FIN 230 Unit 2

Moving on into Body from space

In critique last week, I took in several of my entities and the black box. I set them up on a table and my classmates looked at the display and gave feedback. Demera, I think it was, said something interesting about the reclining figure, that it looked like the whole scene was something he was dreaming. I want to hang on to that idea, as I think it provides a connection and a back and forth of energy between the figure and the black box and includes the many entities.

The blended classroom.
Some of the entities with the black box on the left.
Demera walked around with the camera that was attached to the computer, so close up shots of the entities and inside the black box were projected on the screen enabling Rosemary and Ruth to see a bit better.
I really liked how indistinct the interior of the black box looked when it was projected onto the screen. I couldn’t have asked for a better result!

Also during critique we had been given large pieces of paper to draw on; I scribbled the following.

continuous line drawing of Rosemary B.
scribbles during Demara’s presentation
Ruth’s video response

We also did some more slip casting:

On the left is Jeff’s cup and on the right are my three nitrous oxide canisters.
Jeff demonstrating how to re-enliven the slip. And look at Angela’s hands in the iPhone mudra as she videotapes Jeff’s demo.
Cindy with her flamingo mold.
a close-up of two of my nine slip-cast canisters; I’ve decided to leave the spouts on because this makes them look more like figures with interesting heads.
This photograph shows the first three slip casts, the canisters with no spouts just to right of centre. The top third of the photograph show Cindy’s flamingo (left) and Marlee’s figures (back).
I don’t have a plan for these figures, but I like them.
reflections on body(October 23)

How/what would I do for the unit on “body”? Could I continue to build on the current project, keeping the concept of “body” in mind as I keep adding to the entities, or could I take a different direction, challenge myself to conceptualize “body” as something coming more directly from me. I think I might tend to work on the external by continuing to make the entities which are not of my body but are of my mind. Is there some way I can twist things around for the second unit, to engage “body”, my body. I’m going to have to reflect on this a bit more. It is not a natural draw for me.

Body rumination: I dismantled this large piece, but kept the arms and shoulders in a bag. I cut the armature up and put it in the garbage. I kept the torso in a corner. And I used the head for the “black box” part of the first unit.

When the Gold Falls from the Hem of Your Dress

I decided that if I were to work with the idea of “body”, it might be good to start with my own. I took the torso and placed it over a classical guitar case, a representation of one of the many things I have tried in my life…to learn guitar. This felt extremely sad, and I wondered why I would choose to focus on feelings of loss and inadequacy while working with my body. I looked around my studio and noticed one of the many entities hanging/standing around and decided to attach one to the skirt on the torso, with wire. The entity already had wire on it, so this wasn’t difficult. I used PhotoRoom to remove background noise.
it feels to me as if this entity has fallen from the torso, a fleck of gold, and is hanging on. At worst, this entity is benign.

Body Invasions

I selected another entity from a shelf, one I haven’t paid much attention to since making it last summer, and started placing it on the torso and photographing it. This entity has a slightly threatening feel to it; certainly not benign. Why have I placed it so that it is climbing into the top of my torso?
Thus far these entities have been in my head, but now they are entering my body. I feel a bit violated as I’m working with this.
Regardless, I am experiencing the body rush feeling that I get when I am on to something. I am so grateful to be able to work with this without using words. This photograph is taken from above the torso and shows the top of the guitar case and the inside of the breasts, complete with aluminum netting.

So, this is my exploration of body for this week. I’ll continue to work with the torso and the entities and examine the visual and psychological relationships between them, among them.

cat body
cat armature…but will it end up being a cat?
here are my models.
it seemed important to start with paws and claws, so already I know that this cat will not be realistic…at all.
Cat Body
Cat Body
Cat Body
Decided on red for this cool cat.
Jive Body: while working on cat body and clearing up my workbench, I found this little armature that I had started a few months ago and forgotten about, so I made a base for it and will do it at the same time as cat body.
Cat Body and Jive Body
Jive Body with pants and shoes.
Jive Body front
Jive Body back

Also, I spent some time in the photo studio at the college on Tuesday, and here are some of the photographs from that photoshoot:

jive body progress
Jive Body. Still needs touchup around the feet and on the wire

Baby Body (Mother and Child)

Taking photographs last week of all the figures made me start thinking in a new direction about the total number and type of figure. I wanted to make this baby because I felt that it was “missing” from the grouping. As I worked on the baby, I knew that I needed to also make a mother. The mother, I thought, would be another clay figure.

As I reached for the clay to make the mother, this piece of corroded metal caught my eye, and this was to become the mother.

I’m enjoying the changes in direction with this project, with these figures. Cat Body moved me from acrylic paint to watercolour paint; Baby Body (so far) has moved me over a little bit more. The trick will be, as I continue with the “Body” section of the course, to not think that all the “body” pieces need to fit together…but so far, I don’t think that they do.

Mother and Child
Baby Bodies 2 & 3 November 9 copper day

These next two Baby Bodies appear to me to be expressing “adult” emotions. There seems to be a slight disconnect between the size and age of the body, and the size and age of the emotion being expressed.

I saw these copper shards lying on a bench in the sculpture studio; I hope nobody is missing them. They just called out to me, because copper.
I had been wishing for some copper pieces to use on the “Mother and Child” piece above, and copper showed up today. I took it home and put it on the workbench, got ready for bed. Oh, I’ll just go and sit at the workbench, I thought, just before going to bed, in case something occurs to me to make. And these two copper babies were born.
I removed the copper shards from the bodies as I painted them. I think I will leave the Baby Bodies as they are, without the copper shards.
“Mother and Children”
Baby Body #4

On November 13, I started to make another Baby Body, #4.

My fingers would not cooperate, my mind had shut down, and I struggled to work the clay. I persisted, but really was not feeling the process of making this, what will be the last, baby body. For some reason, three has been enough, as decreed by some part of the inside of me.

So, here is the final Baby Body, who will not be photographed or be part of the other three.

I may try to find a piece of rusty metal to photograph this final Baby Body with, but I had to distinguish it from the others by adding ears and a tail. Not a human Baby Body.
The development of “Avarice”
I covered the armature with plaster bandage

The plaster is covered with stone-based air dry clay
A styrofoam ball is covered with stone-based air-dry clay and a second armature is created.
The second armature is covered with clay.
The earth is painted using a variety of blue shades of watercolour.
“Avarice”