Final Piece

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Artist Statement

My sculpture is based on skin however I incorporate the idea of human condition and the way in which the human body functions. Skin itself contains the human body and is an organ that paradoxically displays the highest level of vulnerability. My initial idea began with looking at the aesthetic beauty of skin through the use of the material snake skin. I began to make prints that displayed an equilibrium of beauty and fragility.

I began to look at the fleshy elements of skin such as skin tags, sagging skin, warts and sun spots that naturally occur in the process of aging. The research from this contrasted the vulnerability of skin in regards to skin being the first tell tale sign of aging. I began to think of the strength of the human body. I decided that I would like my sculpture to display elements of human nature such as the digestive system, childbirth and the grotesque fleshy nature of sexual intercourse.

I became inspired by Simon Bedwells sculpture structure. I enjoyed the delicate design in contrast to the harsh material. I also admired the depiction of the material clay stripped back to its natural state. The sculptures display and element of deflation and display a strong depiction of clay being derived from living matter which is a element that I have attempted to display in my final piece.

The ambiguous component of my piece links to human life itself and the complicated nature of living whilst noting an honest and pure depiction of the human anatomy structure. The limb like appearance combined with the over lapping of each section notes not only the similarities between beauty and horror but also the similarity to each individual human body/ being. Subsequently; the link between human body and experience obsessively conjoin to display an element of “Vibrant matter” in regards to the idea that the piece displays an element of life whilst the lived in nature of tights aids the representation of the decaying nature of life itself.

The sculpture itself displays the idea of rhythm in chaos. The piece itself is big and confrontational and links to the idea of nakedness which corresponds with a possible purity about the piece. The neutral tones of the piece are used to not only display an element of realism but also to link to the neutral aspect of benign tumours. The mass like aesthetic allows room for conceptual interpretation, resulting in a contrast of pessimist and optimistic views.

Overall I am please with the final outcome, I think that the nature of concealment is driven by society to conduct low esteems that result in negative views on natural life aspects. An example of this is porn being used to mask the crude nature of sex. I attempted to illustrate the beauty of our bodily functions in the sculpture by emphasising the element of afterthought. I attempted this through simplicity of material and ambiguous and vague design. I am happy with the piece and feel that it radiates an element of beauty whilst challenging viewers embedded pessimist views that  have been branded with via society. However, I do feel that I could have made my sculpture bigger and possibly added an element of interaction to include the viewer more into my piece.

Umbilical

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Whilst adding layers i began to note a repetitive pattern of knots that began forming within my sculpture. I began to notice a similarities between the knots and the aesthetic of an umbilical cord. The overall sculpture illuminates the idea of life so felt that this aesthetic fitted well and began to incorporate it in each new layer i added.

The natural crease that lies within tights added to the purity and innocence of the piece possibly even the element of birth. I began to see these creases in relation to the idea of stretched vaginal walls and birth canals. These are all elements that i will like to include in my final piece, therefore i will consider adding some unstuffed tights to heighten the idea of skin stretching to form and allow new life to enter.

Conjoining life, body functions and contractions and death.

I began to look into the idea of muscle contraction as skin itself acts as a container, its durable and flexible nature is designed to conceal, contain and mask our bodily fluids and overall bodily functions. The skin paradoxically is the first tell tale sign of foreign internal body concerns such as the idea as cancerous tumour lumps whilst also simultanesouly being the container that allows it to thrive.

Furthering the internal approach to the body i began to look into muscle restrictions and contractions such as a further examination into female menstrual cramping, and child birth. I also wanted to look into the digestive process and raise the question of why we find things that come out of our bodies such as excrement to grotesque? is this due to the pure and naive outlook that our skins opaque nature has protected us from?

The strength of the body, the mutations that it undergoes are all concealed by the film layer that we call skin, i want my piece to delve deeper into the body itself unapologetically, unconcealed. I want my work to remove the innocence and beauty of the body that skin has allowed us to naively consume and accept. The aesthetic that skin has created around the body is false it is a natural shield that we passively accept but i intend for my piece to depict it is a container to what goes on inside the body not skin becoming the end product of human anatomy.

 

Progress

I continued layering my piece I had some idea of structure at this point in the project however began to begin working downwards to fill the wall behind linking to a parasticial nature. As I began working I began thinking about what the sculpture began to mean to me, I began to have thoughts of bodily functions such as the idea of human births and contractions possibly linking to the strength of each piece holding the other up and in place with a single piece of delicate invisible string.

I began to see the piece as displaying similarities to a vibrant matter, there is no central focus of the piece, its non identity allows the piece to be fetishized relating to possibly restriction in bdsm. The sculpture to me displays an element of thing power, there is a dominant element of experience rather than aesthetic  suggesting the idea of thinking beyond the binary of life matter. The sculpture itself has a presence it is obnoxious and confrontational. Everything collides in life all matters collide with enters and leaves debris which is an idea that I became fond of through the making process. Allowing the sculpture to be brought to life through the aftermath of free will.

Structure influence

I began to take an interest in the aesthetics of my work I wanted to create an equilibrium of chaos and structure. I began to look at ivy walls and their relation to overgrowth, ivy is a plant that is known to spiral out of control however still displays an element of beauty. I liked the nature of ivy and the way in which it becomes almost parasitical in the way in which it chooses a host (a wall) and grows over the actual area to constrict and suffocate the original host.

I also began to relate to my initial idea of displaying a grotesque nature so began to look into tied roast pork. I liked the restriction that is caused by the string allowing the meat to bulge I feel that this has a similar aesthetic to my work as each section interweaves with the next causing a layer effect that displays bulging and obnoxious large overlapping phallic appearances which in turn add a confrontational and possibly aggressive element to my piece.

 

Artist Research- Louise Bourgeois

I began looking into Louise Bourgeois soft sculpture series. The pieces themselves are considered eccentric however the doll like figures could possibly depict a subtle link to the ideas of freud and his discoveries in relation to children and the projection of sexual fantasies upon dolls.

The sculptures display a prominent aesthetic of interlinking. Limbs interlink with each other whilst paired with the clear depiction of bdsm and feminist themes. The material fabric which Bourgeois uses to make the dolls highlight, the overall feminist aspect of the piece through the idea of women roles in the home and the idea in which women are there to be consumed by the male gaze.

The pieces themselves are beautiful in their own right in regards to the distortion they depict. I am interested in their display and scale linking to the subversion from childhood dolls. Children stuffed toys are designed to provide comfort and are usually small in size to aid this however Bourgeois has made her dolls on a large scale to possibly add a negative spin on the idea of childhood possibly relating to her own cruel childhood.