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Sooooo, oh man! This semester was INSANE! I literally didn't think it was going to ever end. But thank god I'm finally on break. Now it's time to get all that schooling that I've been in, let it float to the top, through the sifter and try and apply it all to the artses that I make on the side during break.
The next few days will just be a gathering of my sketchbooks, paintings, drawings, etc. and just pretty much playing catch-up. I have sooo much to upload, and then it'll be time to create even MOAR!
I guess I should get to it...
Let's start with Idea, Process, and Critique (IPC class):
Consumption Junction
Title: Consumption Junction
Date: October 18, 2012
Medium: Sculptural Form
Notes: My sole purpose of this piece is to show, in a very literal sense, that the energy drinks that people consume are speeding up the process in which we expire. Much like batteries, the human body can only withstand so much energy intake before it overloads. The same can be said about energy drink consumption. It tends to wear on the body rather quickly.
This piece was actually created using an energy drink and ibuprofen. We were required to make something using one repeated form (in my case the pill form) and make it mean something.
Addiction Transformation
Title: Addiction Transformation
Date: November - December 6, 2012
Medium: Photoshop
Scale: Original Scale Varies
Notes: I am exploring the thought that one can literally become addicted to anything. Is it possible? Can an addiction eventually become an obsession? In that same vein, can it even become a life-threatening compulsion? From my research it appears that anything can become addictive through sheer repetition.
The work presented here is my exploration into all these aspects at once. I initially started with a photograph, taken every twelve hours (one at 10:00AM, and then one at 10:00PM). This step was meticulous as it could impose upon anything that was being done at the time. After this simple data collection had ended, I gathered up all these images and began to paint them all, one-by-one. They started as small digital paintings (thus the first one being the smallest), and eventually became larger. This is to represent that an addiction always starts small, but develops into a full-blown, can’t live without, obsession.
Digital painting is another aspect that is prevalent throughout this piece. It is representing that ‘quick-fix’ that one can experience through some drugs. It literally has no dry time, and can be corrected extremely fast, so there is much less risk involved. Thus the person attempting this can get quick satisfaction from this type of media.
I am exploring the transformation both physically and psychologically that one experiences in the throes of addiction. Each image’s quality gets a bit more diminished with a crest at about image fifteen. The viewer is meant to see a visual connection between the image quality and the figure represented.
Through research, it shows that the minimum amount of days it takes to develop (and break) an addiction is actually only twenty-one (thirty for maximum impact). These two recurring numbers found their way into my piece. The number of paintings presented takes on this minimum, while the time spent on each painting takes on the latter number (thirty minutes each).
The doors over each piece are to represent the unknown when first beginning an addiction. They are each numbered to simply show the day that each painting was done. These are hung in a random fashion to show the mindset that one has when starting an addiction, meaning you never know where you’ll end up or even where you’re beginning when first undertaking an addiction (which initially one might not view as an addiction).
The work presented here is my exploration into all these aspects at once. I initially started with a photograph, taken every twelve hours (one at 10:00AM, and then one at 10:00PM). This step was meticulous as it could impose upon anything that was being done at the time. After this simple data collection had ended, I gathered up all these images and began to paint them all, one-by-one. They started as small digital paintings (thus the first one being the smallest), and eventually became larger. This is to represent that an addiction always starts small, but develops into a full-blown, can’t live without, obsession.
Digital painting is another aspect that is prevalent throughout this piece. It is representing that ‘quick-fix’ that one can experience through some drugs. It literally has no dry time, and can be corrected extremely fast, so there is much less risk involved. Thus the person attempting this can get quick satisfaction from this type of media.
I am exploring the transformation both physically and psychologically that one experiences in the throes of addiction. Each image’s quality gets a bit more diminished with a crest at about image fifteen. The viewer is meant to see a visual connection between the image quality and the figure represented.
Through research, it shows that the minimum amount of days it takes to develop (and break) an addiction is actually only twenty-one (thirty for maximum impact). These two recurring numbers found their way into my piece. The number of paintings presented takes on this minimum, while the time spent on each painting takes on the latter number (thirty minutes each).
The doors over each piece are to represent the unknown when first beginning an addiction. They are each numbered to simply show the day that each painting was done. These are hung in a random fashion to show the mindset that one has when starting an addiction, meaning you never know where you’ll end up or even where you’re beginning when first undertaking an addiction (which initially one might not view as an addiction).
Title: Entwined Revelations
Date: November 26, 2012
Medium: Sculptural Form
Everyday, I go through seeing people ignore others, trapped entirely in their electronic devices. I understand that we live in an age of technology, but when did man get taken out of the equation. Technology has completely withdrawn humanity from nature. If you go to a park on any given Saturday, you don’t even see children out on the playgrounds anymore. I have gone entire weekends, walking through parks, and noticing the complete lack of children. When I was a child going to the park was the only thing that we ever wanted to do. We would play and interact from sun-up till sundown. It has become a very sickening problem that needs addressing. Humanity is so far out of touch with nature because of our complete obedience to our technological devices.
In my opinion the world has gone from a world of regular social interaction to a ‘screen’ society. We are lacking interaction in most forms, making way for the virtual world to overtake the physical. Humans rank as one of the most socially dependent creatures in the world, but it is amazing how a social need affects birds. They need this social interaction. The small subjects in the trees are going to be tiny tinfoil birds with televisions for faces. They are to expressly show the visual representation of what social interaction looks like. The wires themselves are to be a clue as to the way we interact with not only ourselves, but to nature itself. I plan on using small electronic devices on the end of each of the wires that will play a TV static sound. This is to show the distinct disconnect between man and nature.
The viewers themselves should be able to climb into the trees to view the subject matter up close. As well as pick up and inspect the birds themselves. The dangling ‘sound devices’ will be discarded electronic devices to show how fast we move in this purchase and throw away consumerist society.
I want to make sure to have a very disturbing contrast between the electronic man-made versus the natural element.
Technological Sea
Title: Technological Sea
Date: September 18, 2012
Medium: Sculptural Form
I plan on using a piece of wood, affixing a sculptural form of a hand to it, then draping a multitude of wires over the hand one-by-one.
The hand is to look youthful and smooth, thus I want to use tape to bind the hand after it's been sculpted out of tinfoil. The point of this is to not only help the hand retain form, but to help it become more structurally sound for when I drape the wires over the piece.
I will affix the hand down with glue and more tape, all the while attempting to work as fast as possible.
I will then drape wires onto the piece one by one, affixing them down on the edges so that they can stay free on the inside of the piece. To make the piece interesting and convincing, it would be best to use wires that are differing colors and thickness.
The piece is to be represented with the wires being 'water' and the hand attempting to break out of it, but unfortunately getting sucked right back in.
I'll have to update more soon with my next class!
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