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However, I quite liked having a mix of different prints and colours. Finally, I printed a simple black print of my portrait after the reduction. Then printed a ghost print on a mount board and using a precision knife
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rent p me o
nd my me
Here are some process arted photos. I carefully used the reference rence lines i had d to drawn to capture the tones of the face. f the er I to o do a nal
PORTRAIT PROJECT:
my r the I
les of the first set of prints: The t nd blurr my the s he unalig cre op dyna ry don d.
Ideas and Intentions
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Angelique Trouve
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Emily Wade |
What is Relief Sculpture Relief, comes from the Italian relievare,“ to raise”. In sculpture, it references to any figures project from a supporting background, from a plane surface. Reliefs are classified by the figure’ s height, projection or detachment from the background, into“ low-relief” and“ high-relief”. In‘‘ low-relief’, the figures are only slightly detached from the background, with minimal undercutting oulines. However, in“ high-relief”, the figures are at minimum half or more of their natural circumference from the background, and might be completely
disengaged from the ground. Critical Investigation
Relief Sculpture
I have looked at the relief sculptures of two significant artists, Antoine Bourdelle, and Henri Matisse. There are correlations between these two artists work, and reflects the developments of relief sculptures. Antoine Bourdelle, the teacher of Matisse, a crutial, and significant artist, along with Rodin( his teacher) has declared the revolution, and commence of modern sculpture. Bourdelle’ s piece, « La Danse » is a relief sculpture on the façade of Théâtre des champs Élysées, in an Art-Deco style. Bourdelle’ s piece was inspired by two dansers, Vaslav Nijinski and Isadora Duncan. However, both as a feature of Art-Deco, and the style of Bourdelle, the « La Danse » Antoine Bourdelle figure has been flattened, instead focusing on volume and capturing the realistic movements of the dansers. In « La Danse », the silouhettes and the features of the body has become angular, and which has also portrayed the figures in an unnatural human posture( such as the female figure on the left). However, we can still preceive the softness of the dance moves, suggested by the lines of the draperies of the fabric. This has discovered the possibilities of depicting the human figure, perhaps, the human body could be in stillness, but using other elements to reinforce movements: exaggerating the lines of the fabric draperies could suggest movement. This has opened up
« Nu de Dos » Henri Matisse opportunities, and has given a new concept to relief sculptures, but also sculptures in general, that capturing realisticness is no longer the priority, but discovering the possibilities of the portrait of the human body, how human bodies, and 3-D figures be blent into 2-D, objects of softness can be depicted angular, fleeing from the traditional and established rules. Inspiring the simplification of human figures of contemporary artists. Which has led the creation of Matissse’ s creation of‘ Nu de Dos’.‘ Nu de Dos’ discusses the possibilities of the portrait of the human body. The first state( first piece) of the relief sculpture has captured the softness, and accuracy of the back of a female figure by the use of‘ high-relief’, capturing precision, and natural curves of the human body, full, and fleshy. The background, having slight curves, reinforcing the conrtast between light and shades in the background, and creating depth despite the flat surface of the relief sculpture. This is all responses to the traditional codes that a sculpture must‘ be alive’ and stated by the German philosopher Johann Gottfried Herder, that“ flesh must come to life... We must believe that we touch it and feel that it is warm in our « Young Man » Pontormo hands” which has defined the traditional values of sculptural aesthetics. However, as slowly approaching Stage 4 of Matisse’ s‘ Nu de Dos’, the figure has been unreservedly simplified. Gone the curves of a human figure, leaving only the fleshy sihouette of the female body resembles the female human figure. Nevertheless, Matisse has opened a new era. The curves or any forms of bends of the figure has been removed, leaving only thick, geometric shapes, in an attached manner to the background of the relief sculpture, highlycontrastingwith the first stage of the relief sculpture. Matisse has expanded the boundaries of possibilities of depicting a human figure. The figure can be abstract, conveying only essential information of the body, of the figure( such as fullness in Matisse’ s piece), and letting the body, integrated into the background, looking beyond any anecdotal remarks, anything provokes imaginations of the figure is removed, and challenged.
My relief sculpture
Andrew Wang
Communication of Ideas and Intentions I highly appreciate the concept of Matisse’ s‘ Nu de Dos’, as it is rather experimental, rather rebellious, creating a new era of sculpture, a new definition of the depiction of the human body: it could be simplified, and challenging traditional thoughts on the aesthetics of sculptures. I would like to discover further into Matisse’ s thoughts while creating the relief sculptures, such as‘ how’ to simplify a human figure, while preserving the features of a body. I have made reference to Pontormo’ s‘ Young Man’ piece, which Pontormo has accurately captured the silhouette of the body, and has in a life-like manner drawn the muscular features on the young man’ s body. Pontormo is intending to create a youthful image of a strong young man doing work. To remove the layer of identity from the image, first of all was to remove the head, remove any facial features that the audience may draw their attention to. Therefore, I have made a charcoal drawing, removing the head, and has not accurately drawn the body, the muscular details of the portrait, with only areas of shades, and areas of light. This was then transferred onto the tile of clay, to translate it into a relief sculpture. Inspired by Matisse, I have removed all gender features, or any possible identifying features that the original picture, figure may have. Therefore, I have removed the creation of the genital parts of Pontormo’ s drawing, as well as the depiction of the chest, to disguise, to simplify the figure. The arms, and the muscu lar features have been blended into the background by using lowrelief techniques, and in relationship to Matisse’ es fourth stage. Both due to the capturing the light in shade in my piece of relief sculpture, extra bits of clay has been added to enable the part to capture lights from the side, but also creating the shadows behind the bright sides. To reinforce areas of darkness, I used the tip of the lace-draping tool to create marks in areas of greater darkness, which has detailedly captured the marks of Pontormo’ s for shades. This has betrayed the extremity of clearing identity of Matisse’ s, but this was inevitable, as by only capturing the basic muscular features of the figure will lose the specifity of a human body, the marks were almost used only to indicate the placement of legs, of arms, of the boundaries of a human body. Therefore, a human body, without identity, with no specifity, without any gender features has been created, it is a figure, only in light and shades, no information can be conveyed, not youthful, not powerful, not strong. The figure is beyond any anecdotal remarks, provking no imagination, no emotional affections to any of the viewers, just like Matisse. I wanted to audience to focus on the body, to realize the significance of the‘ outer-appearance’ when we are conveying a portrait of a person, or in daily-lives, now that this has been stripped, can we still tell the identity of the person? Can the viewers, still the relate from the low-relief sculpture to Pontormo’ s drawings? To his ideas that he attempted to convey, through his drawing.
Reflection on Techniques Part of stripping away the identity of a person, is to portray as if insignificant. I have adopted and utilized low-relief techniques to depict this insignificance of the figure, as it fades into the background, and blends with the background, to make the boundaries
Simplification of Pontormo’ s drawing
of the figure, and the background unclear. However, this has become‘ too-unclear’ that the form of the figure cannot be seen, therefore marks have been made to reinforce the shadows of the human body, to make it more visible, to remind that this is still a human figure. The‘ ridge-like’ parts on the body is meant to be the texture of the human muscles, but also capturing light and dark from an angle, which has also aided to reinforce the form of a human body, but the angular ridges has minimized the anecdotal effect for the audience to relate it to‘ strength’, but they will precieve it as a part of a muscle tissue. However, despite the fade of the human body into the background, creating this‘ wanted’ insignificant effect, at points, the body will not be able to stand out from the background, causing a difficulty to interpret that this sculpture is meant to be a body at parts /
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Cecilia Webster |
Greta Wood |
Jayci Yau |
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