I began to start layering each small tumour i had made previously by sewing them together to create sculptures. I like the formless nature of them as they resemble no household object. They display no corporate slickness that sets the typical aesthetic in art. Despite the fact that they deconstruct the systematic nature of human anatomy which is something i appreciate and aspired to depict i feel that i could have used a more subtle technique as i think the chaotic appearance of the stitches take away from the beauty of the sculptures as a whole.
I began to make form my main priority. However i wanted to contrast structure and randomisation. I began to revert back to my original ideas and look into the fleshy nature of bodies. i began to use photoshops to create beauty from something that is deemed repulsive, excessive skin. I began to make minimalist sculptures and attempt to recreate them.
I began to look into Simon Bedwells ceramic work, I became intrigued by the formlessness nature of each one despite the fact that they are indeed pots which presents a display of purpose. The pots themselves highlight the real nature and moulding of clay. The Ceramics display four major components Mass,Matter,Balance and weight depicting the overall aspiration of depicting art itself as modified and in turn textualised.
I find the work to be beautiful in its own right, the structures are amorphous and display a sort of deflation possibly linking to clay itself being a source left over in the earth. The neutral colour of the works subvert from the constructed and man made aspect of art. Each piece displays an element of pressure and have connotations to minerals such as rocks which in turn highlights the idea of making something definite from nothing.
The effortless nature is something that I would like to encorporate in my upcoming pieces.
After making the mini sculptures i decided to work on a bigger scale and depict an image of over laying skin to represent the process of aging such as the weight gain and skin sagging. I began by stuffing the tights with cotton wool and unlike the previous mini sculptures became a lot more free with the sewing. I began over lapping the tights and sewing where i thought it would hold not best instead of mapping out with elastic bands which i had done previously.
I began the making section by recreating the designs I have produced through Photoshop. I plan to make ambiguous amorphic sculptures through the use of layering each one of these on top of each other whilst linking to the fact that there is in fact rhythm in chaos. I have no sculpture Idea in mind the plan is to let the materials work together to create a free flowing constructed shape.
I began by stretching nylon coloured tights and then filling them with cotton wool to enable to tights to retain a shape. At first I became a slave to the image I had created on Photoshop by using elastic bands to recreate the lumps and bumps of the skin tag design, however over time I became more free to the idea and began using pressure to create dents and mould the overall sculpture, I then sewed them together to create a solid product.
Over time I began to experiment with scale, I began to make them even bigger the larger scale made them easier to mould however I like the subtlety of the smaller ones. To continue the making process I will begin to sew them together using my own hair to relate back to the human form.
I began to look into the works of Sarah Lucas an artist who’s focal point is gender in regard to the female form. The pieces are formed and displayed with feminism as a main feature that runs throughout. The works of Sarah Lucas are conceptual and often have an element of humour that aid the sexual intimacy each work exudes.
The tight pieces are intimate, they display sprawled limbs of female bodies. The form of the sculptures are beautiful in their own right and the nature of the material “nylon tights” add an element of eroticism and intimacy. They are abstract yet also subvert again the structured nature of the physical form.
The material tights are not only related to femininity but they have a disposable element to them. The material nylon is thin and fragile and is prone to breakage. This factor enables them to be a material appropriate to display “skin” in my own work. The mouldability and elasticity of them will allow this material to be an appropriate starting point and is something I shall be using in my own work.