 2 at De Montfort University, which gives me an opportunity to practice on my academic skills in foam craftsmanship once I’ve sketch up my new blueprints. This method involves in producing unseen doodle work of Niki de Saint Phalle, who has a difficult childhood following a tragic event of her abusive father when she was eleven years old, the aftermath of it has left Niki feeling unstable and disturbed when growing to adulthood.
But years ago since Niki had an uneasy life, she took to her new career of her rebirth into worlds of arts. because it can help change her life among the people, whilst I studied on Niki’s methods it revealed most of her work were used as primary source of psychological arts like fear is against her but enable’s to create a completely different form related to deeper emotions.
Developments of Niki de Saint Phalle’s research:
Viewing on Niki’s models seems to had reacted to comedy effects like turning sad emotions into laughter
Help to clarify her troubled past to move ahead in her future of women rights
By examining her work of each figure were said to had adapted into the manipulation of cartoon effects, different details of coloured glass and how they look wacky via movement
Specializes into her interests of many themes like summer of serpents
Niki’s method are sorts of using rage emotional to paint-shoot her work via shotgun only used in her rights in art
The splatted colours had gone all around most of the landscape parts once Niki just fired upon
Followed by Niki’s latest work she’d created a large sculptural park called Le jardin des tarots-The Tarot Garden
The inner workings of her park were incredible as if they been manipulated in both ceramics and glass-works like Art Nouveau
The park was originally constructed at Pescia Fiorentina, Capalbio, province of Grosseto, Tuscany, Italy in 1998
Niki’s influence on Doodle structures and Tarot Garden exhibition:
Next up is investigating a rather curious figures called Netsuke, which are originated in Japan carving in the 17th century that the people wear on their clothes that lacks in pockets. By examining on the mini figures it is said they have a reflection of pocket monsters or in translation – Pokemon, because it meant to express a child’s imagination as if the Netsuke were collectibles used for catching creatures and also it must be a direct form to absorb in their scales into a more bigger appearance.
The reason I’am really fondled of these monster personalities, were about my talents of experimenting on Doodle Hybrids that I need to practice ideas on combining DNA’s of Pokemon’s appearances to my new array of hybrids and to analyse with their evolution scale whilst they are growing much larger than ever.
Methods in Netsuke craftsmanship:
Originated in the 17th century of wooden craftsmanship which is used to create miniature figures
Japanese people had worn these small objects on their clothes of festivals as an fun tradition
Meant to reflect on pocket-monsters also to be known as Pokemon and of course to inspire young generations of cartoon monsters via Japans hybrids from children’s imaginations
Normally they are severed as collectibles but also to adapt with their evolutions depending on how large they can be
To respond with my influence of doodle monster’s DNA
Followed by Pokemon’s behavior, personalities, all manner of forms and characteristics to experiment on
Eventually the Americans and Europeans have heard of Netsuke’s influence and collects them
Studying onto my next project for year 3 to research with many sorts of cultural arts, which I’ve been looking at my primary source in Japanese meant to search their mysteries of spiritual and mythical arts like monsters which focuses on miniature sculptures called Netsuke.
Originated in a ancient region of Japan over a period of more than three hundred years, which are focused on their differences of my own hybrid appearances. Mainly to served both functional/aesthetic methods, fitted into Japanese-dresses because the Kimono of women wearing fashionable clothing but not having pockets for many traditional events like summer festivals, funerals, weddings and graduations. Men had to suspend their everyday pockets amongst other items, so they replaced them with the use of Obi (sash) handing objects are also called sagemono. The people attached Netsuke on the other end of the cord preventing it falling through the Obi and to handle its last adjustments with opening and closing of the sagemono.
Mentioned of the Netsuke were of beautiful effects to decorate with different forms of elaborate carving, lacquer-work or perhaps from rare and exotic materials.
Methods used to portray the Netsuke in Japanese influence:
Normally these miniature sculptures believed to be used as ancient talismans, these items were eventually developed into highly coveted and collectible art statures and it has said to nearly disappeared over their period at the end of 19th to the first quarter of 20th century. But over the course in its production of Netsuke did not completely vanished, instead under a strong influence of western collectors visiting Japan in much larger numbers. Furthermore, to develop from a direct approach of fine art and it could be existed as true master-carvers from all around the world continuing to craft these little masterpieces.
Only to affect onto industry both in Japan and abroad stimulated in their production of low artistic value mass-produced figurines during the Netsuke manufacture and they are not to confused with authentic art pieces regardless of their age and origin.
Resources used to carve into Japanese figures of Netsuke:
Compacted of three-dimensional figures in three inches high
Carved into hollow bowl like modelling
Formally to shape into multiple items like Katabori, Anabori, Manju, Ryusa, Kagamibuta, Obi-hasami Sashi, Mask and Trick
Normally animals are made illegal
In a series of organizing around the world for the collection of Netsuke, most of them are been exhibiting from multiple museums like Los Angeles County Museum of Art (LACMA), Museum of Fine Arts in Boston, National Art Museum in Tokyo, British Museum, Victoria and Albert Museums in London. Excelling into their knowledge were the LACMA museum – United States has a permanent exhibition of 150 objects from the Raymond/Frances Bushell collection and to be total of 600 Netsuke in collection are regularly rotated during show.
Furthermore, British Museum in London was also a permanent exhibiting with the Netsuke from the A.H. Grundy collection, then to include the Metropolitan Museum-New York followed by the very latest gathering at the Louvre-Paris and few to view on from Hermitage in St. Petersburg as to adapt with Netsuke manipulation a few at aesthetic times.
Mainly my new evidence of Netsuke were used in many ways in Japanese culture at the 17th century, it seems to had a connection with artistic details like say they have personalities of different categorizes of hybrids. Which tells of their certain appearances of monsters been fitted in pockets and are now been called in the present period of Pokemon.
Normally the people would attach Netsukes to pockets, judging by their small sizes they do share expression to young generations while viewing into childhood imaginations and I would adapt to Pokemon’s texture for merging with my next set of hybrid objects. Helps to combine with the possibilities onto different kinds of cross species DNA used to blend in Pokemon characteristics, which meant to reflect on my previous models of Doodle hybrids and how it should give my inspiration into Japanese hybrids mentioned in children’s response to imaginative animals.
Key methods of DNA evolution used in scales of how large they are as Pokemon:
Evolution from Froakie to Frogadier and Greninja:
Cross reference ninja culture to Greninja’s characteristics:
Evolution from Treecko to Grovyle and Sceptile also can mega-evolve:
Cross referenced with a forest gecko blended into forest environment:
Evolution from Chamander to Charmeleon and Charizard also can mega-evolve alongside gigantamax like huge scales of a stadium:
Crossed reference to dragon and fire elements known in many cultural influences like medieval and Japanese:
Researching on my imagination of childhood monsters were to examine on many kinds of evolution like when Pokemon start to take shape, height and scale to help them stand our more effectively for when I can continue on using my reused-foam resources.
But instead of creating a miniature size I must build my prototypes in a very sight medium scales, also they can help me to practice their massive size and strength. This meant to be used for my primary method to experiment on Pokemon’s DNA, through evolutions since they did once or twice sounds of combining the categories into a new form of hybrids.
From my perspective way of Japanese culture used onto Pokemon appearances, by researching onto all new forms of unseen textures of mega-evolution like as they are stronger when engaged in battle. Furthermore, reading on their different regions were many of the Pokemon has all manner of forms depending on the atmosphere in each countries mainly to speak of Alolan and Galarian forms.
Moving to a additional effect of the Galar regions evolution, were to examine into a much height and mass power called the Dynamax/Gigantamax as they are growing at their size of the large stadium followed of how their behavior can affect into the way of battling.
Example of Cinderace, Corviknight, Toxtricity and Coalossal’s gigantamax forms:
Basically to explain my artistic personalities when reading into Pokemon, trying to experiment on Netsuke’s poses once been carved from ivory and rare wood materials as if they are starting to evolve from old items into such wonders of the new generations of monsterverse and to craft many combinations with mixed media onto Pokemon’s DNA.
Influence of Netsuke’s original methods:
Originated from Chinese culture in the late 17th and early 18th centuries
Maybe spawned, but ultimately known it had descended into Japanese arts
Shown to had a connection of Pokemon from the inspirations of the original creator – Satoshi Tajiri
Said to have studied on their evolutions due to the characteristics from Netsuke during the 18th period
Mentioned to used aesthetics ways in practical forms during daily lifes
Meant to a person’s interest of our engaged into humorist effects
Used in methods of the resources as jewellery, watches and handbags
Criticised on Japanese fashion became fascinated by the west and had disappeared in the present
In the Meiji ages, westerners had taken up to collectors mantle and impacted on Japan’s influences into historian west – 1854
Americans and Europeans had discovered and started to collect netsuke
Enable to cross referenced to my artistic forms of childhood monsters to the characteristics of Pokemon:
Reflection of Tyranitar and Godzilla:
Reflection of Hydreigon and King Ghidorah:
Reflection of Galarian Moltres and Rodan:
Reflection of Gigantamax Butterfree and Mothra:
Reflection of Rillaboom and Kong:
Reflection of Noivern and combination of bat and dragon:
References of Netsuke’s influence and Pokemon personalities:
Throughout my journey into art were investigating into all kinds of cultural arts used to inspire my ideas to examine each of their histories, knowledge, details, scales and origins when using my manipulating skills to produce most replicas of hybrid arts. Then to adapt to how I would build my models in much scale that can cover the park or even a sculpture gallery grounds of my own.
First region of historical arts – Egypt
Studying on the first classical styles of Egyptian that I was really fond of its origins, next to their famous structures used to shape our inspirations in most of Egypt’s knowledge merged into arts.
Cultural methods developed in Egyptian:
Carved statures from stone or rock that represents gods
Pharaohs were known to symbolizes their rule of the region
Written methods used in Hieroglyphs among temples and tomb walls
Those whom have died were mummified into the afterlife which I had reflect with my modroc techniques
Second region of historical arts – Greece
My next research is the very origins of humanoid/monster appearances from Greek mythology, said to be the many wonders within many regions of ancient Greece where are famous statures to represent each of the 12 Olympian gods and the people worship them and pay tribute. From the Greek god who had created our world came the birth of mankind, came many of these legendary heroes known only of their story, bravery, courage and heroic deeds for their country and that the names of each warrior are told in stories.
Following with my inspirations of hybrids appeared in all kinds of humanoid arts, because they were known by the Greek people as monsters and how they said to be feared by their behavior rage. From my point of examining my imaginary monsters to build up ideas of combining with the creature’s differences from DNA, like say wings, armored details, scales of how they stand tall and also to explain each of my monstrous effects whilst bring them into reality as 3D models.
Methods in Greek Mythology:
Many of these famous statues were originally carved from clay or stone
People who had worshipped gods via their prayers
Some of the statures seems to had talent like the discus to compete in old Olympics
Heroes of all were known by their courage written in stories
Hybrid monsters whom to had roam the world of ancient Greece
Creature’s behavior would react to people’s fear of difference of monstrous DNA
Reading on another civilization across the Atlantic ocean, where the land of the Aztecs were originally based at, sightseeing on the capital city of Tenochtitlan and how I can dig up their early roots of old mexico. The Aztec people are known to worship gods, used to carve from all sorts of materials like turquoise been mined in the Aztec caves and then to craft all kinds of artifacts.
But not only that it tells of the people who were sacrificed as rituals to their gods, because it was shown in ancient tradition as if so many had died during their fierce period and that at time of the very civilization was now known to be New Mexico. Before long the Spanish Conquistador named Hernan Cortes was sent by King Charles of Spain, to lead an expedition in 1519 to overthrow the ruler of Tenochtitlan-Montezuma II. after the Aztecs drove off Cortes’s army, they return in much greater force in 1921 to defeat the Aztec empire where most of the people were driven from their cities. Next to Montezuma’a imprisonment, Cortes’s army had raided the city’s temples of all treasures, overtime Hernan Cortes alongside his army had conquered the Aztec region and then constructed new cities across the country which has become known as Mexico.
Reading on my final influence of what inspires me throughout my artist journey called Japanese, which I’ve been looking at over early summer to describe with the mysteries of cultures said to understand in myth legends long before Japan became the land of the rising sun and what gives me a form of curiosity to examine this case of ancient traditions used in all sorts of secretly methods.
Methods of Japanese culture used within their period:
Ancient societies of warriors like Ninjas, Samurai, Shoguns and Ronin
Mysteries told of unseen monsters said to had roam the wilds of Japan
Dragons were mentioned of their wisdom and rage of power across their culture’s stories
Also that of old periods of Japan meets modern technology
Became popular of colour effects used in their own cartoon series
Miniature figures called Netsuke are a reflection of pocket monsters or in translate Pokemon
Japanese influence between ancient and modern websites:
In my investigation into the next sculptor called Auguste Forestier, who begins his career in France during the 20th century. This gives Forestier a ability to carve magical objects which is a different kind of approach into human-made manipulation and can also be influenced by clarify and categorization.
When studying on Forester’s research into wooden model experiments, like I was examining on Jury-Rigged Assemblages almost if I’m mistaken for inventory of otherworldly via toy collection.
Methods in Forestier’s techniques:
Viewing on these strange but wonderful models carved from wooden materials
Most of his work on reptilian relatives seems to react with my two figures of Lizzie long-tail box
A soldier figure riding a horse has a unique approach to it’s culture since a historical event of the French Revolution
Using miniature ways of manufacturing with all manner of structures like vehicles, tools and a wide of themes based only into fantastical bestiary
All of his life’s work were originally crafted and also conjured from wooden resources at the time of his imprisonment at St. Alban psychiatric hospital
Forestier was originally born from a farm in the year of 1887 at the Southeastern Lozere region of France, He also mentioned with enthralled plots involving with trains which leads him into trouble in 1914. Because his arrest were the reason he had placed an amount of pebbles on rail-tracks causing trains to derail, his action had landed him into curiosity at St. Alban psychiatric hospital at aged 27 and remained there until he died in 1958.
Overtime since Forestier’s imprisonment he had worked at a warehouse, kitchen and also to adapt with bust and medallions. During mid-1930s he began to craft his wooden objects into toy models for children of hospital employees, This reaction had an increasingly role of being complex to become an artist, who meant to go in great lengths or even depths of what gives me the potential manufacturing, build, shape and adorn his methods into old toys into something imaginary as figures just like my Lizzie long=tail box figures.
Imaginary themes used in Forestier’s experiment:
Describing with my French sculptor’s imaginary ideas which can create boats, winged creatures and different sorts of decorated generals that has a reflected side of Napoleon Bonaparte also to manufactured with buttons, string, tape, leather and even bones/teeth originated of certain mammals.
Said to had to carve their own personalizes with a life of my own creations
Took to his work seriously as he is meant to established a small workshop for use of perspective way
Able to adapt to his constructive approach of batched elements needed to influence Forestier’s role with such developments of wooden arts related with foam resources