Category: Contextual Research

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:

• Fantasy
• Folklore-tales
• 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.

Clark’s Exhibitions:

• Solo show: Claire Oliver Gallery in New York (2008)
• Group show: Aldrich Museum of contemporary art

Clark’s website: https://www.kateclark.com/artist-statement

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:

• Shark
• Sheep
• Cowl

Viewed at Hirst’s Exhibition: UCCA Center for Contemporary art

Hirst’s website: https://www.tate.org.uk/art/artists/damien-hirst-2308

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.

Ford’s website: https://www.kasmingallery.com/artist/walton-ford

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.

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/

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/

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

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