omateosfad-blog

[omateosfad-blog]

The first Gallery visit.. at the end?

The first visit at the end. Because? The visit to the exhibition about Lee Lozano's work was vital for the development of my work. The notes in the little notebooks, the way of writing everything down, of keeping a record as if it were a diary has helped me to understand that it is the best way for me to develop a conceptual work. The concept has to be developed on paper but not only with drawings and designs.

Looking for the lines that were projected from some of his large-format paintings in the small notebooks, I saw the calculations, the underlying ideas.

I've always liked to play with measurements in a way that they escape the viewer's perception. They're there, but you don't see them, only if they explain them to you. But that's not the point. The important thing is that they exist. With or without you. They are an inherent part of the work.

I thought about it. I meditated. And it was my first inspiration, my first step in the way I worked. My way, always being me.

Thank you Lee Lozano

[omateosfad-blog]

“Two impossible definitions and the rich interior completed by your reflection”

Something tells me I shouldn't reveal part of the meaning of this piece on this site, but if I don't record, at least in part, the idea behind this work, it wouldn't be funny. It's also true that thanks to the fact that I don't have many followers in this blog the thing is not going to transcend too much. I hope this will help you understand what I wanted to capture. Also, that you will like it. If you enjoy it a little part of what I have enjoyed doing it will be a success for me.

I've tried to condense it as well as I could, I don't know if I succeeded or if I forgot something, but there it goes.

Final summary of the elements that make up the work, their meaning and connection.

 The Brick

Made on resin and with a fake wad of £10 banknotes in its interior. The measures of this object are 1:20 scale of Damien Hirt’s “The physical impossibility of dead in the mind of someone living”.  In the interior, the portrait of Jeff Koons looks at the observed, printed in the surface of the fake banknote. A rich character inside a hard structure, with similarities to a piece of work made from another great name of the world of art. Both linked to the monetary value of art. Famous by some of their sumptuous pieces of work.  Encapsulated fake value in an object like a brick, brick that symbolised the cornerstone of our society. Money protected by a transparent material, impossible to reach, a hard cover that protect the interior.

This brick is eternally present by its reflexion on the mirrors (between mirrors the images repeat themselves until an infinite number). Money is our universal constant. Heavy than any concept. Axis of the concepts (is on the middle of the space).

Mirrors

Two mirrors of 60x50 cm. The first concept comprised this object with the words Art and Anti-art written in the middle with mirror effect. At the end I decide to take out the letter. The first idea was to make a reference to the difficulties to make an exact definition of Art and Anti-art using the similarities between materials that add difficulties to our sight to recognise objects. In this case mirrors surrounding by mirrors. But this concept was finally discarded.  

I decide to take the letters out. I clear them, clear the mirrors and I made new letters with mirror cardboards but I decided to put behind of the mirrors. The audience is not going to see the letters that make the reference to Art and Anti-art, making impossible to them to figure about what these mirrors symbolise. More conceptual than before. Letters that are arranged in a specific positioning, anti-art have the letter R reflected to complete the word Art on the reflection of the opposite word. All the letters are mirrors that could reflect the opposites. This is the only concept that is maintained from the beginning, concepts defined by their opposites. I like to maintain this idea, but I liked the idea of cover the words with the mirrors. Now we have two definitions impossible to define, the same properties of the letters (reflecting material) are in the object that made impossible their own definition (Mirrors= another reflecting material). |Simplifying, ideas difficult to define because they are formed by the pure matter that forms the ideas. Concepts made of other concepts (the infinite repetition of an image due to be in front of another mirror represent the number of different interpretations of Art and Anti-art, which is subjective. If every person gives a different definition, is impossible to make a unique definition).

At the end, only you can give the meaning by your reflexion (and reflection). You need to be part of the equation, (being on the middle or around) to complete the piece. You are the X that solve the equation. Interaction with the environment. Like the monetary value is constant in the image, transforming and interacting with reflection, a transformer element could be added by you.

 The Space

There are two rectangles around the mirrors, they are linked to “The Brick” by its measures, is the same by 9. Projecting lines from their corners you could create a rectangle cube like the brick (and linked by its proportion), and similar them to Damien Hirst’s Shark. This invisible rectangle represents the invisible operation that rules our world. I decide to project these lines drawing in to the wall to create an optical illusion that refer to the impossibility of touch this rectangle cube, but that still there. You got the feeling that you see but is not real. Is out of our hands. An aseptic colour surrounds the imaginary cube. Marking the limits.

The highest point of the mirrors is 1,90 m. the lowest is 1.30. Is impossible to see the reflection of the money encapsulated in “The Brick” if you are not taller than 1.30 m, which is the average high of a 7 or 8 years old child. Money is not a constant in the interpretation of art in children’s mind. Money start to be present when you are growing up. For ever. In your reflexion, in your reflection.

There is a constant in the space and the piece itself, rectangular cubes. Plinth, the brick, the optical illusion that is a projection of the rectangles that surround the mirrors, the space itself. Straight lines, minimalist. But all imperfect by the manual work that is inside. When you are looking closely you see the mistakes, the imperfections that conform the piece. At first sight could appear a clean space but the manual work makes its presence when you are looking at detail. Likes the markets and money works, like our society. Manual working, transformation of material still the base of our economy and society. Looks like is better to have a grandiose interpretation of our society, avoiding looking to the roots than makes possible to everyone of us, including the highest layers of our society, to live.

I have tried to condense the relations between the market and art, but in the end, since the market system is implicitly linked to society in all its relations, this interpretation can be extrapolated to other fields of our society.

[omateosfad-blog]

Last reflection? The piece

That's how it is for the moment before tomorrow produces some last-minute changes. I'm going to give it another twist of the screw, more conceptual. I never thought that I would want to simplify a work aesthetically and complicate its concept at the same time. At first, I wanted to interact with mirrors by recreating a kind of crime scene, now I think I'm going to play with another concept that doesn't involve a physical transformation of an element. Even so, the essence, the meaning is not going to change. I think I'm going to play with the height and placement of the piece, referring even to the main concept of the work through the ages of the human being, about their lost innocence.

But for the moment I leave the piece like this for you to see (I know it must be finished). And now if you don't mind, it's time to get some sleep. That this FMP thing is keeping me awake, well, work has something to do with it too. Good night.

[omateosfad-blog]

Colour, Lines, the urgent need for the classic, trompe-l'oeil

I needed to find the colour to highlight the imaginary rectangular cube that is going to conform the 3rd cube of the installation. The first one is the blue brick that encapsulate the banknotes, the second one is the plinth, the third is the projection of the exterior rectangles that surround the mirrors, and this is the imaginary rectangular cube. There is another one, the whole space where everything occur is the 4th one. But the 3rd cube is linked by measures to the previous one. “The brick” is 1;20 scale of Damien Hirst’s Shark and the distance between the mirror and the area of the rectangles in which is based this projection are the same measure than “the brick” by 9.

The invisible link between the elements is important for the meaning of this piece. It is referring to the mathematical links that exist in our society and all it is radiated from the money. Links such our productions profits, such as all the invisible rules that come from the monetary market and influence our day by day life. Interest on mortgages, prices fluctuations on consumers goods, taxes, we can know that this thing happen to us, but this rule are out of our hands, for most of the population they are only invisible agents, mathematical ghost, numerical prays that makes our lives easy or more difficult. In relation with Art Market works the same. There are some reasons why some artists are better valued than others that, for most of the population, are difficult to understand. Sometimes is difficult to see what’s the reason because some investors expend incredible amounts of money in pieces of art that are subject of discussion in terms of artistic and monetary value. Shortly after the acquisition, some of the investors hide the artwork they bought just to play at speculation or to use it as insurance, but at the end no one will enjoy the artwork just for its economic value that makes it so precious that it is hidden in safety deposit boxes out of sight.

Hand-drawn, the line that makes the invisible visible is the reference to manual work, the basis of the system, the foundation of this society. Nothing could emerge in this economy if it is not created first, (at least in market capitalism and production capitalism; financial capitalism is linked to the former but is not directly linked to the production of goods, but this is another story) if it is not transformed by hand.  Knowledge, craftsmanship or other skills are what the working class needs to sell in order to have something in return, in this case money.

This line is a frontier with a colour that delimit an area that create 3-dimensional effect, unreal perception of the reality. Using a trick, taking advantage of a flaw in our eyes, I create an illusion of deepness.We know that is not real, but still there and we are forcing us to create the illusion. We need to create the illusion. Colour selection was more difficult than I thought at the beginning, I was sure that need to be in the range of blue or green palette but which one between the infinite range of colour? I take the sketch like reference.

Needed to be linked with “The Brick”, but pale to play contrast.

At the end I decided to go for a pale blue, pastel blue. I asked to Jess about the colour, she is always there to help, and she mention that the colour that I choose could be on Damien Hirst’s palette. Then, is perfect. Remember me to a hospital blue colour. Aseptic. Impersonal in some way. Neutral. Dead.

[omateosfad-blog]

Installation part 2, more problems

I do not why I made that kind of mistakes, well I know why my mind start to be disperse, is a kind of defend that my brain uses when I expend too much time concentrate in one project. Digress, I think is the term. Because I did not check the system at the back of the mirror to hung up when I try to put the second mirror on to the wall I realise that is upside down. So, I needed to dismantle the back panel, take the screws out and move the piece to a good position measuring the distance to make it parallel to the opposite mirror.

Maybe is not relevant, but this kind of mistakes could be prevent just being sure that you are resting enough, you are concentrated, and you are managing your time properly. Is warning for future projects to come.

[omateosfad-blog]

Installation

Looks like we started yesterday with the FMP and now we are working with the installation. The dark side of this part is the pressure, the minor issues that appear, unexpected events that play a negative role on this step of the process. Time control and management is key to success and do not loose the nerves. The positive part is that you start to see your piece as a final piece and maybe this is the best prize that anyone could have. See your work finished like you planned.

I found some minor aesthetic problems to solve that take part of my installation time. The gasp between the panels of the back it is (was) too large so I started to make an easy solution.

Some duct tape to start to build a strong base and after I put some masking tape to make possible some coats of painting. But I decided to put some Polyfilla to levelled and make paint to be easy to apply.

The result is good, but some problems appeared the day after. Because all the panels are connected, and my classmates are mounting their projects as well, the whole row is moving and trembling and that is mean that minor scratches appear.

Before I started to solve that issue with more Polyfilla I realise about the clips that connect all the panels. They look horrible, so I need to find a solution for them. After discussing the situation with Debbie and Neill and explore different solutions I decided to put some plywood on top and add some Polyfilla at the end.

[omateosfad-blog]

Mirrors

There are two mirrors in this composition, both of them with letters on the surface. My intention is to create words with a texture similar to mirror surface. I have been preparing some test during drying time or time’out.

Scratching the back of the mirror and painting. My intention was to substitute the ochre paint to some kind of mirror paint. Do not liked.

Using mirror cardboard. The final effect is perfect, but I do not like the way that the card board is glue it to the mirror.

Test with silver spray paint, I like the ideas to paint on the mirror. I think that aesthetically is better than the previous. But I would like to test different spray paints untill I find one with a most precise mirror effect. So time to find and buy.

After a nightmare time trying to find the painting in a real shop; buying by internet is a week to deliver at least, I deciced to take the risk and buying from internet. :(  Is not sure that the painting is going to arrive at time, but the idea of using mirror cardboard is good for me, so I leave like a backup plan. Finally the paint arrived.

I prepared the surface of the mirror that I am going to use, 60x50 cm, after cleaning  it  I made all the letters straight on to the surface with masking tape creating a stencil.

I started to apply different coats, is recommended to put at least 3 to 5 coats.

I applied 4 coats on the surface of the mirror, for a unknown reason, more coats I applied to the surface more blurred surface I have. Is better to stop. I liked.

I know that is not a perfect mirror effect at the end but I like the final color, the light is refracted but it is opaque enough to differentiate from the mirror.

[omateosfad-blog]

Polishing

Well here it is.

Now is time to polish.

To do that task I take 3 different types of Sand Paper, because my intention is to use mechanical polishing by buffing wheels and compos at the end I will go for 120 Grit papper, 320 and 600. In case that I will do just by hand, is recommended to proceed with at lest 600 grit, but higher to 800 or 1000 grit if you can.

I have been trying different products to give it different finshing, from Brasso to Car Wax (maybe the best result for the final stage) and Methylated Spirit which is used to French Polishing. I make a good result at the end mixing the Methylated Spirit with the compos in the same way that is used with shellac, like thinner, but using the buffing wheel. At the end I applied some Car Wax on top.

Finally I could said that has been a good experience to work with all this materials and techniques.

But no worries dear reader, this not the End. I've done other things while I was waiting.

[omateosfad-blog]

The final “Brick”

The process to construct this part of the project is coming to an end.

Applying the knowledge that I adquire before and solving some logistic difficulties I finally finished with the casting.

First, you need a mould and a jacket to sustain this mould in a correct postion.

Second. Resin in this case Clear Casting Resin AM that is a water clear Polyester Resin, Acrylic Modified, used for embedding and clear casting. It is a pre-accelerated and Liquis Hardener may be used in varying amounts, from 0.75% to 3%,in my case I use 1%. The once named Hardener (at no more than 1% by weight) 22 drops per 100 ml. And blue dye, less than 1% per 100 ml in my case, just a drop per 200 ml.

Third. The Object to be embedded. And find a way to sustain the object so I do not need to do in several layers waiting for the resin to be cured.

Fourth. Following Health and Safety procedure. Mask, goggles, gloves. Me being me.

Fifth. Patience.

First dry. Now I can take the support out. And proceed.

Second Layer. Be sure that the neighborhood do not start to think that you are making something illegal thanks to your appearance, the chemical odour that coming from the drying area, and the way that you talk and walk after casting. People thinks bad after “Breaking Bad”.

Done

[omateosfad-blog]

Money

It's all about the money. My work, this project too, the relationship of markets and art, the definition of art influenced by the domination of the plutocratic system over human relations in all its senses. Capitalism is not just a social-economic system, it is so implemented that it has become a form of social relationship.

It's all about the money. My work, this project too, the relationship of markets and art, the definition of art influenced by the domination of the plutocratic system over human relations in all its senses. Capitalism is not just a social-economic system, it is so implemented that it has become a form of social relationship. 

The art market has been flooded in this last period by large investors looking for a new market niche to replace or strengthen markets that have previously lost strength. Thus, when the last economic crisis hit the traditional markets and the recession in investment made the economic stability of a sleepy middle class shudder, art markets were flooded by multi-million dollar investments that increased the value of artworks in a way that never happened before.

                                          The money “Brick”

The elemental usage of an archetypical image to provoke the observer is something that I’m going to repeat on this piece more than once. One of the most important parts of this piece is the “brick” that is based on a piece of art that use an archetypical image of fear, a Shark. The use of the summum of fear, the presence of an Apex predator, the perfect killer, to emphasise the subject of the Damien Hirst’s Shark is traying to be replicated on this small brick that is going to be side by side with the mirrors, but instead of using a fear of physical death I will use a different fear. Maybe is more mundane, less deep. But is linked with the most powerful tool, weapon or invention in the history of the human kind, money. A note is going to be my Shark, in a similar tank, but with a person that symbolise the wealth and success in to the Art world, the other grant figure, Jeff Koons

Using Photoshop and Illustrator and jumping from my site out of the blue when I discover that my personal printer, like many others, automatically autodetects if you are trying to scan a banknote, I intend to make a banknote with the face of the artist. They may consider it a crime, but the use of that ticket is artistic, does it matter?

I try with papers, in the end I stay with the most vulgar, because my objective is visual, they will not be able to touch it, it will be untouchable, it will be beyond the reach of anyone. Although adding PVA, and PVA mixed with water, I get a very similar finish to the original. Once finished, I make papers with shades of color similar to the original notes, but only color is important. I want to make a wad of cash.

                                  True, false... does it matter?

This project is leading me to explore things that are too risky in many ways. But authenticity, the false, is constantly present. How much money is in there? If it were true, I would not be able to pay for what the final shape of this piece has cost me in materials and working hours. Monetary value...artistic value...personal value.

What is the value of a medical consultation? How much do you value a cure for a disease? Is monetary value correlative to personal or human value? How much do you value your life? Is it the same cost as value? Do we value life enough? or do we just give him a cost? How much does a life cost? How much does a bullet cost that takes a life? How much of a cure? Is the Mona Lisa worth more than a life? Can I borrow some money?

[omateosfad-blog]

Jacket, Casting and a resume of the idea. The end is close...or not

Constructing a mold, apply casting resin and why I am doing it.

I have not time to repeat the whole process again, after so many changes, test and failures. The good point is the technical points that I learned during this process. Mould making in Silicone Rubber is a long learning technique, even with the appearance, a priori, that could be a simple task. Small failures that multiply exponentially if you are not looking to detail could make impossible to finish the final piece: proportions on mixture related with the proper material and its catalyst, not right amount of material apply to the surface, change of materials and quality, lack of control of any aspect of the process could be fatal for the construction of the mould.

And after the mould here comes the casting. And this is the funny part that could make the complete work to lose your nerves and be frustrating. In my case I choose to go for clear resin, General Purpose polyester resin, and is the first time that I tried to work with this kind of material. The reason to work with resin is because I’m looking for a transparent or semi-transparent material to reproduce a glass like effect on one of the elements that build the whole piece. The intention is to reproduce an effect and give it a certain appearance, like a fish tank that contain an object, but need to be durable, strong and heavy just with the intention to add a not visual meaning to the object. Durability like a permanent attribute to the object, linked to the constant presence in history of the object that is encapsulated inside, heavy in refer to the weight of the object just as the weight that the object had in our every day life. Strong enough to provoke a breakage or crack not only to the other objects that surround this resin piece so to break everything that is contact with it. There are other materials that could express all this characteristic, glass, Perspex, plastic but I found this material, resin, more interesting to work with. The process to produce this piece, hand-made and artisan processed, is linked to the meaning of the final piece. There is a value that need to be added to this object because the object itself have a contradiction inside, in the interior there is a fake object that is traying to appear authentic and valuable to the eye of the observer, also is the soul that lives inside our society but sometimes is difficult to see it because there is a blur between our sight and the object (in this case the appearance of formaldehyde). Is not possible to see clearly but is there, looking at us, observing and protected by a hard cover. An object that its real value is difficult to determine, a fake object that hides the real value because of the time and the effort necessary to do it, a cover that need to be done expending time and money that is expensive than the basic monetary value of the main object. This relation between the hand craft creation process and the value represented inside the object tell about the contradiction that underlie on the valuation of an object, this contradiction refers to the valuation of the Art works. What is the principal aspect to take care of in a valuation?  Monetary value? Technical skills? Concept? Material?

I constructed the form to be replicated on clear resin with plaster. The Form have the same proportion that Damien Hirst’s “Shark” (The physical impossibility of death in the mind of someone living”) , exactly 1:20 of the original piece.

After the form I did the mould, learning from previous mistakes.

Following the same process that I used for the first jacket I did the second.

 The parts that has not been well covered is going to be used like blank spaces to help to me to remove from the mould. But I need to put more plaster, a different one this time to make a firm jacket

Process done

Now the most interesting part, casting resin. But before continue, what is going to be encapsulated?

Next Money, money, money money.....

[omateosfad-blog]

"The Other”... Silicone Mould

I know that I start to be tiresome. But...:

Like I explained before I did this second mould with more knowledge about the process, and I little bit more patience added to my spirit.

Do you remember what I explained before? Flashback:

Because the mistake with the direct casting on the perspex sheets I decide to make another silicone rubber mould. This time I added an thixo additive.

This Thixo additive is a clear lquid which, when added to the T20 and T28 Silicone Rubbers changes their consistency from flowable to non-slump (i.e. Thixotropic), but at the same time produces an excellent brushing mix. Also can be used for mouding immovable vertical objects. In this occasion I used this T28, because it has a high tear strenght, easy mould release and long life. Also firmer that T20 and perfect to casting polyester resin. After add the catalyst at 5% to the Silicone Rubber I added the Thixotropic agent.

I could feel how the mixture change its consistency.This is working better.

To obtain good adhesion between layers, (this time I would like to be sure that is not going to be thinner enough to break on the edges) the next layers should be applied when the first is partly cured but still sticky. If the first layer has fully cured (24 Hours) it is difficult to obtain excellent adhesion between layers.

So, time to do other tasks.

Not worries at the end the mould was perfect.

A picture

Next the Jacket and final casting

[omateosfad-blog]

Form 2

Because the mistake with the direct casting on the perspex sheets I decide to make aonther silicone rubber mould. This time I added an thixo additive.

This Thixo additive is a clear lquid which, when added to the T20 and T28 Silicone Rubbers changes their consistency from flowable to non-slump (i.e. Thixotropic), but at the same time produces an excellent brushing mix. Also can be used for mouding immovable vertical objects. In this occasion I used this T28, because it has a high tear strenght, easy mould release and long life. Also firmer that T20 and perfect to casting polyester resin. After add the catalyst at 5% to the Silicone Rubber I added the Thixotropic agent.

It was a better result, more consistent mould at the end. No failures on the edges.

But before any of this process started, I needed a new FORM.

So I used the back side of the perspex sheets that I almost discard previously to construct a mould where pour some plaster and construct a new form.

To prevent any mistakes produced by the marks that resin could left on the perspex sheets I applied some layers of paint, spray paint in this case. This kind of paint gives a good coverage and a smooth final surface.

Taking the advantages of the smooth and sharped shape that perspex gives to me, a fine form appear at the end.

After refining the piece thanks to a sanding I proceed with the 2nd Mould.

[omateosfad-blog]

Castin Resin, Mistake

The first silicone mold was defective. Not having added a thickener to the first mix, gravity made his own and stretched the rubber too much and the edges were too weak. When they were removed from the mold, the edges were open, like cuts in the skin. Then I had to restart the process.

This time I tried not to go through the experience of building a new silicone mold. I acquired the necessary perspex plates to be able to build a mould where I could directly cast the resin. After researching the best way to build a mold made with loose pieces I got a fairly correct and smooth shape. So I proceeded with the resin.

My impatience gave me a hard time, well, my impatience, my lack of experience in these matters and the general absent-mindedness that characterizes me. I forgot to remove the protective plastics from the perspex plates.

The resin has the particularity of being exothermic, it emits heat, even more when combined with the hardener, (in this case at 1% based on its weight). When it was processed together with the presence of this protective film, the heat deformed the plastic and created a pattern that was not foreseen, making it useless to have put linseed oil for its later release.

When I have been concerned about this problem I cutted the process, and after was dryed I took it out, but to late for the perspex sheets. All of them were deformed by the resin that was attached to them.

Anyway. I loved the pattern and the final colour of this mistake. But I needed to start again.

[omateosfad-blog]

Casting Resin, Test

My first impression was that the color was too intense, I had to reduce the amount of dye in the mix. I still liked the first results. I only used the bottom of a couple of plastic bottles, not quite sure that the resulting pieces could be separated as my first intention was more focused on observing the behavior of the resin. Drying times, reduction of size, thickness of the compound with and without catalyst, variation of shades with the dye : freshly cast and dry.

[omateosfad-blog]

An endless Process. Form 1

It has been a fun but stressful process, materials that do not arrive, lack of time, lack of knowledge that translates into work with suspicion. Well then, an infinite number of problems for such a small and not very striking piece aesthetically speaking.

I started trying to create a piece of simple but as accurate as possible, a rectangular cube. For this I had to look for materials that would allow me to create a mould as smooth as possible, from sanded wood to worktop, from Perspex to MDF.  In the end I had to create two shapes, the first one was destroyed during the demoulding of a silicone mould. 

Here I explain the process of the first shape and mold.

1st part of the process “The Form”

I constructed the form to be replicated on clear resin with plaster. The Form have the same proportion that Damien Hirst’s “Shark” (The physical impossibility of death in the mind of someone living”) , exactly 1:20 of the original piece.

Maintaining this proportional measure, I started to make different forms until I achieve a piece with smooth facades and straight edges. The good part of work with plaster is that gives to me the opportunity to sand some parts of the shape an achieve the smooth surface that I am looking for. I was quite happy with the result.

Using previous knowledge about casting plaster I reinforce the edges of the mould to do not have a leak that could be result of a fatal mistake.

The first “From” that need to be sanded.

I have been investigating some different materials to proceed with the mould making. At the end I choose silicon rubber, by its accurate result and because gives to me the opportunity to make different copies in case that I need. I bought T28 silicone rubber and T6 catalyst from Tiranti, this rubber is slightly more robust that the T20 silicone rubber and I think that for the shape that is going to be used is going to be necessary this kind of strength. I started to make some test with 100 ml and 5% of catalyst by weight. I realised that is easy to apply to the surface of the form, and I liked the smooth surface that ends when is dry. Thanks to the gravity the rubber accumulates on the bottom of the shape, where I took the precaution of build a barrier to prevent any spillage or scape. This pool created an useful protrusion on the mould.

As part of the creation of the mould on silicone rubber I need to create a jacket that is going to sustain the silicone rubber. I made the jacket with plaster, to do that I build another mould around the silicone mould with the piece inside and I pour the plaster inside being sure that I leave at least 1,7 cm between the wooden mould and the silicone rubber.

[omateosfad-blog]

National Gallery of Modern Art April 2018

There is a good thing when you are making the job of a guide without being a professional, you learn while you are trying to explain. This is happened to me the past April during my parents visit to Scotland.  I was trying to answer some questions to my parents about the most contemporary pieces of the exhibition, trying, because there is a long way to me to run until I can consider that I have a strong basic knowledge about this kind of artistic expression. I am trying to analyse different aspects of the pieces, pattern, colour structures, composition, theme, how interact with the space surrounding and the observer. Maybe I created more doubts or disconcert on my parents, but it helps to answer me other questions about how I used to interpret similar pieces of art during the past and how I could read the artist intention.

 Sara Barker

 There are some pieces that call my attention in terms of composition and play with the space from Artist Sara Barker. I really like the way that she plays with the space of a painting, a traditionally 2-dimension media, giving to the painting an extension to the 3 Dimension that interact with the viewer, in a way that is forcing us to move around looking for different angles, more extremist sight that any formal painting could provoke to us.

Jenny Saville

I love her paintings. I could consider that is one of my favourites contemporary artist. I never expected the size of some of her works and the expression that apply to the paintings. Energy is the keyword when you go close to some of the paintings and observe the brush stroke, the energy that this kind of painting demand by its size is easy to feel in some of the big scale works. Movement that define the path of a brush that describe a visual experience deep like few others. In occasions some of her paintings it has made me feel the same as when I have been in front of the works of some old masters. Monumental sizes and the human body like a centre theme remembered me some paintings that I observed in the cathedral of Seville so many years ago, a mixture between the body cult and the reminiscence of a terrifying view.