2223-501 MA Research-Skills

Article 4: Denmark Exhibition We Walked the Earth

Forwarding my research to this final article that tells the motivation of the Denmark Exhibition theme’ We Walk the Earth, which is shown at Venice, Italy the northern city’s region of the country mostly lined within Renaissance and Gothic influences. At Venice’s exhibition on 23rd April 2022 “The Commissioners” of the Danish arts foundation helped to organize the show’s national demonstration of oversight in every section of the studio-rooms followed by the show’s “Curator” Jacob Lillemose making preparations of placing each model that are to help maintain separate spaces between us and artworks and the “Exhibitor” Uffe Isolotto who had experimented into mixed DNAs of Greek-Mythological arts including centaurs.

Looking at the Exhibition’s Description to explain on Venice’s Biennale Danish pavilion’s motive in Greek inspiration of mixed centaur DNA:

Stepping into a reflected source of performance demonstrations if used in my last year’s sound-effects of “Nocturnal-Beasts” it used to adapt with forest environment.

Meant to step into a hyperrealistic world of unexpected drama, setting in a hybrid time period were elements from the historical past of Danish farm life blended with unfamiliar phenomena from sci-fi future of a trans-human world like traveling back to Ancient-Greece next to centaur DNA and drama revolves around a family of three.

However no ordinary family, in which to be obvious from the moment we’ve enter their home, encountering the inhabitants as if are walking in the studio rooms containing almost all belongings. But who is this family, what has happened to them and in the world of what we live in?

It’s not so obvious, whole setting by Uffe Isolotto who is haunted by a deep uncertainty. It’s impossible to tell the difference of tragic or hopeful, perhaps it is both?

Does the family embody the complex and unsettling experience of going forward in today’s radically changing world? if so, the more general question becomes, do seek refuge theories in what we were or do we look for escape routes in what we might become.

Since not attending the actual trip to Venice, but I can view on where the exhibition would take place at the southern part of Venice at the Viale Trieste district. Which I zoomed in the city map to get to know the site to visit online of Giardini Della Biennale gallery.

2223-501 MA Research-Skills

Article 3: Key Strengths in Sculpture

Moving onto my process of experimenting in moulding materials like clay or plasticine was to firstly do most sketching in my sketchbook along with most papers of the acquirement of blueprints, needed to build my prototypes through my mix-media technique in manipulating wiring adjusted to main bodies and carefully trimmed off some chunks of overdose clay on separate sections of my leopard models.

Here is just one of my diagrams od leopard prototypes drawn by my pencil technique, that I used my calm mind of patience like I’m thinking a happy place of emotions of what drives my motivation in a safe place referred as a sanctuary from negative influences of the outside world. Furthermore, to truly learn more of animal sculpture I must begin to improve from Nocturnal-Beasts’ stood like state of stage fright by manipulating their skeletal structures next to shaping body joints for more mobility as well of moulding clay textures all around the metal lines surfaces and to gently carve in my own animal patterning within folklore evolutions.

Listening on Nick Mackman’s method of adapting into animal craftsmanship was to involve in what Mackman seen in the animals in real life, for example she has a unique ability of photographic memory which I’ve used all the time in my childhood when I’d played with blu-tac in my own method of sculpturing hybrids. In her technique she’s added in multiple layers of clay to be mixed in paper-fibre which acts like a kind of stronger surface of paper-clay so that helps to blend with air and water can transfer more effectively without any blowouts of cracks or perhaps too many amounts of clay.

Which allowed Mackman can develop the animal’s main bodies more perfectly it can take more than seven or eight days, using kiln props to hold the weight of the models until they were completely dry with an added additional equipment of glaze firing effect and in that result will be permanent once it’s used to harden the clay textures and for the finishing touch was casting them in metal resources like bronze or sliver forging before cleaning up any plates from Saudis-Dust for public expressions.

Watching this video of one of the greatest French-sculptors or referred as animalier named Antoine-Louis Barye, who had learned from all of his career before his death to produce one of his masterpieces is the monumental stature of Lion vs Serpent (1832). That he’d manufactured it’d big hunk of bronze materials like me feel a massive presence in front of people at our reaction of this historical piece it truly takes our breath away just viewing it the Louve-Museum in Paris, France. while designing on the stature’s harden surface of an inside wax and to adjust with outer professional details of why I can reflect in my French Practitioner’s work can impact into cultural effects.

It really shapes my inspiration of memorizing each of the body sections of what this sculpture can tell me not only their rivalry behaviour but with mobility to work in my diagrams to development in my carving improvements.

2223-501 MA Research-Skills

Article 2: Antoine-Louis Barye

Reading on a newest practitioner was named Antoine-Louis Barye, a Romantic French sculptor who is famously for studied on wildlife animals which he’d carved in practical sculptures but is also known in his influence as an animalier.

  • Born on 24th September 1795 in Paris, France
  • Died on 25th June 1875, Paris, France
  • Period: Romanticism
  • Nationality: French
  • Children: Alfred Barye
  • Parents: Pierre and Marguerite Barye

He’d lived his entire life in Paris which results of him never leaving his city of France, he reported to have a directive way in minimal formal educations of liberal arts on his own style of initial professional training when experimenting in metalworks. Originally worked with his father, a goldsmith from Lyons and then Martin-Guillaume Biennais (active 1800-1832), master goldsmith to the Napoleon stature.

  • Trained to extend his practical skills in Fine-Arts with fellow sculptor Francois-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835)
  • Studied at Ecole des Beaux-Arts from (1818 to 1823)
  • Won an honourable mention in metal engraving in (1819) but failed to win the Prix de Rome
  • Worked as a craftsman for goldsmith Jacques-Henri Fauconnier (1779-1823)
  • Barye made his Salon debut with a selection of busts in (1823-1831)

Biography of Antoine-Louis Barye:

At Barye’s peak of making his critical development of animalier work that gave public markings of a sculptor over four years later, in the salon of Salon (1831) within groups of what representing a felt of predatory emotions in the wild. Listening from his first government commission had come to The Minister of Interior whom to purchased Barye’s monumental plaster on one of the most magnificent animals on earth-Lion (since called Lion Crushing a Serpent), shown in (1833) and it had been cast into bronze by Honore Gonon and had been exhibited in (1836) before placing it in the public Tuileries Gardens (now Musee du Louvre, Paris).

Chosen for a project that are never executed, furthermore colossal eagle is possibly the crowning element of the triumphal arch at the Etoile:

  • Around (1836) the government had commissioned Antoine-Louis Barye to execute the emblematic animal decoration onto July Column at the place de la Bastille inaugurated in (1840)
  • Produced a monumental effigy of Saint Clotilde for the Church of Madeleine, Paris in early (1840s)

Throughout these years at the succession of the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). At the time of the royal family began buying or commissioning small scale works by Barye’s methods in their private collections, at around (1834) Duc d’Orléans have communicated within high publicized of surtout de table representing their influences of hunting in different regions and historical periods mostly one of several tabletop projects that were organized effectively from Barye.

Submitted in Barye’s development to the Salon only rarely after the jury had rejected his surtout elements in (1837), if being capitalize on that outlet amongst royal patronage and which was declined at the aftermath of the Duc d Orleans in (1842), He’d embarked on a new venture that has lasted his entire career, begins to market his figurative/ornamental models as small-scale serial bronzes and this impacted in the public-directive of working in social partnerships with entrepreneur Emile-Martin from (1845 to 1857) after which he’d proceeded independently.

2223-501 MA Research-Skills

Article 1: The Animal Sculptor of Paris

Starting on my new module of MA’s Research Skills, was to study on four selective articles of what I’ve learned throughout the academic methods of planning my contemporary art into animal presences.

Firstly is “The Animal Sculptors of Paris” I’ve looked into its art magazine from the library archives:

  • Author: Mario-Amaya
  • Publication-Title: Apollo (London. 1925)
  • Volume: 76
  • Issue: 9
  • Language: English
  • Publisher: Apollo, etc
  • Date: 11/1962
  • Source: Art and Architecture-Archive Collection 1
  • Start-Page: 710
  • ISSN: 0003-6536
  • EISSN: 2059-5247

Learned on what its despites from fine traditional methods into practical sculpture next to animal patterning through mix-media painting, in the nineteenth century Victorian-practitioners would explain about their influence of what they’ve developed over the course of animal-modelling, or this technique is referred as animaliers. From sketching blueprints of how animal poses would be shown in real-life to building them with technical form of metal casting in French bronze textures and in my case of clay manipulation.

Felt by any French artists whom to had experimented on their small figurines, alongside most of large-scale versions that are published as public arts. A rare feeling of why we neglected some of well talented individuals that are currently used to make an animalier’s exhibition at “Mallet at Bourdon-House” (Davies Street)

Includes French Practitioners:

  • Antoine-Louis Barye
  • Pierre-Jules Mêne
  • Christopher Fratin
  • Jules Moigniez
  • Emmanuel Frémiet
  • Isidore Bonheur
  • Auguste Cain
  • Paul-Edouard Delabrierre

By recognising an artist’s opinion to subpress our weaknesses of overworking with stress only to let our emotions run wild, but in Barye’s inspiration of course far more advanced in his journey since education and been mentioned as one of greatest French-Animaliers able to produce multiple collections of table-sized bronzes which sold in equal quantities from both English and American collectors.

In several years at the aftermath of “appareil reducteur”, these wonderful carvings of Antoine Louis Barye’s sculptures that captured in the public eyes of imaginations in its strikingly bold simplifications of what I really admired with most exotic-beasts (fig 1). Invested into extensive sense of practitioners’ dynamic tension/fierce strengths that I’d used my talents in handmade techniques enabling to reflect from the late Renaissance statures.

  • Lions, Tigers and Leopards whether devouring prey, striding majestically or just to stood silently with mobility
  • All had an inbred heroic grandeur that allows to make them expressly romantic
  • Barye’s work has always been closely associated in the beginnings of Romantic’ movement in France

Alongside the research methods of Brascassat-Alfred de Dreux and Delacroix, also lifelong-friend who once turned to him for advice while approved to considered taking up sculpture. Written in his journals (1857) of what Barye would describe his lions were approached to classical influences by sculptors and painted a lion strikingly with a similar personality to his friend’s Lion and Serpent after it was modelled thirty years ago.

At despite connections with other Romantics such as Daumier, Courbet, Decamps and Theodore Rousseau, who all met up at Sculptor’s studio (1847) to sign a protest against the Salon. What drives the artwork of Bayre is what I should use in my carving advantages from his romantic realism had almost reached in Greek stylisation, which brings me to Bayre’s power equal into Balzac theories and perhaps he’d be thinking of a writer’s short story “Une Passion Dans le Desert” which was first appeared in (1832).

By fascinating each piece of fiction that meant to carried out a description of a she-panther magnificently heroic and graceful as one of many of Bayre’s bronze manufacturing in French-Sculptural arts.

Page 710: (fig 1) ‘Running Elephant by Antoine Louis Barye (1795-1875), described by him as Elephant du Senegal. Plaster original is in the Louvre, and a bronze version is currently on exhibition at Mallet at Bourdon House. Height, 13.3cm

Antoine-Louis Barye’s Lion vs Serpent (1832), measurement: 1.35 by 1.78 by 0.96 metres

  • Originally crafted in plaster and exhibited at Louvre-Museum
  • Barye’s period of Romanticism and subject of Wildlife

Louvre-Museum website:

Antoine-Louis Barye | Lion and Serpent (Lion au Serpent) | French | The  Metropolitan Museum of Art
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.

GS-Products website:

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
3302 Artist Talk

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

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.