Month: February 2022

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

Post author By p2534372
Post date 12 February 2022
No Comments on 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

Atkins-Gallery/Emotions

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.

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

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

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.

https://www.leicestermuseums.org/arts/arts-in-leicester/the-open/

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

https://www.dmu.ac.uk/study/courses/postgraduate-courses/fine-art-ma-degree/fine-art-ma-degree.aspx

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

Post author By p2534372
Post date 12 February 2022
No Comments on 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

https://www.tate.org.uk/art/artists/jane-alexander-18870/who-is-jane-alexander

https://www.sahistory.org.za/people/jane-alexander

Jane Alexander, hybrid | AFRICAN CONTEMPORARY ART NOW

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

https://www.xavierhufkens.com/artists/david-altmejd

https://www.davidkordanskygallery.com/artist/david-altmejd

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

https://www.syartgallery.com/en/artisti/elvira-carrasco/

https://www.artsy.net/artist/elvira-carrasco

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:

https://sayakaganz.com/

https://www.yatzer.com/Sayaka-Ganz-Animal-Sculptures-Made-of-Salvaged-Plastic

3301 Fine-Arts/Taxidermy 3301 Practical-Sculpture arts

3301 Origins of Taxidermy-Art

Post author By p2534372
Post date 12 February 2022
No Comments on 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.

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.

https://museumofidaho.org/idaho-ology/a-brief-gross-history-of-taxidermy/#:~:text=The%20first%20known%20taxidermists%20were,and%20burying%20them%20in%20tombs.

https://bonesandbugs.com/the-history-of-taxidermy/

https://www.taxidermy.org.uk/About-Taxidermy

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.

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.