Categories
Professional Research Visual exhibition/artstep

Online Exhibition/Artstep 2021

Doing an visual exhibition on artstep is about putting up my very own studio in technical development, as it’s almost like I am building a maze before I can explore its wide camera screen for when I click on a path to automatically move. After signing my profile onto artstep to make preparations of studio walls in different marked areas, to practice on my corridors and walls to place stands for my hybrid models.

To begin my visual exhibition on artstep, I must measure on how my studio walls can stand up whilst building different rooms or gallery sections as if I’m walking in a labyrinth of digital art-show and what I could memorize my path when sharing my finished models to my friends.

While putting up my gallery walls I need to place my sculpture stands on my chosen areas, because this allows my hybrid models to stand out like they are in a 3D/4D appearance just to set up their open spaces in each section to position my crafted models on 5 or 6 stands and to adjust on how my stands should act on my marked space.

By adjusting on how my showcased props can be neatly positioned, were to carefully move my stands in the center/corner of each gallery room which I can rotate to see the shadow tone shown on the floor and making them a bit big like medium scale next to their expanded boards where my models are placed upon.

Continuing to position my stands in each of the gallery’s sections, are what I should put my favorite hybrid models in place only to shape their scales depends on what my projects in foam will help to express the emotions of laughter to had an affect to my cartoon animals and what their reaction could be meant on zaniness from comedy influence.

When sorting out my last improvements to my visual gallery walls, followed by artifact stands to expand their scale of medium, positioned in rooms center/corners and boards to set my models on stage just to build my designs in physical development and upload them to my artstep’s software for my foam exhibition.

Even if I had trouble to upload my models as 3D objects, which I engaged on putting my designs on the exhibition walls where my starting position is at my Spyzilla and to continue with my 5 remaining models in different rooms of my gallery just so they don’t overlap the walls.

Here is my finished gallery called doodle hybrids, because it allows my imaginations to roam wild when I was fusing with unused items like a person stops using them. It enables me of transfuse with something old into monstrous development, as if I’ve been absorbing the influence of Frankenstein for my experimentation in foam, modroc and doodle painting only to make them stand out at my work-desk at home despite tight corners and to rotate my models in the physical world instead of digital setbacks on Artsteps.

Doodle Hybrid gallery tour:

https://www.artsteps.com/view/6082a7f82a92900372911fcd?currentUser

Categories
Professional Research

Professional Writing

After my studies I would find jobs of doing illustration works, which is using digital manipulation of colours to my hybrids to help me practice on new textures and shaping their deep layers of scales, patterns or skin hides for my creation from old artifacts.

In other ways of building my career is starting my own gallery, because I’m intended of crafting my further models or portraits to sell just to earn money and if make loads to give to charities to help poor people/children.

67 Polygon Art ideas | polygon art, geometric animals, art
Fox head colorful popart' Poster | art print by Wahyu Romdhoni | Displate
Graphics Studio - Colorfull Animals Vector #illustration... | Facebook

Here is my evidence of building my own gallery which I am currently on artstep, because I would love to set my own large space to expand my artworks and sorting out equipment needed for practical handling.

By putting my models in place once crafted, is how I could organize my displayed stands for my hybrid models and to build my real gallery to set up portraits.

The inside of Pangolin Sculpture Gallery | London Resident Magazine

London Pangolin Gallery: https://www.pangolinlondon.com/about-us/

CV Evidence:

Here is my creative CV sheet of how my technique had lead me throughout my journey of becoming an artist, is about my related colouring could be a career of studying onto illustration, grades I’ve achieved in my previous colleges and what I can engage on organizing my own gallery after graduation.

To help achieve my designs I looked at a competition called Up-cycling which is active at DMU, because its suitable for all students based in Fine Art so that I should craft my hybrid models just to showcase one of them as I was adaptable of doing humorist development to my animal ideas with any young kids who are fond of comedy effects used in cartoon shows and how my childhood characteristics could react with my foam experimentation during my audience’s feedback to my models.

Get involved with the upcycling art, craft and design competition
School upcycling project wins national competition – Bundaberg Now

DMU’s Up-cycling website: https://www.dmu.ac.uk/current-students/hot-topics/2021/february/get-involved-with-the-upcycling-art-craft-and-design-competition.aspx

These are example of building their own models from recycled materials, which I could participate in DMU’s competition with my crafted models from hybrids only to manipulate into humorist effects and share my inspiration among young generations of artists.

Then searching on exhibitions to exhibit my models at New Walk Museum-Leicester but all of the galleries are Temporarily closed, so I must do an visual tour like organizing an artstep show to make it a reflection of the museum’s gallery and I would share my museum show to my audience once published to express my primary source of doodle painting along with my secondary of illustration arts.

New walk Museum’s website: https://www.leicestermuseums.org/leicester-museum-art-gallery/

Leicester Museum & Art Gallery - Art Fund

Categories
Studio Review

Studio practice

In my term 2 journey of crafting my next project in sculpture, I continued to experiment on plastics because my audience really likes my early models-shoes and telephones in term 1 and thinks I’am in the zone of building something new but added with devastated outcome into monstrous imaginations.

  • My primary art genre in Comedy/humorist
  • Original hybrids in Greek Mythology
  • Worked in recent theme of Classical Styles
  • Meant to transfuse both unused item and mixed humanoids

Focusing my recent themes from North Warwickshire-previous college, to begin sketching up various ideas into animal/monster textures from fantasy, folklore tales, mythology and Sci-fi which they originally inspired me to come up with all kinds of hybrid ideas to go practical with reused-foam material.

Here is my evidence of practical drawings throughout the first half in term 2, I was really fond of animals from their favorite habitats and certain films like monster-verse. Which I’d used photograph-memory to absorb their textures, appearances and patterns whilst expanding my blueprints on the workbench-wall and criticise my selected ideas to build up to six figures used into my primary objective of mixing and matching with hybrid parts like being Frankenstein into reality.

After producing my hybrid ideas, I need to manipulate the next set of recycled objects like finding an old bag. Then to work onto thanator’s front/back legs merged to my own foam bag via glue gun after trimming with foam-sander and adapting my doodle painting my animal patterns.

Primary method of cartoon manipulation:

  • Shared by the connection of Spyro the dragon characteristics
  • Examining on wings, scales and skin patterns
  • Meant to practical paintings with cartoon influence
  • Examined my favorite monster-Godzilla in Japanese legends
  • Mainly fond into Egyptian, Greek and Aztec

Helps to describe my chosen resource of foam to combine into doodle experimentation, meant on what characteristics can shape my model into a hybrid carrier when holding its handle, maintaining my cartoon lines to stand out not to look too messy and express’s funny emotions. Next is sticking my humanoid-dragon parts together, because I was really adaptable with my doodle personalities for Godzilla’s spikes and Spyro’s textures to absorb in my practical experimentation depends on how huge my model would look like.

This time I crafted a cereal box from my continuation of foam, then bend with metal wires into deer antlers which can be tricky to move its hard surface and my arms muscle begins to get bolder like doing the lift weighting. At first my Aunbikirin seems to reflect from a Japanese beast in ifs ancient culture in a samurai film-47 Ronin.

Next up is my sphinx figure which I had combine it with Na’vi DNA from its sci-fi influence on Avatar, followed by carving an Egyptian crown of the pharaoh and place it on the head part. Almost if my own hybrid is worshipped as a god and could had affect my technique of mummification my remaining models in modroc alongside keeping the colours very wacky.

 Recorded talk and handmade-work:

This is my recording of my progress of foam carving with my humanoid blueprints followed by practical development in doodle carving and painting:

Categories
Contextual Research

Contextual Diary 1

My contextual research tells of my inspiration of artists in sculpture, like Mick Peter’s work of cartoon models in line drawings and to help criticise my talents of doing something humorist for my colourful manipulation into structures.

Peter’s website: http://www.mickpeter.com/

Peter’s exhibition: https://baltic.art/whats-on/exhibitions/mick-peter

By absorbing Peter’s talent of cartoon modeling in hard materials, they seem to interact with props in their own world like being alive which allows me to reflect his technique. Followed with combining creative shoes in foam and blend them in spooky-arts used for Mexican culture.

Image result for Mick Peter
Mick Peter » Directory » Drawing Room

Here are my basic cartoon patterns used in my foam models then to sketch all-over my shoes/telephones, using painting in a humorist way I experiment on two prototypes in aesthetic colours that helps me to transforming old artifacts into something excited and scary to work on.

Searching on Frida Kahlo’s connection to Mexican arts from her self-portraits, because they showed me vibrant effects of her inspiration of bonding with animals particularly with monkeys and to absorb her culture into my foam-craftsmanship.

Website of Kahlo: https://www.fridakahlo.org/

Frida Kahlo endured constant pain but was so full of life
The Enduring Appeal of Frida Kahlo | by Jessica Toale | Medium
Frida Kahlo, The Broken Column - DailyArtMagazine.com - Art History Stories  | Frida kahlo art, Kahlo paintings, Body art painting woman

At my critical point of Mexican influence used in doodle arts, because I am fond into cartoon colours to paint both Dead of the Dead shoes/Simpsons-telephones and to continue my next theme of mixed media of recycled objects/foam into hybrids.

Reading on Marcus Coates who has an unique ability of mimicking voices of various animals, as if he is becoming an humanoid being and it helps him to perform rituals of spiritual effects, which Coates channels his inner voice into Shamanic reactions and to communicate between human and animal worlds.

Methods in Coates’s mimic-voices:

  • Shamanism-development
  • Chanting, drumming and dream-catcher
  • Wears different array of animal costumes

Coates’s website: https://www.workplacegallery.co.uk/artists/9-marcus-coates/cover/

MARCUS COATES - Kate Macgarry
MARCUS COATES - Kate Macgarry
Marcus Coates - Exhibitions | WORKPLACE

Planning on new hybrid diagrams once I drawn them, looking into artists related to my recent theme like Jane Alexander who is one of an important contemporary artists. Which helps to criticise on Alexander’s models by their expression of an unexpected twist, to examine on a person’s fearaphobia of becoming a animal because it felt on Mary Shelly’s Frankenstein and are putted together of our differences of each other in the outside-world.

Fear of becoming a animal: Xenohabilzoophobia

Shelly’s Frankenstein’s website: https://www.newyorker.com/magazine/2018/02/12/the-strange-and-twisted-life-of-frankenstein

Alexander’s website: https://www.tate.org.uk/art/artists/jane-alexander-18870

Jane Alexander
Jane Alexander, Butcher Boys (article) | Khan Academy

Reading on Ken Little who works on mixed media of animal models, used from old-artifacts like shoes or many kinds of recycled textures to assemble his creations as replicas compelled to real animals. Furthermore, he carves his designs of animal masks from bronze material as if they are a reflection of a wonderland theme and how Little’s technique can affect my inspiration of hybrid arts blended with foam modeling.

Key elements in mixed arts in recycled animals:

  • Influenced by American-entrepreneur Walt Disney
  • Experimented on old items into reassembled models
  • Used in wonderland arts on animals also in bronze masks
  • Textures of skin/hides used in fabric materials
  • Related from paper-mache or modroc
  • Manipulated on shoe leathers

Little’s website: http://art.utsa.edu/faculty/ken-little

Portfolio | Ken Little
The Animal in Contemporary Art II – Stremmel Gallery
Artist Couples Team Up to Collaborate on the Group Exhibition 'Synthesis' |  ArtSlut
Red and Turquoise Elk | McNay Art Museum

Categories
Title: Fine Art

Fine Art diary

Beginning my second year’s Fine Art, is nervous due to 2019’s pandemic but I must studying hard to had no stress/fear when building my confidence of adjusting to new challenges and to follow the rules of social distance bonded by UK government.

After my reunion with friends, I need to prep up my new studio on floor 8 via arts tower to know year 2 assignments based in sculpture and meet up with tutors Andy Price, Jamie Scott and Gino Attwood.   

Here is my chosen item within “Making A Thing” project:

Shoes and Telephone models:

Throughout my sculptural journey, I have created these remarkable models from my favorite resources in plastic foam followed by mixing abstract paints of cartoon patterns and outlined all edges of my designs as if they are expressing humorist emotions used in arts.

Image result for coco

Day of the Dead:

Image result for simpsons arts

Simpsons:

This is my evidence of Mexican culture, because it helped me to organize my favorite theme in Day of the Dead used for colour decorating and of examine on spiritual/spooky development mainly with skeleton arts to reflect with my foam shoes. Followed with my another theme of Simpsons to craft my next models of telephones, which allows me to manipulate each of the characters theme throughout their TV series for my unique patterns only on their humorist personally and to prep up my finished models at floor 8’s exhibition.

Continuing on my studies are to review on my lecture brief on Greenberg’s critic facts during Post-war Modernism, is to describe on which artist did their artworks of criticism settled in 1960s and to show who had been championed by Greenberg of what it could meant on representation in painting after World war 2.

Image result for jackson pollock blue poles

Jackson Pollock:

Blue Poles (1952):

In my critical search of finding my selected artist I’ve found Jackson Pollock, who had used his talent on American arts also of being a major figure into abstract expressionism.

Pollock’s methods in physical development:

  • Used of experimenting on pouring or splashing liquid
  • Enabling to view and paint canvasses from various angles
  • Known to the people as ” Jack the Dripper”
  • Formed in colour-wrestling
  • All-Over painting also called “Action Painting”

Greek Hybrids:

After completing my Post-war Modernism essay, I would start to sketch my recent themes of hybrid arts which I once did in North-Warwickshire’s Duality Exam to describe on which new animal/monster blueprints needed to experiment with their differences from the normal beings and to reflect onto my talents of using humanoid abstraction.

Categories
Year 2: Sculpture

Sculpture 2020/21

Arriving at Vijay Patel-Arts tower to begin year 2 studies in sculpture, I would prep up my new studio on floor 8 whilst been given a brief to organize on my selected object in 20th-21st centuries and to describe my means of being an sculptor and how its taken a place in the world.

Project in Sculpture: “Making a Thing”

Items list in Thing project:

Ready-made objects:

  • Shoes or Trainers
  • My DMU bag
  • Fruit Bowl

Environmental objects:

  • Tombstones at church
  • Flower pots
  • Old benches   

It can be difficult but I’ve decided to choose my beloved shoe as my primary item, because I wear them into the outside world and to organize them at home to sketch my blueprints.

Primary object: shoes

Investigating onto my shoes is the first step, is how to build my early works while I was sketching up my creative ways of colour decorating and to help organize which methods to experiment with.

Blueprints:

Sorting my foam materials to build my prototypes, is trimming off rough areas to make both of my design look nicely crafted and manipulate with mod-roc to show a skeleton appearance seemed pale but I can adapt to its cultural theme.

Next is using fabric arts to experiment with coloured tissues onto my festival shoe, which orange petals are telling me a reflected theme in Disney’s Coco and to combine both old-fashioned/humorist effect.

Prototype shoe:

Festival shoe:

After my prototypes I can organize my large set of reused-foam to mark, sand-off and positioned my toothpicks to put all of my pieces together in a whole stronger model without breaking.

Finalized-diagram:

Once I’d used mod-roc, I can start painting my cartoon patterns all around my design like decorating its pale texture into wonderful festive feeling of laughter and blended with spooky arts like live-action movements.

Mexican Trainers:

Second project: “Making A Space”

Reading my next brief to examining an empty space, because by calling out sound-waves/echoes when answering someone from the horizon and I can use it to my advantage of experimenting on telephones.

These are my new diagrams of building my early prototype, to help me prep up my final model with most of Simpsons pattern arts whilst I’m painting them.

Prototype-phone:

Finalized-phone:

Simpsons-Telephone:

Once my telephone models are completed, I must mount them on the studio’s wall for open space like my shoe models within the exhibition and to describe on their clashes of different cultures alongside my experimentation of 3D abstract colouring.

Since my completion of festive shoes/telephone designs, I took a different approach in foam manipulation were my early theme of hybrids because some of the animals are currently in the present and others in folklore-tales to my reaction of their origins in mythology arts. Which I had worked on their diagrams over term 2’s January and February via pencil-drawing, to help with my continuation in Sculpture is to absorb my humanoid/monster textures to experiment unused items as foam materials, to act as my models main bodies all in six designs in many doodle patterns to reflect from my blueprint drawings to build at large scale as if being amazed and frightened from monster-verse themes.

Categories
Artist Talk Interviews

Lala Meredith Vula

Listening on Lala Meredith’s career as a professor of arts/photography, where she’d showcase her forms of artworks used for such potential into sketches when viewing at Lough-borough University.

Lala’s exhibition: “Drawing Together”

Taking a tour with the gallery’s creator-Philip Lindley, who had shown me most of the drawing arts from artists whom to had reflected in Lala’s influence with very curious themes of scientific methods used in abstraction.

I was always fond of doing practical drawings, to be more adaptable of what I could plan on my creation of a design from blueprints and how often to practice with my sketches in my sketchbooks or individual pages as diagrams.

Small screen:

Notebook of Spiritual Mouse:

Shaw’s giant inflatables:

Throughout my visual tour I took my notice of several drawings, that were produce by artists to connect to my primary strengths of sketching with Richard Deacon’s work on multiple line drawings, which was originally been created in sculptural manipulation and reflect with his bending models.

Image result for richard deacon

Aesthetica-model:

Here is one of Deacon’s models of Aesthetics’s bending structure, I once sketch this piece into my sketchbook at my previous college in North-Warwickshire, Hinckley because I am fond of being adapted to bending with certain resources that are easy for my term 1 diagrams of cartoon models.

My decision of evaluating Deacon’s development in bending models, is how I was fascinated with unexpected ways in experimenting with abstraction, particularly it could be a reflection to my last years work in foam-gears to manufacture them my all seeing industrial eye model to impact with its theme.

Black/White shapes:

Antripose Lighthouse:

Scottish Promise:

followed by these next drawings during Philip’s tour-guide, are some of their shaded textures which might be spooky but they show me to criticise my strengths of practical colours. To review “The Promises” portrait that tells me about the Scottish couple used in Neo-Expressionism, because it could help me to adjust on my shaded details when I’ve been doing my blueprints of model-making or humanoid movement.

Grapes drawing:

Ruin Building with Swans:

Going through Lala’s last bit of the exhibition, is evaluating with her shaded drawings that are telling me of what she saw in reality, to transfer evidence of life photography into drawings and how to adjust on Lala’s work of deep textures. Followed by Deacon’s recording about his original plans on bending resources, when I am directing my ideas to something new and inspired by their methods into my own drawing inspiration.

Categories
Year 2: Art History

Art History

Beginning on my year 2 lecture online sessions at Ultra Blackboard, to discuss writing on which artists had experimented in their periods to help understand with their techniques needed to absorb into my own research.

Followed in this response to study on Clement Greenberg’s lecture of post-war modernism, because it helps me to review on an artist connection to American influence of how I would examine onto these wonderful artworks.

This meant to engaged with a proposal into representations in abstraction, next to criticise facts towards Greenberg’s critic writings set in 20th centuries and how to reflect from my selected lecture onto inspiration of modern painting.

Techniques or artists used for Greenberg’s knowledge in our world:

  • Cubism
  • Matisse
  • Cezanne
  • Monet
  • Rothko

 

To demonstrate on what to write Greenberg’s progress of evaluating most of his fellow artist’s works, at their directive stage of when I could adjust towards his approach to abstract developments and to share my purpose of my primary source with brushstroke textures even if focused on blending or wrestling.

Key elements in Greenberg critics:

Originally it was thought Greenberg is influenced from the written text by philosopher – Immanuel Kant, but to discuss on the means of art/literature together to talk about critics and what it could had my directive way into artworks treated as negative factors that were declared of old masters treatment being criticized.

Artists who are termed – Abstract Expressionists:

  • Willem de Kooning
  • Jackson Pollock
  • Barnett Newman
  • Robert Motherwell
  • Marc Rothko

At my critical point of examining on these artists I’ve decided to study on Pollock, because he uses a different form of painting that are messy like dripping in his own way and what I could search into his splashed textures in physical development.

Pollock’s website: https://www.jackson-pollock.org/

Pollock’s Introduction in painting:

  • A major figure in abstract expressionist movement
  • Known in his technique of splashing paints onto a horizontal surface (“drip technique”)
  • Enabling to adapt, view and drip paint his canvasses from all angles
  • Mentioned by people as “Jack the Dripper”
  • Used to experiment with All-Over Painting or mostly called “Action Painting”
Blue Poles (1952):

From writing on Pollock’s methods of drip painting, I search for one of his most fascinated artworks – Blue Poles (1952) describing on its mixed media of drip colours both inner and outer layers of aesthetic beauty and in my inspiration of bringing colours to life of variation of thoughts and felt of aggressive or rage emotions that I’ve put together in my post-war modernism essay.

Categories
Artist Talk Interviews

Lee Maelzer talk

Watching my second talk of Lee Maelzer’s life into painting, she also uses a voracity of different techniques to examine onto her proposal of focusing with household arts and tells of their old states of tidiness.

During her background studies of oil painting, are about to organized with most of environmental objects/structures in London and to share on related influence to particular films on horror for use in visual effects.

Apartment room:

This is a taste of what Maelzer has used to experiment on the rooms empty areas, thought to have long abandoned since its original owners used to live there and which I was interested by their old textures if never been touched to stay connected to the past.

Maelzer’s website: http://www.leemaelzer.com/index.php?/recent-paintings/paintings/

Facts of Maelzer’s methods in painting:

  • Different forms in film-making and collage
  • Learnt on related themes in horror
  • Uses visual imagery of abandoned objects
  • Focuses on old apartment rooms and environmental places
  • Most of old items either indoors or outdoors look decay

Followed with Lee’s video evidence to criticise her progress, of what allows me to visualize with old or ruin areas of household buildings alongside trains going by the rail-lines in slow motion.

 

Maelzer’s video on General Electric: https://vimeo.com/479231586

Furthermore, to help absorb with their once built structures all across town, like we are moving forward in our past, present and future which was if time passes by throughout peoples daily life and to keep me in mind of any peculiar art actions within our reality.

Maelzer’s career of visual development may have struggled in some of household objects/structures of deconstructed, but from my primary source into painting can be a sense of freedom if being adapted to unusual effects in spooky or emotions of loneliness for what her portraits and telling me of despair in a dark environment.

Stage Dust, (2014) Oil pastel on canvas:

Think of this portrait of Stage Dust (2014), trying to explain me of how it was completely abandoned like I am feeling sad or been forgotten by the outside world if trying to describe on her artworks whilst visualing a once household object. In relation of this response I’ve been influenced by most of Maelzer’s visual apartments, because they could be a reflection to a person’s sanctuary might had turned in a haunted house and what I should be able to learn from its outcome of shaping our period in household living.

Categories
Artist Talk Interviews

Catriona Leahy Talk

Reading on Catriona Leahy’s talk, to describe her primary source in printmaking that focuses on industrial arts in 17th centuries. Helps to research her approach to a particular way to study with landscape development.

Leahy’s project: “Aesthetics of Disappearance

Viewing onto a series of coloured prints, manipulated them into Leahy’s methods of ink painting that could adapt to its spiritual influence in any kinds when examining this selected factory and expanding on her wall to affect my point of criticizing its state of architectural arts.

Albatross:

Reviewing on her “Albatross factory”, to examine it’s origins of bring with most unnatural structures putted together in several papers used in Japanese arts, to impact its true motives can achieve since closing down and to learn from its outcome of job losses.

Furthermore to examine its aftermaths, is how spiritual arts roam its once craftsmanship like ghosts, mainly to discuss its deep layers which are decayed in the 60s and it could be accomplished in its present or future.

Leahy’s Website: http://catrionaleahy.com/2012.html

From her primary evidence of industrial arts, Leahy used a reflected portrait to produce in certain edges of shaping an imagery effect merged into their difference modern and old architectural purposes in metalwork.

Unrelenting structure:

Next up is a peculiar structure of luminous papers of “Latent Afterglow”, it has a unique detail of sparkling-arts within their inner textures of dull materials added into bright lights and which is combined in Carrera Marble/Cast Concrete to shape each of their untidy state.

Latent Afterglow:

Looking into appearances of unexpected makeups, to had a connection to natural space when manipulating their fabrics of resembling a glowing/geometric methods. To adapt with directions of illominis energy, as they transcended our felts of emotions and how I can adapt with decorated arts of steel textures.

From Leahy’s feedback on industrial printing, are improving on environmental arts used for perspective ways to organize with different metal manipulations and my proposal of outer structures of deep textures.

Relief in Time:

Finally to view on studio’s floor of an artwork called “Relief in Time” what it tells me of several lines in coal dust that Leahy used in freestyle space not crowded and what it helps to evaluate from a reflected London’s Underground map.

At my aftermath on Leahy’s talk, allowed her influence of industrial arts to affect on my last years technique in foam manufacturing and how I would learn to organize my future project with Leahy’s technique.