The Expressive Potential of Clay
Critical investigation Rebecca Warren is largely known for her exuberant , over the top , feminist-styled . The sculptures implies figurative form but never depicts the full figure . The design of her sculpture incorporates figurative elements that are suggestive of the human form . Warren used the material clay as it lends itself to as it expresses the potential the material has to be worked and reworked . Warren left her pieces unrefined showcasing the amorphous properties of the clay . Warrens intentions with the clay was to depict an outrageous form of the human figure , on top of that she exaggerated the piece leaving a roughly worked texture showing the endless potential of the clay . Warren ’ s works are reminiscent of the female form , it is is also comical because of how absurd it is like the high heels , but also it is a disturbing depiction of the female form . The work is disproportional and over exaggerated , showing the an over-blown extravagant version of body parts like the breasts and backside . The surface of the pieces Warren did we rough , leaving an impression of liveliness to the art , with an energetic process of modelling . This perfectly coincides with the large , rude and irreverent female figures she created . The fact that her art was exuberant and the texture was rough and unrefined was drastically different to the traditional image , challenging the ideology of a “ perfect ” sculpture . She has a humorous response to the female body and her sculpture makes references to lots of highbrow and lowbrow cultural forms . Usually about femininity or other issues to do with body image . with my piece I took inspiration from Warrens pieces , representing the ideas around femininity . I used the same technique for my piece not only to show the amorphous properties but also represent the imperfections of the female form that are overlooked . However in my piece I have a figure that is smooth in texture and the proportions of an ‘ ideal ’ figure but is drowned in lots of disproportionate , absurd limbs dragging her . Commenting on how absurd the expectations on body image are . Reflection on Technique We used the clay to express the boundless potential it has , having both smooth and roughly textured areas , I took inspiration from Rebecca Warren ’ s pieces leaving the limbs rough and almost unfinished to show that they have nothing holding the clay back showing the boundless potential . Warren ’ s artwork is influenced heavily on feminist ideas which i tried to use . My piece it trying to express the false front people , but women especially , are expected to keep to meet social standards . The distorted limbs represent the flaws people are trying to suppress , showing how are part of the figure . But the limbs are rough in texture which also is suggestive of the fact that they can change and be moulded further . Warren left an unfinished natural look to her art , it ’ s expresses the extremity and distorts the female figure . Her deformed work is abstract accentuating the figure , she often describes her work as “ veering towards grotesque ”. These sculptures are expressionistic and often overtly sexual . In the present work , Warren takes as inspiration the art historically-loaded figure of Degas ' s sculpture of the little dancer . Exploring the duality between the prostitute and the ballerina
Hong Kong Architecture and Old Hong Kong
Constructions Structure
The sculpture of this screen construction no . 10 was made after Construction no . 6-9 . In this sculpture , I wanted to experiment with folding .
Critical Investigation - Anthony Caro
Anthony Caro , “ Table Piece LXXXII ”, 1969 , Painted Steel
Process
Like Constructions no . 6-9 , I used scrap metal pieces for this sculpture . However , this sculpture is different because I used two types of metals , aluminium and steel that had different thickness , patterns and colour which gave the work more energy . For example , there is a pattern to the alumnium and for steel , there is random rusting on it . They were sheets when I found them but I decided to bend them to create these forms . Due to different melting temperatures the welding point were bigger because they had to be welded for longer to make sure they stuck together .
My work , Construction no . 10 , aluminium and steel , sculpture
Alternative view of Construction no . 10
Artist Impact on My Work
Final sculpture inspired form Warren ’ s work
Communication of Ideas and Intentions I have created a rough textured figurative sculpture trying to capture the boundless potential of the medium and taking inspiration from Rebecca Warren . The body is smooth in texture and isn ’ t overly sexualised or deformed , however this is juxtaposed to the unfinished , eerie looking , deformed limbs grasping at the body . The photographs were capturing the vast difference in textures as the light would hit differently creating more cratered shadows in the textured areas and more deliberate and smoother shadows in the smooth areas . The shadows formed show the complexity as the limbs intertwined around the figure forming a constricted feeling . The body of the figure is cut short as Warren ’ s pieces had no heads either , cutting the head and arms short leaves people to interpret the piece differently . Using your own imagination the complete the figure shows the potential clay has , and leaving the figures unidentified . The clay was an interesting medium to work with , being able to explore how
Danny Fisher
Meagan Fung
Photo of London taken by Ronya Galka , https :// www . ronyagalka . com / streetphotography
Ronya Galka ’ s Photograph
I was really interested in Ronya Galka ’ s work , especially the photograph taken of two strangers sat in the middle of London . I really like this photograph because of the way Galka represents her emotional response to everyday life in London . I like the way she has chose to present the photograph in black and white . Through this , she is able to portray the gloomy atmosphere shown in the photograph from the people holding umbrellas , signifying bad weather . I also really like how she captured this photograph without disturbing the figures shown in the piece . This allows the work to be presented as raw and realistic as possible . I can see from the image how well the piece reflects life in London .
After editing :
This is a table piece by Anthony Caro that is different from many sculptures because it is hanging off the table . The curved shapes of the pieces in a sequence make them look like they are sliding from the table and this is how Caro creates a sense of movement in his sculpture . The way the sculpture is sliding off the table is like one of Salvador Dali ’ s painting . Caro uses steel in this sculpture which is coated in paint allowing the sculpture to be kept longer as the paint will prevent it from rusting so that it remains monotonous . The use of steel also makes the viewer suprised as steel is normally linked with heavy objects however Caro is able to make it hang off the table and not fall and balance which is something that is very impressive . The mixed use of curved , twisted , folded sheets and flat sheets of metal also gives the sculpture a more energetic apearence and a more natural flow .
Caro ’ s work impacted me in multiple ways . The first way it impacted me is the folded element of form found in his work . This allowed me to give my work a more dynamic feeling . In addition I also borrowed from Caro the overlapping of metal pieces which gave my work a sense of layering . While he arranged the metal pieces in a sequence , I choose to arrange in a circular format to increase
Alternative view of the sense of overlapping and also to create a main
Construction no . 10 opening on two ends of my sculpture . A main problem when I was making my sculpture was for it to be standing up without falling over . I had to experiment many ways to assemble the sculpture and the folded edges of the pieces helped a lot to allow alternative views . For the views or placement of the sculpture , there is the illusion that the structure will fall over but it remains standing which is something that I took from Caro ’ s work .
Rex Lee
URBAN CITYSCAPE PHOTOGRAPHY
I was inspired by photographer Ronya Galka when doing research on urban photography and decided to take some urban cityscape photos in Hong Kong .
Reflecting on My Photographs
I decided to capture two different aspects of Hong Kong in my photographs : Hong Kong architecture ( old v . s . new ) and shops or streets that signified old Hong Kong . I find Hong Kong ’ s architecture really interesting . A lot of older Hong Kong buildings are inspired by western architecture ( from colonialism ). Other older Hong Kong buildings often reflect the divide between the rich and the poor in Hong Kong . In order to show the drastic difference , I decided to also take photos of modern skyscrapers in Hong Kong . Inspired by Ronya Galka ’ s photography , I decided to choose some of the most significant and my favourite photos and present them in black and white . To do so , I used the software Lightroom to edit these photos . I chose my two favourite photos and included the final result . I really like the photo which depicts a traditional bird shop . I really like the black and white finish on this photo as it reflects the old Hong Kong atmosphere . A lot of traditional Hong Kong shops are slowly slipping away due to time and I really wanted to use this photo to introduce viewers to these traditions . I really like the second photo which depicts the old housing estates in Hong Kong . I feel that the black and white finish really brings out how the buildings are so densely packed together . I think that through this photo , viewers can connect with locals in Hong Kong on a deeper emotional level and understand the struggles of the living standards in Hong Kong .
Sources : sothebys . com ( accessed 5 / 6 / 20 )
Alternative view of Construction no . 10 Evalutation Of My Work
I belive that this is overall a successful work especially because of how many views you can look at the sculpture from . However I am not sure whether I should have painted over the work like Caro did and if that would make it a more striking work , but then that would also mean the viewers can tell tell between the materials . In addition , I thought that the shadows from the sculpture are very interesting and powerful .
Alternative view of Construction no . 10
“ Les Nus de dos ”, Relief Sculpture - Henri Matisse
Low Relief Sculpture
Critical Investigation - Henri Matisse In Henri Matisse ’ s work on low relief sculpture , it is clear that the definition and details of the body is one the main focuses and intentions . For example , in one of his works in “ Les Nus de dos ” ( on the left ), a great amount of detail is put into the different parts of the body , for instance , the spine or the shoulder muscles . Moreover , the way that different parts of the body layer up and come out at different heights create a sense of depth . This use of contrast and depth makes the sculpture appear more realistic , and brings the sculpture to life . As a result , Henri Matisse is able to explore the beauty and complexity of the human body in his low relief sculptures .
Critical Investigation - Henry Moore Unlike Henri Matisse ’ s style and approach , Henry Moore ’ s intention is more focused on the simplification of shapes . For example , on one of his works , “ Wall Relief No 1 ”, the different parts of the body come out and goes in gradually , creating smooth curves within the wall of bricks . This represents flow and motion , and therefore emanates a sense of dynamic movement , almost as if the body itself within the walls are moving constantly and freely . Furthermore , the body acts like as though it is about to force itself out of the wall , creating the illusion that the figure is coming to life . As a result , Henry Moore is able to bring the figures in his relief through the idea of motion and hence the illusion of dynamic movement .
Communication of Ideas and Intentions After studying the techniques of both Henry Moore and Henri Matisse in low relief sculpting , I have decided to incorporate Matisse ’ s level of detail and definition , but also Moore ’ s sense of flow and motion in my low relief sculpture . For the parts of the drawing , “ Two Figures Crouching under a Shield ”, that captured my attention , I try to apply great detail and definition in order to create effect . For example , in my work , I use detail to highlight the figures legs and the muscles on it . This is because by doing so , it conveys the idea that the figure is trying to fight and survive with all its strength , conveying the sense of struggle . By emphasising the muscles , I was able to replicate and intensify the concept of struggle which was originally depicted by Raphael in his drawing . On the other hand , I also tried to imitate Henry Moore ’ s use of smooth curves . In my work , I create a gradual elevation between the background and the body . This in turn creates the sense of sharp , dynamic movement , emanating panic and distress from the figure . Moreover , like Henry Moore , I tried to create the illusion to make it seems as if the figure was trying to force itself out of the plate . This is because by doing this it again conveys the figure ’ s sense of panic and struggle , as well as its desperation to escape from danger . Overall , by using the techniques of Henry Moore and Henri Matisse , I was able to convey the sense of panic , struggle and desperation through dynamic movement and the contrast in detail .
CITY OF DREAMS CRITICAL INVESTIGATION
I decided to create a collection of prints , combining various combinations of intaglio and relief prints with red , black and white paint . I mixed the red paint with grey to lower the saturation and evoke Delhi . The colour matched the colour of sandstone , a material used commonly for the old buildings in Delhi like the Qutub Minar . I chose Delhi because it is a powerful city with strong visual motifs that are close to me . I wanted to recreate a slice of the rich history of Delhi that I had witnessed in my time there .
The high contrast between the streets and the negative space that suggested the presence of the actual city created complexity and harmony . Since I was basing my piece off real maps of Delhi , the patterns reflected the harmonic nature of the
city .
I created a series of prints , with 4 layered prints becoming a part of the final collection . The layered prints were made with duller hues and with a slight offset between the first and the second layer . I think that achieves an unnerving effect , adding discordance to the piece . This unsettles the viewer .
This is in opposition to the non-layered , bright prints that combine warmer hues or comforting rich black with a gritty sandstone texture . Even here , however , the technique lends to beautifully complex areas of brighter and dimmer hues . In varying values this way , there is a larger sense of movement that remains a tiny
undercurrent .
The 12 pieces I selected for display combine to form a range of light and dark , warm and cool , pieces . It is a piece that is impactful as a whole , but where you can focus in on a specific part of a specific sheet and still find interesting interactions between the paper and the ink . I hoped that this would make it a piece that would be unique and powerful to a viewer .
Left Close up of black and white print from City of Dreams . Note the intricate detailing of the streets , accentuated by the high contrast .
Right Close up of layered print combining low-saturation and gritty textures with a slight offset to create tension
George Fisher
Aryan Goenka
Sandy Milligan
Reflection on Technique In the process of creating my low relief sculpture , I became more aware of how even the slightest elevation of the clay ’ s surface creates an illusion that makes it pop out a lot more than it does . As a result , I had to consider the height of the elevations , and ignore real life sizes and proportions . Whilst some body parts should be held back to blend with the background , others should be emphasised in order to further emanate their expressive qualities . From this , I discovered that what separates low relief sculpture from other forms of sculpting was the idea of proportion , or lack thereof , and how everything is amplified . In low relief sculpting , the parts that contribute heavily to its overall expression are brought out in order to emphasise , which meant that less important parts had to be held back . By doing this , the artist must be able to think three dimensionally , and consider the role of different parts of the figure .
On the right is my contour and shape study on one of Henry Moore ’ s works on his low relief sculpture . In this study , I was investigating how Henry Moore was able to create a smooth gradual elevation as well as the simplicity of the shapes of the body parts which enabled him to convey the sense of flow and motion . Through this study , I found out that the slight blur of the boundary between the body and the background , or in other words , the gradual blend between them was the crucial element to create the
REFLECTIONS ON TECHNIQUE
“ Wall Relief No 1 ” Relief Sculpture - Henry Moore
Top Close-up of print from collection compared to the color of the Qutub Minar in Delhi . The sandstone colour sets the prints firmly in the city .
Left Original Work City of Dreams Intaglio and Relief Printing
Printmaking adds a lot of texture , as I had hoped . Where I am printing colour , it leaves the texture of the material I used for printing . However , what I did not anticipate before some experimentation was the larger sense of movement that emerged in the process of printing . It is most apparent in the prints which are brighter , because varying levels of ink on different parts of the printing sheet leads to brighter and dimmer areas on the map .
This creates a subtle undercurrent of movement beyond that which is obviously visible on the piece . It makes the pieces more interesting . It feels more like Delhi as well , reflecting the wear on the sandstone structures that would snake with natural and fluid movements .
Printmaking also allowed me to create near-perfect offsets on a physical surface during layering . Since the prints preserve the same image on every run , a slight offsetting before putting it through the press achieved the unnerving feeling I wanted to achieve . Since it was a replica of the previous print , it was subtle and appropriate . The textures interacted beautifully . When I printed the reddish hue in relief over the intaglio print of the black , bits of the black had already coloured the rest in a textured and faint darkness . This created a larger sense of gloom and was perfect for the effect I wanted to achieve .
Finally , the clean edges of the street create the artificiality that brings the composition closer to design and to manmade structures and movement . This helps balance the highly natural movement and composition of the rest of the piece , such as the fluid variations in values and the sandstone hues standing with the white and the black .
Mark Powell Reflection onTechnique fpTwcal investigation
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Communication of Ideas and Intentions The main theme behind this work was the destruction of perfection . Through this art , I thought my theme progressed significantly , not only through using distortion , but creation . I enjoyed using such a different mattering to make my art , and this added to the organic sense I was trying to achieve . I was especially fond of the textures that were created in the art , and the shadows that came from this . The glue dried as of it were still liquid , forming confusion and uncertainty about the art . With this work , I experiences working with sculptures , something outside of my comfort zone . This meant that my theme was now broadened , expanding the art physically and emotionally . For this , I took a large step out of my personal comfort zone , and I think it was very successful . The process shows expressive potential through multiple methods being combined to create a strong piece . The shadows and highlights of the work emphasised this , bringing the three dimensional shape to life , with a natural way of choosing what was most prominent in the piece . Through this lack of control of detail , the aggressive destruction and distortion was amplified .
Darcey Friend
Hugo Lagergren
The Destruction of Perfection - PVA series
Critical Investigation When creating his work , Radu Belcin was focusing on the identity of the characters he was creating and accentuating the natural features of their faces . He mainly achieved this is most of his piece through “ a chiaroscuro-painted atmosphere ”. These shadows and highlights pinpointed the predominant human features , especially in the piece shown , using the plastic appearance to juxtapose the soft face , as well as emphasise the main aspects . Dala Nasser takes more of an observational view on her art , using normal objects , with a transformative mindset , creates a piece of art with the incorporation of other media . She is keen on letting the work speak for itself , using materialistic tones to merge the past used of the object and the current art . I think both have been successful in their aims , due to the atmospheres and meanings that have been extrapolated , be icing affective pieces . I think both pieces have similarities in the sense of having an effect on the viewer . Since both heavily rely on materials , I think it brings more consideration to the viewer of the importance of objects that are otherwise seen as ‘ rubbish ’. Through this , the viewer is then bound to pay further attention to how the object has been shaped and morphed to make a piece of art . In Belcin ’ s case , this changes the model ’ s facial structure , fitting in with a theme of distortion , making the nose , mouth , and eyes more important in the painting . In Nasser ’ s work , this is brought about differently . Through adding more elements , such as colour , shape and texture , the structure arises in the piece , bringing it together and combing it with meaning . My work has similarities with both of these pieces . They both are using v unusual methods and materials to construct a shape to work with . But I took this a step further , drawing inspiration from Belcin , using this material to mimic the human form , in the method of photography and sculpture . This worked as a combination of both artists , taking their appreciation for form , and making them work harmoniously .
Carys Newsome
‘ Find Me Where I ’ m Hiding ’, Radu Belcin , 2015
Reflection on Technique The work with the pink and grey tones was initially an experimental piece , using a mixture of acrylic paint , water and PVA glue . I started by pouring the acrylic and placing the photographs on top . This meant that they wrapped and folded , so the faces were not able to be seen . Once this was dry I added the colour with PVA . Initially this was just to see how the two methods compared , but I decided to use a mannequin head and heat to put the shape through the centre of the work . This created a subtle face , being prominent from certain angles . I enjoyed the texture and colour change that the heat had created in the material , and when it was hung and photographed , the liquidity of the work , appearing organic inspired me to make more . The second piece is show , using more murky colours to fit along the theme with the rest of my work . I ensured to place the photographs down first to prevent the paper from curling . I also used tracing paper to print on so that the entire piece has the same , essence . I purposefully left space for the glue to set for later manipulation . I ‘ Myth of the Lamella ’, Dala added many faces to this , as I wanted it to be a
Nasser , 2015 stronger piece , including a multitude of faces , along with the others shown . I used the same method as in the experimental piece , but only used PVA to allow for the transparent appearance . I wished for this to happen so that the faces were more subtle , complimenting the other photography that was included . I also adapted from the first piece that I made , including more colours that worked together to make the piece flow more sequentially .