Categories
Artist Talk Interviews

Netsuke art

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.

Information on Netsuke: https://www.netsuke.org/page-1125375

International Netsuke Society - FAQ
Bonhams : An ivory netsuke of a dragon By Yoshimasa, Kyoto, Edo period  (1615-1868), late 18th/early 19th century
Collecting Guide: 5 things to know about Netsuke | Christie's
netsuke | British Museum

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:

  • Naturally-found objects
  • Plants
  • Legends/Legendary heroes
  • Myths/Mystical beasts
  • Gods/Religious
  • Symbols
  • Daily activities
  • Myriad
  • Design vocabulary
  • Encompassing
  • Zodiacal animals

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:

  • Ivory
  • Wood
  • Cherry wood
  • Bamboo
  • Amber
  • Stag antler
  • Pottery
  • Coral
  • Metal
  • 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:

Hopes Dim for Renewable Power From Ocean Waves and Tides - Bloomberg
ArtStation - Ninja/japanese Culture, Saran Kulab

Evolution from Treecko to Grovyle and Sceptile also can mega-evolve:

Why are Treecko, Grovyle and Sceptile pure Grass types? - Quora
WEEKLY PICTURE OF OUR LORD AND SAVIOUR, WEEK 1 : CultOfSnivy

Cross referenced with a forest gecko blended into forest environment:

Photo of the week: Southern forest gecko | Conservation blog Conservation  blog
The World's 7 Most Amazing Forests | Wanderlust

Evolution from Chamander to Charmeleon and Charizard also can mega-evolve alongside gigantamax like huge scales of a stadium:

Pokémon Let's Go Pikachu and Eevee - How to evolve every Pokémon
GAME's Mega Charizard event starts tomorrow. | Mega evolution, Pokemon,  Charizard
Gigantamax Charizard Art from Pokémon Sword and Shield #art #artwork  #gaming #videogames #gamer #gameart #conceptart #illustr… | Charizard art,  Pokemon art, Pokemon

Crossed reference to dragon and fire elements known in many cultural influences like medieval and Japanese:

99 Problems But A Dragon Ain't One | thezombieroom
Multan man allegedly sets young servant on fire for 'demanding salary':  victim's father

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.

Alolan forms:

Click the Alolan Form Pokémon Quiz - By Moai

Galarian forms:

Legendary crown tundra birds: how to catch Zapdos, Sulfura, articuno
Pokemon Images: Pokemon Sword And Shield Galarian Forms Serebii

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:

Pokémon Sword and Shield's expansions continues to stoke Pokedex anger -  Polygon
Top 10 Coolest Gigantamax Pokémon - LevelSkip
TAHK0 ☕️ on Twitter: "Gigantimax Toxtricity has FINALLY been officially  announced- aka the Pokemon on the hill.… "
Coalossal | Pokémon Wiki | Fandom | Pokemon android wallpaper, Pokemon,  Pokemon alola

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:

Tyranitar (Pokémon) - Bulbapedia, the community-driven Pokémon encyclopedia
Kaiju News Outlet on Twitter | Godzilla, Godzilla wallpaper, Godzilla tattoo

Reflection of Hydreigon and King Ghidorah:

Hydreigon (Pokémon) - Bulbapedia, the community-driven Pokémon encyclopedia
Legendary King Ghidorah Transparent by Lincolnlover1865 on DeviantArt

Reflection of Galarian Moltres and Rodan:

Galarian Moltres | Official Website | Pokémon Sword and Pokémon Shield
Ultraman_Ultimo (Commissions are Open) on Twitter | All godzilla monsters,  Godzilla, Godzilla tattoo

Reflection of Gigantamax Butterfree and Mothra:

Let's Talk About Pokemon! — Let's Talk About Pokemon - Gigantamax Butterfree
Collection Of Mothra HD 4K Wallpapers Background Photo and Images |  Godzilla wallpaper, Godzilla, Movie monsters

Reflection of Rillaboom and Kong:

Starter Pokemon and Evolutions - Pokemon Sword and Shield Wiki Guide - IGN
Kong (MonsterVerse) PNG by Awesomeness360 on DeviantArt
W00274 - Walldelivery

Reflection of Noivern and combination of bat and dragon:

Noivern (Pokémon) - Bulbapedia, the community-driven Pokémon encyclopedia
Black Dragon at Beach - Style with a Poster - Photowall

References of Netsuke’s influence and Pokemon personalities:

https://www.christies.com/features/Netsuke-Collecting-Guide-5-Things-to-Know-7963-1.aspx

https://www.ashmolean.org/netsuke#/

https://www.serebii.net/pokemon/nationalpokedex.shtml

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
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.