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!
My early preparations during summer has lead me to sketch up new ideas of modeling diagrams in a more larger scale, like turning a normal object into something mysterious but huge beyond anything then I could ever produce in three dimensional. Primary method into large structures were searching for answers on Japanese influence into various hybrids or monsters known in their own culture, as they were told in stories, ancient artifacts and folklore tales of what could inspire me to develop new diagrams of planning with my next resources of wooden carving and blending with two materials I mostly used in last years Doodle hybrids.
New technique of large-scale netsuke experimentation:
Start of plan on my own diagrams of shaping regular animals into unseen Japanese monsters
Investigate on new artists of Niki de Saint Phalle and Auguste Forestier
Practice on doodle sculpting in skeletal wooden figures and combine with various materials used in handmade
Study on Netsukes/Pokémon influence into my own model’s details
Manipulate with chicken wires and fabric-hessian dips in plaster
Work on prototypes towards my masterpiece for exhibition near Christmas and Degree show- end of term 3
Evidence on large scale methods:
These are the early works in wooden straws that meant to resemble a lion and gorilla, which it said to have mentioned in many different forms of animals as Japanese would describe them as kaiju or in translation giant monsters and it had filled my inspiration of building my year 3 models in such big scales.
Mostly to resemble a replica of my chosen monster that comes from different periods or cultures meant to examine on their legacy of being gods among mankind like some creatures of Pokemon were legendary like noting we ever heard or seen in our world and monsters I’ve remember from childhood which are brought into the realty of Monster-verse films via Godzilla and Kong universes.
For my term 1 project to take effect I started to craft my first prototype form of a wooden skeleton as if this method could be identical shape of the Trojan-horse. Giving my model’s appearance of a lion while drawing my blueprints in sketchbook of what I’d gathered in resources of plaster equipment and put them all together to make a perfection of a fiery-power replica of Solgaleo.
Method in Netsuke diagram of my prototype: Blazing-Solgaleo:
After finishing my prototype I begin to make a second alpha of the gorilla, which shows me a reflection to a childhood celestial titan called King-Kong like throughout his battles with ancient monsters like all kinds of predators even rivals whom to had crossed paths once. That I do the same in plaster with an added marble eyes, followed with doodle colouring to my Grillaboom figure in a jungle habitat next to his arch-rival’s home-turf of ignited flame desert with Blazing-Solgaleo.
Using Petrit Halilaj’s knowledge of visual stage arts, I’d crafted several props of two half’s of both fiery desert and blossoming rainforest and at wherever they roam across lands or regions their elemental powers would spread as they walked on the very earth humans felt in their presence.
Term 2 development of Elemental-beasts phase 2-Nighttime theme leading to the path of the Degree-Show:
Medium/small size animals at night seem to wonder their habitats like forests, which my finalized model would hang near the moon at nighttime forest as if my Lunala replica was worshipped as a goddess of the moon.
My further diagram of a guardian dragon of my own like shaping him as one of my nighttime-creatures:
Beginning on my year 3 project continue to draw new ideas which involves in large scale measurements, I think of building my models much bigger not just with previous resources from last year but rather a skeletal method used in wood. This leads to finding woodwork into the design-wing when I entered meeting with the workroom’s technician – Robin to show my diagrams to extend my prototype work of a lion replica sharing the characteristics of mythical animals in Japanese culture like experimenting on Pokemon’s evolution judging on how they grew by scale to use this as my primary technique due to booking in AV Loans first.
Next is entering the plaster room to met technician – Nick, from there is to transport my model there after covering it in chicken wire using my handmade skills, to give my lion’s appearance only to make an mythical animal as it’s mane-male version were alive as fiery sun and handle a new form of Modroc called Plaster.
Methods in wooden, metal wiring and plaster craftmanship:
Using wooden shaver to trim long wood plank’s surface
Add stronger wood to one another
Marked areas to wood glue and drill together
Helps to stable the body of work without breaking apart
Cover my prototype in chicken wire and shape it’s appearance
Hessian-fabric to wrap around my model dipped in plaster can be messy even to do tight corners
Doodle paint in black lines around the body and use colour scheme to paint on empty gaps making sure not to overdo the patterns
Once trimmed I must steady my skeleton Lion fused in Netsuke influence, because it’s gives it better stability without having a thinner condition. To keep my Lion from breaking is about drilling in marked holes for nails, when attaching these jointed part for my prototype is almost like I’m building a familiar model of a Trojan Horse.
Manufacturing my next material using metal wiring to manipulate the outer atmosphere around my lion-prototype, which acquires my protective clothing of reinforced gloves to avoid cuts/scratches just to carefully metal-bend wires several after another. Shaping my structure’s inner details of an actual creature only to reflect on my inspiration of Japanese hybrids, gathering up Chicken wire from B&Q warehouse store were to cover my model.
Taking my lion prototype to the plaster-room is a real challenge to keep its metal wiring appearance in good condition. Requires my strength to hold my model while carrying to its destination, when arriving I’d gather up plaster resources of hessian cloth dipped in ceramics-powder for much stronger results when wrapping my lion and it took at least a month in October.
Sightseeing around the plaster room I’ve been manufacturing with dipping effects of the combinations of both hessian and powder materials, my progress is made in excellent development when filling in last gaps underneath the flame-mane and it leads to my model weighing a ton.
Can be difficult to move my prototype due to its heavy weight, this time I’ve burrowed a large trolley to carefully pull it avoiding the surrounding areas in the arts building. Also I needed help to lift my model up to four people’s combined strengths, minding tight gaps along the way from the reception to floor 8 corridors into my studio-space to begin trim-smooth my lion’s surface instead of rough appearance.
Methods in plaster trimming in floor 8 studio and Netsuke Doodle-art:
Building my lion replica from wooden skeletal appearance
Wrap around with hessian dipped in ceramics-powder
Tighten any empty gaps in plaster’s strong texture
Moving my figure to studio to trim off rough surfaces for smooth effectiveness
Measuring the lengths of each area of my replica to calculate it’s scale based on the lion’s fiery evolution
Followed by a mixture of bright colours to brush onto separate slots in doodle patterning, almost like my prototype is having a completely new evolution referred to be a replica of Solgaleo as legendary. Giving it a identical connection to my lion with infused fiery rage both beautiful and frightening results, a second doing a second model of gorilla decorated in jungle texture as it had been through tough battles with various monsters like a gurgle-match.
After completing Blazing Solgaleo, I move to my next model of shaping a primate state. Shows an appearance of a gorilla naïve from the western region of African forests, using my doodle painting again only to make it look like a reflection from Peter Jackson’s King Kong who roams his home-turf of the ancient jungle like skull island. Attached with marble eyes to make them look like actual eyes in glass effect and added scar details as if Jungle-Kong fought against predators or rival alphas like two alphas of different oppositions come face to face.
With my week 9 Crit fast approaching, I’ve positioned my two alphas like they are staring face-to-face as ancient rivalry with each of their open spaces been exhibited in the upper corner of the floor 9 room. My audience has given me most effective feedback, like they were in our presence even if in real life these wonderful animals have been hunted by poachers. Then manufacture the supplies of animal skins, hides and patterning, only to craft/stuff up these replicas as living-trophies though it meant on the brink of animal extinction is sad and also this gave me to focus on developing my two models home-turf when staging prop arts by Petrit-Halilaj.
Looking at my studio space of two figures facing each other, I did notice of how empty they are with no habitats or nature around them. I read on Petrit Halilaj’s role of visual storytelling of manufacturing on scene-props used to create an jungle-arts background, which allowed me to absorb his texture to produce my own scenes in a home-turf of two habitats one fiery dessert for my lion and one blossoming rainforest for gorilla as the two elemental beast would cross paths as fire and nature would collided against one another and to add my efforts of turning my space as dueling environments of both jungle and desert habitats.
For my final preparation of Element-beasts to take full perfection at end of term show I entered woodwork once again, gathering up MDF hardwood to acquire a handle buzz-saw tool to floor-cut my marked lines of two environmental area of rough terrain of desert ignited by fire and blooming effects of everlasting jungle and to add on triangular stands on each prop giving them steady stability.
Then coated each one in white paint waited for them to dry before painting in doodle, making it easy is taking half/another half home to my room studio to finish the remaining props in bright and dull-shaded colours and bring them back to put all in place for the studio-exhibition.
After sorting out my visual props once placed near my two beasts, I need to adjust studio lights to give them an inner dimensional state of their shadows shown by light neither in bright or darkness. This gave me a opportunity to put on a theater stage but at a slight twist, I’d absorb it’s influence for my own method in sculpture and turn my finalize project into reality at term 1’s aftermath forwarding to my next phase of doodle development within nighttime beasts that focused on either worship or bump into night added my stage light effect.
Over summer are to research on new practitioners who had worked in my next method of large-scale, it gives me a challenge of assembling my models to new heights in multiple materials of combining both ceramics and doodle technique into my own gigantic collection of frightening mixed media within Netsuke replicas.
Starting on Niki De Saint Phalle-French artist, to research her academic work on monumental figures representing not because a normal hobby but an emotional feeling of living into sanctuary. Wanted to be free from fear/aggression and abused childhood-particularly her father. This inflicted her life before adulthood, traumatized Niki used rough techniques of shooting paintball liquids on unused objects, as if her negative thoughts had taken hold and it might described what allows her troubled life to have freedom of being herself.
Taken advantage of her abused life, enhanced into her way of ceramics. Not only Niki had to endue loads of challenges finding art careers but had to channel her past nightmares in order to let go of fear and hatred and which is a very reason I could investigate to her large monumental figures.
Learning over my summer research are reflecting within Niki’s traumatized life, to build bigger scales like never been witness before as children would explore and climbing over them like obstacle-courses or just riding them. Most of her crowned figures were published at a huge sculptural park in Tuscany countryside/Capalbio Italy, from the ground up she’d manipulated large metal wiring that I absorbed her technique to craft my Netsuke-beasts from a range of mixed resources of handmade materials wood, metal-wiring, plaster and doodle patterning.
An old riddle would say, huge beings of monsters manufactured from Niki’s imagination throughout her abused life in childhood rising from hilltops of the forest-landscape.
Books: Niki de Saint Phalle and the Tarot Garden 730.944/SAI
Auguste Forestier’s role in wooden toys, which I’d used his reflected craftsmanship of assembling skeletal figures. In my primary theory of doodle ceramics, are about expanding my replicas from small versions of Japanese Netsuke to new heights of Niki’s influence and how my beast replicas would appear from Japanese-cultural arts.
Mainly to help assemble models in such great heights, able on viewing carefully carving of cartoon monsters like Pokémon
Furthermore, in my improvement of taking cartoon arts to the next stage into acrylic-painting, are searching Keith Haring to learn more his professional role as a doodle artist. Most of his artworks have a bizarre way of showing-off goofy appearances, my last years cartoons are a completely different way when extending outlined illustrations to his advantages. because Haring can do to some of his creations having a strange relationship with wacked-up characteristics that might affect in gender DNA, not only to understand what he’d spread influence into public society but have begun to fulfill his potential in early development when he was a child oldest of four siblings.
Methods in Haring’s journey:
Born in Kutztown, Pennsylvania 1958
Started his early life on graphic and illustration arts blended in cartoon characteristics
Originated from his father
A separated link between cartooning and artistic illustration
Studied at Ivy School of Professional Art in Pittsburgh
Took his talents of expanding on empty walls to adapt on cartoon patterning
Known by his graphic form of graffiti arts like in underground subway in New-York 1980s
Reading on a staging method of putting up a visual theater for my two Elemental-Beasts, is Petrit-Halilaj’s role of developing a storytelling artwork. That he created “Very volcanic over this green feather” at the time of Halilaj’s troubled childhood, which it had originated from his family but Halilaj’s village were caught in crossfire of the Serbian-Kosovar war and had to evacuate the devastation of his birthplace.
Since the wars end Petrit-Halilaj had continued his techniques of installation and sculpture, he’d explored in many sorts of personal history, constructs dwellings and shelters. Because it meant to symbolize with the outcome of Halilaj’s youth that was taken from him and family, it’s a sad tale of what it felt of if our childhood home is stolen from a part of his legacy in visual developments.
Searching for any artists with similar connection in doodle development like Jean Dubuffet, whom to had studied on French painting/sculpture due to having an idealistic form of directive approach to aesthetics. being embraced within so-called “low-art” as if might be traditional standards of adapting to beauty in favor or perhaps it should be more authentic and humanistic approach to image-making. Particularly a detected method of Dubuffet’s well known into an art movement called Art-Brut or translation Outsider-Art, Because this helps to maintain his role of academic painting even so it leads to investigating within most of his oil painting mixed within various resources including earth/handmade materials and by this response he develop his own form into French doodle structures.
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
Reading on a new project to continue my experiments into all kinds of cartoon arts, which gives me a critical direction of searching online for Niki de Saint Phalle. During my investigation onto Saint Phalle’s work were to explain her influence with multiple ideas, involving in the handling destructive forms of painting and how it might affect movement towards her artworks.
Basically to examine Saint Phalle’s methods:
Almost if her models seems to reflect onto humorist arts
Primary genre in Doodle arts is Comedy
Shown to develop her own way of abstraction
Describes on being one of fewer female monumental sculptors
Social commitment/model manipulation involving with large-scale designs like public arts
Niki de Saint Phalle:
Born: 29th October 1930, Neuilly-sur-Seine, France
Died: 21st May 2002, La Jolia, California, United States
Periods: Modern art, Nouveau realisme
At the start of her journey when I’ve been searching online, Saint Phalle was originally named Catherine Marie-Agnes Fal de Saint Phalle. From her life as a sculptor she had a dramatic event that affected her after an assaulted by father at the age of 11 years old. The outcome of it leaves Niki unstable and disturbed, she took an opportunity of dancing since meeting an owner of modeling agency. Which Saint Phalle had agreed to take part of modelling followed by heavily encouraged by Hugh Weiss – American painter and to continue with fashion references at the manufacturing of biggest magazines.
After her career in fashion she’d retied at the age of 25 so that Niki would focus on becoming an artist although having a trouble life of being unaware of bad people.
Since starting into sculpture, Saint Phalle had been travelling in different regions between France and United States of America. But due to her suffering effects of a nervous breakdown at 22 – 1953 being sent to psychiatric hospital, to be operated into memory-altering electroshock treatment and through some of the toughest encouragements from psychiatrists Saint Phalle devoted herself to primary subject of art.
Niki De Saint Phalle’s life of feminist sculptural career:
Beginning on using the development into Niki’s methods of feminist modeling in a madhouse as she learnt on what to adapt on translating with emotions:
Followed by her journey she’d encountered any themes of inspiration involved in Saint Phalle’s history:
Knights of S’en Fout during the crusade
Tells the stories of Joan of Arc
meant to imaginative with medieval beasts
Shown against her fear of snakes at the event of “The Summer of Serpents”
On her new path of creation which had to involve onto depression of how to overcome the hatred of corruption, it meant to drawn with tumultuous period whilst launched into Niki’s technique and to outsmart her traumatized childhood through doodle painting and sculpture.
In her exhibition of Les Tis (the shots) which had taken place at 1961, this involves on handling an shotgun to fire paintball rounds on her displaying prototypes as if she is mentally painting without handmade. That is the very reason of how she is expressing her own creativity in a emotional way – A form of charged explosions of abstraction.
Her critical role of building her childhood influence not only to made her work worldwide famous, she also provided her visual approach to help face her inner demons.
Mainly to engaged with the committed of the campaign:
Mentioned of many discovered a more deeper form into feminine world, as a result Saint Phalle’s art had become a critical inspiration of sharing a connection to feminist methods. Meant onto both sensual and empowering ways to help criticise conservative and traditional values, also she’d produced her very own structures of doodle feminist. Mainly to adapt onto a slightly approach to derogation French term during youth, it might be a direct influence of building such wonders of large-scales and it could be inspired by her close friend – Clarice Rivers. From Saint Phalle’s talent of a simultaneously method into painting, sculptor and film-director, by piecing together in most methods of autobiographical which had a heavy impact on her family.
Channeling from the absorbsion of anger and trauma at her childhood experience
Inspired by Gaudi’s Parc Guell-Barcelona Niki had created her huge sculptural park called Le Jardin des Tarot in Capalbio, Tuscany
Responded to her creation of her monumental modelling were originally inspired by Tarot Cards
Crafted from huge materials of ceramic, mosaic and glass
Most of her colourful work are up to fifteen metres high and were habitable
Helped to build her own artist residency at the construction of the park
Almost she’s building her work at the park in much large-scales that I could practice with them for my year 3 project
As years passed Saint Phalle had been working on various kinds of materials which are known to her violated health and safety guidelines, mainly to explain on its incredibly toxic fumes in daily basis and resulted to her suffered from influmed lungs at the cause of polyester dust whilst carving her sculptures.
Her work had simultaneously saved her and passed away
In my approach of reviewing on one of my favorite holiday events, but in a inspiring way to do practical modelling from a primary genre of comedy to combine with a theme that goes bump in the night or spooky arts to reflect onto my sculptural journey in year 2.
From my chosen path to research on certain holiday’s in different countries/regions, is what I had examined into a country of Mexico because its culture are used to influence our thoughts of emotions like its focused on memories of whose who passed away during lifetimes. Which I found Mexican arts very fascinated to look at, because their festival arts had me fond of aesthetic colours to produce on any items or products like skeletons and skulls and the Mexican people named Día de los Muertos or translate in English – Day of the Dead celebrated every year on 2nd November 2021.
When reading on the origins of Mexican’s Day of the Dead, are about digging up its roots of going into their early contemporary arts amongst many heritage throughout the United States. It once happened around 3,000 years ago where the Aztecs honored with their deceased in pre-Columbian Mesoamerica. In my critical response of how they originally used to examine on death, like when a person dies they travel to Chicunamictlan in most cases Land of the Dead where souls went on a journey to their final resting place.
After my investigation onto Mexican’s origins involving with Day of the Dead, I felt the emotion of festive joy/sad when someone passed away but its our way of honoring the dead. To remember their love-ones family members brings the offerings of food, water and accessories to aid the deceased on their journey and that helps to keep their memories alive.
At my response into Mexican’s influence of festival arts, are what I could use my doodle techniques to transform my old-fashioned shoes into something zaniness like laughter and my manufacture of foam materials/equipment. Then to combine with cartoon patterns in acrylic methods to make them like 4D models, like the Mexican people used to decorate the graves as their beloved burial place and to absorb the festival’s love of colourful arts to skeletons appearance of pale textures also to use illustrations in my expressions into comedy development onto my Simpsons telephone models.
Moving onto my next slot of hybrid practitioners, who has influenced me of their recent techniques used to reflect on my original search in various genres like they are shown into stories and even from legends that are adapted to humanoid-arts.
Different genres of Hybrid movement:
Original animals in Greek and Egyptian Mythology
Reading on Kate Clark’s work on experimental models of transfusing a human face to a animal bodies, they meant to acknowledged to her primary theme of natural instincts which are also used for contemporary art and these can be absorb into my personally of face carving textures of humanoid skin patterns to have an impact with my related references of Na’vi people/Avatar.
Viewing on Clark’s work in transfusion of human faces to animal bodies, they really share to my inspiration of becoming a animal but some people might had fearphobia about this reaction and she showcased her models in her exhibitions.
Solo show: Claire Oliver Gallery in New York (2008)
Next up is Damien Hirst who was one of the young British artists to had achieve his way of manipulating on unnatural effects used in UK arts during the 1990s and is also an collector of interviewing with most of his models have an increased costs from his buyers.
His key elements are based on death which are kind of harsh, but its his direct way of being famous of a series of animal models incased in glassed boxes. At Hirst’s influence onto a reflected technique in “Spin Paintings”, which he created on a spinning circular surface and uses “Spot Painting” in random coloured circles.
Animal models incased in glass boxes:
Viewed at Hirst’s Exhibition: UCCA Center for Contemporary art
Looking at Walton Ford who is a American artist had been researching into monumental watercolors that is blended with editioned prints, as his technique are primary used on historical arts which is how both animals and hybrid creatures are treated as equals amongst intersection of human culture/natural-world.
Seeing Ford’s technique on large-scale paintings mainly to use his influence of illustration effects onto animals or hybrids, because it would seem his creatures are in a condition of their jungle or forest homes been destroyed by humans followed by forcing against an animal’s will of enslavement and what could impact into my environmental state for my humanoid inspiration.