Crazy sculpture / self-portraits using molds....of artist's own blood!

 Marc Quinn

http://www.marcquinn.com/work/view/subject/self%20%28blood%20head%29/#/4222

Wood Project

B1 Tension frame

Re installing it for Art Bash, if anyone has suggestions for anything I should do different let me know.

Cheaper way (maybe) of creating silicone mold

Silicone I caulking mold. Not the greatest video but it shows a bit of the process.

https://www.youtube.com/watch?v=cmgUhdSqgtU

Wood Project Documentation Photos

Project 2: Critique response

Critique Response

            I’ve realized with this project that my need to control every thought and direction of process has become a disadvantage when creating sculptures. After a rough start, I decided to let the piece direct me instead of me direct it with my detailed plans and hopes. I feel that letting my sculpture develop it self made it a much stronger piece than I originally intended.  One of the transformations my sculpture had from my original plan was the inclusion of the 2 by 2 photo square in the center as a focal created. It created more interaction between the viewer and my piece than the over all wood transfers on every exposed part. My piece developed into more than just frames, it became an optical illusion and a constant dialog between frame and image. My piece did create a small dialog about photography with the use of an image and frames but I realized with the critique that there was still a lack of clarity. There was a comment upon the similarity between the bellows of an enlarger and my piece that I wish I had seen before and had explored that idea as a way to bring more clarity. Pushing this piece more into the photographic realm would of brought more perspective on who I am as the artist and what the focus of the piece was. Another comment that really interested me was the thought of it looking as a shooting target. This plays straight into photography with the play of words as shooting is a common term for photographing. Also having my face be the center within the target would bring more content to why I’ve chosen my own face and maybe then reflect an idea of self-portraits.  I’m very pleased with the comments on movement both mentally and physically, shadows, depth, space, and presentation. The installation of the piece its self was a vital part to the experience each viewer had as every measurement had to be precise for the sense of movement within the illusion to occur. I used this simple illusion to create a focus on the 2 by 2. The use of thicker frames within the smaller frames allowed the eyes to come in and out easily. The frames and image in this piece were both fighting for the focus where the multiplicity of the frames drew the viewer out and the image itself drew the viewer in. The frame therefore became a valid visual element that often times are over looked in photography. The image itself I chose to be of my self and of only my face for various reasons. First and foremost I was interested in displaying that I physically and visually became part of my project through the use of wood transfers and therefore I was my project. Secondly, the face is the most recognizable part of the body and portraits are used to emphasis the subject. The portrait style made me important as part of this piece. The image represented my self as an artist and the frames as the layers that help develop my art but also distract from who I am.

Genius architecture

http://www.thisiscolossal.com/2014/10/movable-footbridge-in-paddington-london-opens-and-closes-like-a-fan/?src=footer

I am just not sure how it is triggered to go up/down...would not want to go on that ride by mistake!

Articles about Artists: Erik Ravelo and Susannah Martin

http://www.huffingtonpost.com/2014/09/26/susannah-martin_n_5883276.html?utm_hp_ref=arts


http://www.dailymail.co.uk/news/article-2415423/Los-Intocables-Poignant-portraits-crucified-children-capture-evils-harm-children.html

Erik Ravelo

                                   

                                 

              Erik Ravelo, a Cuban artist, arranged the harrowing combinations in order to highlight different ways children are both directly and indirectly harmed by adults. 

Susannah Martin

           

             Her contemporary takes on the classical nude imbues female forms with an independent spirit removed from male judgment or approval. These women aren't on display; they're simply doing their thing in the great outdoors.