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.

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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