At the end of my last post there were so many ideas bubbling around. Impossible to follow every path – I wanted to spend my available time carefully. So I stepped away a moment.In her recent feedback my tutor mentioned Henry Moore and Anthony Caro when commenting on sample p2-18. I did some research on Moore during Understanding Western Art (15-December-2013, 22-June-2014, and briefly 13-July-2014)). Some points noted then that could be relevant: Moore’s interest in working with volumes and forms, drapery used to create more tension in a work, the space between – a piecing opening or separate elements with the space between as integral a part of the whole as the solid forms.
I’m not familiar with Anthony Caro’s work (although I remember spending a little time with Duccio variations no.7 at the National Gallery of Australia (link)). So I started my sketchbook time by looking at a couple of examples.Emma Dipper is in The Tate (http://www.tate.org.uk/art/artworks/caro-emma-dipper-t03455). I was taken by a remark in the display caption “The opening to the left creates the sense of an internal space, which is penetrated and activated by the tubes and rods.” I thought of sample p2-74, where I wanted to create, to claim, space.
The sketch above is crayon on A3 kraft paper. It focuses on the internal space of the work rather than the metal. I would love to be able to move around this work, experience it in three dimensions. From this angle it is a wonderful, dynamic shape.The sketch above is based on Paper sculpture no.4 ‘Big White’, held at the National Gallery of Australia (link). The sketch helped me concentrate on observation and is useful as a reminder of that, but is not successful standalone. It is static and flat, the marks clumsy and unvaried. The base is from a salvaged gift bag, a heavy off-white paper, crushed and highlighted in gold paint. I worked in acrylic paints, a fine black liner, and a little in pastel crayons trying to rescue the image. It was also a good reminder of a technique that would have been helpful in Assignment 1, highlighting the effect of crumpling paper. Inset is a quick version using crumpled brown grocer’s bag paper and diluted gesso.
Above is a collage on cardboard (A3), using various tissue and other papers and modpodge. It is a scaled-up version of some of the fine marks created by the computer card, such as in sample p3-9 (26-August-2015).
The final result reminds me of Kasimir Malevich – House under construction in the National Gallery of Australia (http://artsearch.nga.gov.au/Detail.cfm?IRN=36797), and some sketchbook investigation I did in December 2012 (link).
In the collage there is energy and interest and an overall balance. It is an interpretation, based on observation of the sample but bringing something new.
I originally intended to develop the collage further with higher relief elements, and to use it to take a mold in composimold. Possibly that will happen later.Conte pastel crayons on A3 cartridge paper are a fairly literal observation of sample p3-12 (1-September-2015). The different colours reflect the various shadows created. Fast and free, there is good movement and I think the different natures and weights of the two materials can be seen. Working on it made me more aware of the strong, rigid, geometric structure of the shapes that have been captured in the organic forms of the molds. Sample p3-8 (26-August-2015) has some wonderful lines and edges. I used gimp to manipulate one of the photographs. A section has been isolated and presented above. There were other areas of interest, but too much wonderful detail was lost if scaled down.
While working on this I have gone back through past sample in Parts 1 and 2. I have a list of possibilities for development of my molding sampling- which I am confident will change as work progresses.
Digressions within digressions
While looking at past posts mentioning Moore I came across my photo of Robert Barnstone’s work once removed (13-June-2014). At that time I was researching recent figure sculptures. Made of cast glass, the work is clearly relevant to my current assignment.
Without getting too lost in the spiral of digressions, a brief mention of the clear areas of similarity between once removed and Susan Benarcik’s installation Loosing Touch with Reality http://susanbenarcik.com/project/loosing-touch-with-reality/. There’s a looser link to Dadang Christanto’s Heads from the North (http://artsearch.nga.gov.au/Detail.cfm?IRN=131001).
T1-MMT-P3-p1 Sketchbook progress
Textiles 1 – Mixed Media for Textiles
Part 3: Molding and casting
Project 1: Molding from a surface