These next three, just playing around. I wanted to see if I could create expression with very simple elements, no internal interpretive cues. I’m currently reading a book called “Asemic: The Art of Writing”; I am being influenced by the idea of asemics, markmaking that looks like some sort of writing, calls the viewer to attempt to interpret the marks/lines by trying to “read” them, but of course they are not representative of any particular language, but merely representative of the “act” of writing and in that way these lines tend to foreground the “art” of writing.
I am attracted to this, and have been for a long time. So far, I’ve tried to work with a depiction of eyelashes, and maybe a way to go with eyelashes is to make them look “asemic”, as if the printed eyelashes are some sort of language that refers to the inexpressible. The more I engage with visual expression in the form of image-making, both 2D and 3D, the more I recognize that like language, both oral and written, there is an interstices that can’t be breached, can’t be expressed. The idea, the feeling, the emotion, lies somewhere beyond words, beyond mark-making, beyond line. Maybe it is somewhat like the extremes of grief and ecstasy.
So, I shall begin more consciously to explore this beyond place, this ineffable and mutable truth.
Student Incubator at CVAG (Comox Valley Art Gallery)
Today, January 8, our 3D design class installed our projects at the CVAG. Here are a couple of photographs of my part.
I’ve been experimenting with rawhide for the past couple of weeks, but took a break for four days, more or less, over Christmas. I bought some pieces of rawhide “seconds”, and had wanted to see how they would look wrapped around some wires, so I constructed a few wire armatures and started wrapped the hydrated rawhide around the wires. I tried sewing some pieces together while wet, but that proved to be difficult, so I bought a leather punch, which made things much easier.
However, I also made a couple of pieces without any rawhide, and they are much cleaner to look at.
Here are some photographs of five different wire sculptures, three with rawhide and two without.
And, finally, some photographs of cloth (painting tarp, actually)
As I frequently do, I’ll start with the music. Jerusalem in my Heart is a group out of Montreal. Just when I think I’ve found the music that I love the most, I come across something that bumps it out of the way. “that’s the sound I’ve been looking for”, I think to myself, when the new music arrives. And I live, breathe, obsess about the new music until something else arrives out of nowhere.
Here is a link to Jerusalem in my Heart, including a whole bunch of information about the group, and some music samples.
After spending another few hours in the photography studio photographing the entities again, but this time in groupings of two, three, or four (or more), a process during which I became more intimate with each of their personalities, I came away with a concept that will, in a large format that I won’t share here (yet) include the wooden figures I made last year, the white skeletal entities I made in the summer, and the current figures that I’m working on and sharing here now. As part of this concept where I’m starting to see how the figures are “related”, I decided it was time to make a baby. Here is the first baby, and it is called “Before I Was Born”; it’s not really supposed to be me, but that’s the title that popped into my head, so there you go.
I also finished Cat Body since my last post. Baby Body (before I was born) and Cat Body, as well as being part of the larger work I creating, are also part of my assignment for 3D design and integrated studies at the college.
Here is Cat Body.
Entities in studio for second photoshoot
I have the studio booked again for photoshoots on November 9 and 10. Each time I go into the studio I’m adding the new entities and learning more about their interrelationships.
It takes a really long time to upload each photograph to WP, so I’m only including a small handful of the 200 or so that I took last week. Also, most of them are kind of crappy, so I’ll try to include only those that I think capture some of what I’m trying to express. I have annotated the photographs, as all the entities are “named” now, and it will provide a sense of the narrative.
I made two more entities this week. They each have a set of wings, although it’s difficult to see them in these pictures. More to come.
Last year I saw some art that used sausage casing…hmmm…I can’t recall who the artist was, so I’ll have to look that up and update this post later, if I can find her.
I want to use sausage casing for the wings on this second entity, so before diving in, I did a test.
I then cut off a piece of sausage casing from one of the strings of casing, dipped it in water, and wrapped the casing around part of the wire, to see what would happen.
The casing immediately became very difficult to handle as the water made it very slippery. Next time, a bit less water before wrapping it around the wire, and maybe use tweezers to handle the wet casing.
Entities on a Window Sill
I’ve found a couple of squashes to turn into gourds, and one, or both of them, will become a lyre. I also have a set of eight strings ready. This project will likely take me a year or longer. Updates kept here.
Well, I gave it a body and a HEAD! Oh my gosh, his head is awful.
The scarf has been painted, but I still have a few more details to add on the scarf, and I need to remove the paint containers and paint the rest of the base.
At this point I’m starting to get excited about putting on the finishing touches and looking at the whole ridiculousness of what I’ve created.
And, and, and…
Art School stuff:
one of the courses I am taking (I am taking two) is called Creative Processes. The first assignment is to make an assemblage.
I had an assignment which I documented elsewhere (in an actual physical process book, and on my school blog), so I won’t include all the process documentation here. But here are some photographs I took along the way.
My Modern Met, from June 9, 2017, has a full article with photographs of wire sculptures. I’d like to get to the point where I can work JUST in wire, and have it look good. For now, though, I’ll continue on the current trajectory until I’ve learned everything that I want to learn.
I can’t include the link to the Met here, because the Met doesn’t seem to allow itself to be linked to (?).
Last year I thought I’d like to try to make a lyre. I found a great website describing how to do so, and I put the idea aside until this fall, when I’d be able to find some gourds at the market.
I don’t actually have much new to add this week. I started school AND I was really tired so I took too many naps.
But, I did “finish” the cowpoke, and here are some photographs of the cowpoke, and then some with the cowpoke and opera singer.
I modelled the hat on a stetson that I saw on the Stetson webpage. I like how I managed to keep the ears sticking out of the hat. Everything is really rough, lots of cracks, uneven coloration. I’m torn between thinking its not good enough and thinking that I love the imperfections, that anyone playing with this cowpoke will not only be in relationship with the “toy”, but also will be aware that there was a “maker”, also with imperfections.
I have a thing about “perfect” toys, mass produced or not.
DIGRESSION in which I received the following TM:
BACK TO THE MAIN STORY:
ART SCHOOL STUFF:
So, I went to my first class in FIN 140 this past week; our first assignment is an assemblage. Here is what I have done so far to get ready. We are to gather up 4 – 5 non-precious objects, do an object analysis, and then bring them to class with various connecting devices such as string, tape, glue.
(I’m taking two classes this fall, and I suspect there may be some competition between what I WANT to do and what I HAVE to do for my assignments. Lots of naps.)
And then, because I was into taking photographs of the doll, I kept going…
Okay, enough with the doll already. But I’m putting these pictures in here to remind myself (if I ever read this again) that I tend to get carried away with figures, especially human (doll) figures. Because yeah, I had a lot of fun on Friday night taking those photos.
Because I have quite a bit of human hair, and because I’m currently working on model figures, some of which have hair, I’ve been curious about how to best add the hair to the figures. Last week I made the opera singer, who has long grey hair, but I just fumbled around with attaching hair to their head. I thought it might be a good idea to find out a better way (better ways?) to work with hair. The following video is a start in that direction. It actually looks really easy.