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.

By p2534372

I have always been interested in various forms of art, even from a young age. I developed my interest early on through sculpting with Blu Tack when I was eleven years old and would model figurines from films and TV programs. I had a specific interest in modelling the army of soldiers from the Lord of the Rings using Blu Tack and toothpicks for the armory and weapons. And from the film Avatar, creating Na'vi people using toothpick to create the texture and ripple effect bodies and tones.

It was in my second year at college when I decided to switch from IT & Media to Art & Design, leaving South Leicestershire College to start the B-Tech Enhanced Diploma at North Warwickshire and Hinckley College. I was granted to enter at Level 2 and worked hard to achieve two distinctions in my first year. The switch was the best decision I had made that year and it set my focus to select Fine Art at university. The only university I selected and wanted to study at was DMU, a dream come true!

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