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WK 15 - Assessment Day!!!!!!

Looking at other people’s work made me feel more inspired in looking at an ‘expanded field’ in a different take!

REFLECTION

I am quite proud and satisfied with my work and it has been the ambitious project that I have been most productive in, as in the past I usually leave things to the last minute— usually resulting in an unpolished work of art with needed improvement. I feel as if I’ve utilised my time well and have done the best I could do with the time I had and the plan I had proposed. It had expanded and transformed the way I wanted to and I feel that finding this dusty old cabinet in the hallway has really saved me and shaped the entirety of my artwork.

Being new to printing, I really wanted to experiment with this project hands-on and did what I knew could produce well in the stage I was in— which was lino-cut prints and photo transfers. Reflecting back on this, if only I had transferred to print earlier in the year, I feel as if I could’ve done so much more with my idea, but I’ll try get the gist of it later in the future and continue to learn/experiment with printing— especially silk screens, which I would love to try doing and I could maybe invest and practice my sewing skills from there.

Teachers had been very impressed with my work and emphasised the significance of how the cabinet had shaped my artwork, especially on the way I presented the levels of the shelves— from physical, to a spirited away state. I achieved a satisfactory reaction and my concept of a childish ritual-play of manifesting my childhood dolls, as well as my fascination with dolls and horror has been successful. Hopefully in the future I’ll be able to do even more and acquire more knowledge about techniques in printmaking, as well as continuing to work at this pace without being last-minute.

SMALL DOLLS WERE GIVEN AWAY FOR FREE!! Classmates attached them to their bags/jackets and that made me feel very happy :3 its almost as if i started a cult somewhat

^^Kajool yassified my doll with her bratz/barbie doll collection 💅💅

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MORE PROGRESS ON ASSESSMENT

I didn’t have any bigger fabric so i came up with the idea to make the dolls more grotesque— by sewing up all the fabric that the medium dolls used into one, then doing a vertical stick to create that Frankenstein effect. This was the hardest part of the project to do, especially with me doing them last minute. I have sewed their dresses too!! And then soaked them in red/blue ink, creating a sort of washed effect.

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STUVAC💤🛌

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WK 13 - Thurs (Technical)

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WK 13 - Tues

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WK 12 - Thurs (Technical)

Printing soft ground/texture

1. Place tissue(paper towel)/any material to place on print

2. Special paper on top of plate

3. Outcome will impact the impression the plate (almost like a half-tone)

4. Paint with bicherman around the plate (preferable)

Printing soft ground/texture

1. Place tissue(paper towel)/any material to place on print

2. Special paper on top of plate

3. Outcome will impact the impression the plate (almost like a half-tone)

4. Paint with bicherman around the plate (preferable)

**class was mostly coating a layer of ink on my plate and adding texture through fabric and lace + bicherman to mask the print— so there isn’t much to say!

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PROGRESS ON PROJECT!!!

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WK 11 - Thurs (Technical)

(what i did before class!!!!!!)

Acid (for class— different from nitric acid)

1. add clear plastic below etching

2. Tape below for holding (double tap end for tags/names)

3. Glasses and gloves — place into acid slowly and drain

4. Bi-carb soda for neutralising skin

5. Leave for 35 mins in total, 5 mins each

6. Remove covering, rinse with water and dry

7. polish with gamol

8. File the edges

^^outcome of my plate after all this process!

Setting a press

1. 2-3 blankets (thick top closer to the roller, thin blanket bottom) make sure to set it evenly/straight and not off-skew)

2. Make sure the prospect sheet (hard plastic) is straight or it’ll crack

3. Turn knobs very tight for etching

4. Run the valve out a bit, ready for etching

5. Add paper behind prospect sheet for covering, clean plastic sheet with methol

6. * need to water soak paper in order to sink into groves of etching plate (proofing paper) for an hour or less

7. Pick up with plastic fingers and drain water

8. Place on towel and towel over— repeat each side

9. Dry— if it isn’t shiny, its dry enough

Ink

1. Don’t dig into the ink (chardonell thick ink, or thinner ink), can mix two types of ink together

2. Make sure plate is degreased— will make printing harder if not

3. Spread ink evenly on cardboard and not by scraper —will scrape the plate

4. Do not over-wipe

5. Hard tarlatan is used to wipe the plate — wipe it on a bar before wrapping into a soft ball to wipe off all excess ink, find cleaner spots of tarlatan

6. Paper to clean up surface of plate, use high part of palm—not the top of the fingers

7. Use soft ball of tarlatan again to brush the surface (usually brush, but any for preference)

8. Carry a rag (efficient in printmaking), clean edges of the plate

Print

1. Place paper on printing press

2. Place backing paper—to prevent ink through the blankets

3. Roll to print

4. Preference— plate can be embossed

5. Wipe ink from plastic sheet with methol when finished

6. *when drying wet paper, make sure not to warp— place big tissue paper on top of print and onto drying racks

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WK 11 - Tues - !!!!PROPOSAL!!!!

RATIONALE

In my project for ‘The Expanded Field’, I wanted to explore the concept of urban legends and information hazards on the internet, especially concerning dolls. This is inspired by my childhood fear where dolls have been used as a vessel for spirits and the otherworld, but mostly by my fascination on trends online circling around early 2010s—manifests/summons and makes the supernatural participate in games through dolls and instructions.

In developing my idea, I had the strong urge to include two of my childhood original characters to symbolise the time of these trends and my youth—to make them the subject of my artwork. I intend to mass sew dolls around only these characters that would vary in size and be scattered around ‘the expanded field’ of the floor. Large tapestries and prints will be placed onto the wall with text/images concerning the dolls, especially printmaking elements onto the dolls themselves—all indicating the manifestation of a spirit or monster out of them into reality to reflect my concept of urban legends and information hazards.

My inspiration also stems from RPGhorror games that were also popular around the 2010s, especially on the game ‘IB’ where it also uses dolls and brings them to life. Similarly to the game, I want the audience to interact with the manifestation of these spirits upon looking at my work.

Notes*

Presentation went well!!! Teachers were intrigued with my idea and encouraged me to pursue in mass sewing dolls!

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WK 10 - Thurs (Technical)

Copper plate

1. Sanding— add water, 4 directions (up down, left right, diagonally left right)

2. 2 tablespoons of talcum powder + ammonia (or soysauce)

3. Rinse in water — with cotton bud for extra cleaning

4. Dry with air (airgun)

5. Heat the plate — where ink roller will be added

6. Move plate to dolly and continue rolling out the ground — if plate is too hot (make sure not to make ink application too thick— make it even)

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!!!IDEAS I HAD TOWARDS THE ASSESSMENT!!!

The Expanded Field

1. Protagonist on jack-of-all-trades in the art world— wanting to do jewellery, fashion, painting, sculpture, etc. Based on experiences from last year in Foundation 1. Either sitting in classroom, daydreaming of becoming what to be.

2. Ocs on deciding what genre of fashion to wear — grunge, lolita, etc, will show closet and their clothes—then wearing shown clothing combos

3. Ocs as magical girls, in a space-like setting, in fun adventures and on their way to defeat the big evil villain (the moon maybe :7). Will show ‘frames’ as if an animation, striking the moon. Printed pictures around the fighting scene of their adventures. Collage, might incorporate fabric or various items to immerse the viewer in the universe.

- The moon grows and gets bigger in order to overpower the sun, consuming and absorbing stars, making it brighter and larger than its counterparts. The planet of all things good, needing the suns power in order to function is in inherent danger.

- The ocs are sent on a quest to fight against the moon once and for all!

- I might draw digitally first?? In plain colour?? Just like how I draw Reimu…

4. Inspired by my love for RPGMaker — creating narrative around porcelain/or ragdolls, probably incorporating fabric, buttons, etc, somewhat

- or sprawled on the horror genre within games/art in general

- Two dolls in the centre, frames around the big artwork tells the adventures of the dolls coming to life/their adventures

- Childhood wonder: rag-dolls in the centre, but more humanised in the surrounding frames

- Showcase imagination in childhood

- Maybe I can sew a ragdoll too

- would be interesting if i could make a detective styled story but idk what/how

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WK 9 - Thurs (Technical)

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WK 9 - Tues

Research Images

Erela - ‘Jet Lag’, Do Ho Suh

Celina - Sue Hotchkis

Tianja - Xu Bing

- Calligraphy

- Defined by the Chinese language and characters

- Distortion, play on the conventions of typography and literature

- Suspended on a net/mesh – mixed media installation

Andy Wahrhol - Brillo Boxes

- Photo: screenprinting on a wooden crate to produce a brillo box

(MY NOTES BEFORE CLASS ABOUT BRILLO BOXES!)

THE BRILLO BOX

- Andy Warhol gained attention and success at his first show at the Stable Gallery

- Helped shaped the “60’s” and in a new lifestyle for an artist, especially in ‘pop culture”

- Introduced art philosophy by removing how art is conceived from what is thought as its ‘essence’

- Early 1964 — art studio moved and known as “The Factory”

- ^ had projected the vision in Rabe-lais, “do as you wish”, for couples following the path of sexual love

- Described the possession as “piss glamour” — epithet on Edie Sedgwick (Warhol muse)

- The permissiveness of The Factory and it’s audience had destroyed them, but also allowed a sense of voyeurism to drive inspiration from.

- “Drella” was Warhol’s Factory name

- ‘The Factory’ also defined by repetitive labour

- It is not much of an art studio, more mechanic - hence name

- Three-dimensional-industrial/mechanical/utilitarian products are showcased as artworks

- Warhol parodies mass production through mass-consumerism goods.

- Cardboard cartons, brand names/logos, familiar items, other household items — were used

- “To become totally mechanical in his work the way a packaging factory would normally silkscreen information onto cardboard boxes”

- ‘Malanga’ as a source for how boxes are produced

- Those who participated in ‘The Factory’ became “robots”

- Cardboard carton — was not enough for Warhol to portray machine, rather he wanted something more contributing to labour

- Warhol is compared to Duchamp (Dadaist) due to concept of readymades — eg; urinal

- ‘Dada’ — made in protest against classes responsible for the Great War

- Moving away from beauty and the point of art — brings question on what makes ‘art’?

- Warhol’s “Grocery Boxes” (most important modernist art) — 500 Brillo cartons

- To create atmosphere of a stockroom

- 1968 — Brillo boxes + Campbell soup cans, were his most iconic works at the time

- Grocery boxes needed to be made of ‘wood’ fabricated by trained craftsmen — were equivalent to paint used by an artist

- Malanga located a woodworking shop to produce boxes, delivered to ‘The Factory’ in Jan 28, 1864

- Mike Bidlo, Donald Judd, Jeff Koons, Robert Therrian, Damien Hirst — all intended to replicate objects in “sculpture”, all through the labour of others in craftswork and claim ownership

- “I like things to be exactly the same over and over again”

- Warhol: ‘readymades’ weren’t dictated by aesthetic delectation, rather the reaction on visual indifference and on no good/bad taste; polemical.

- Duchamp — “The retinal”, ridiculous that art is addressed to the retina, where everything is exposed and completely retinal

- Warhol followed Duchamp and his ideals.

DISCUSSION

- Australian Perspective: old fashioned ideas around art–eg; Archibald does not include like-minded figures like Warhol, etc.

- Making and the fabrication of design and the challenge on defining a factory and artists/studios

- Question on intellectual property, the philosophical conundrum on what is the stage of creation?

Claire Bishop - Artificial Hells* (book to remember)

- Need to assess the form as a criteria of success, speaks attention to society and the relationships/social stratification–similar to Warhol’s view on anticipation and purpose of an artwork.

- Leaving the audience with unresolved results is more compelling.

- The aesthetic connected to the participatory experiences, need to be shaped in a particular way

- Life needs to be more politically and engaged – art and life is close together

- Critiquing artworks and consideration in aesthetic, art becomes socially affirming and as community activation/enterprise projects.

- To be accepted in the art world and the general people

- Artwork eg; capitalist exploitation/labour and in immigrants – for money, intended to evoke a visceral reaction in the audience in the case of objectification/loss of dignity.

- People pay to feel uncomfortable

- Considering on class and culture

Artists to Remember: Thomas Herrschen, Kiera Phillips, Nora Shultz

DRAWING AS INSPIRATION AND PLANNING

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WK 8 - Tues

The Image and Sculpture

The Expanded Field and Print Media

- Print Media already connected to a “expanded field”

- Artist’s Books - does not belong in a gallery, just to be bought for personal use - art is shown in the form of a book

Mediums include:

- Paper Sculpting

- Founded papers and materials

Artists:

Andy Warhol - Brillo plywood boxes screen printed - homage, mimicry of a warehouse

Robert Rauchenberg -

Jasper Jones -

Lara

Tom Freedman - Paper sculpture of a corpse, information panels that structure a narrative

Toabias Buche - pictures from internet, dust covers, any form of image material

Tom Burr, Kelly Walker

Thomas Herrschman - Caveman man - collage of prints, posters, common everyday materials - idea of making art in excess and overwhelming information; contemporary philosophy.

Nervann Neueschwander - photocopies of letters, taking up space

Rachel Harrison - Copies pinned/framed on something other than a wall; sculpture

Xu Bing - Symbols on scrolls of paper hanging from the ceiling, installation deployed in various ways - secret world of information

Gordon Hookey - Paintings on canvases, protests posters/banners, challenges ideas around the gallery - interactive space

Matt Mullian - made own architectural structure, implementation of multiple walls, filling the space copies

Koji Rinji - improvised sculptures, idea on mass-production

Sarah Contos - Sydney based, 2D and found images, sewing/fabric, experimental on all kinds of materials–woods, metals, etc, redecorated on big scanned digital images –doodles, embroidery. Also works on theatre props! Screen Print fabrics, eyelash horizon.

Alexandra Peters - Syrup Contemporary Marrickville (new exhibition space), large-scale print and structural interventions, wall-based sculptures, expanded paintings

Harrel Fletcher - provided set up space for organisations to inform the audience on what they’re about.

Clara Phillips - printmaker/participatory art, big installation, use of furniture and production of site, shifting posters and images–modernist studio, lists of collaborators on the poster – shows the process of the workshop to the audience. Difficulty with institutions - especially on participatory art.

Nora Schutz - Foam and paper, gallery to look produced/wrangled–analogue printing studios, revolves around the gallery, contact printing apparatuses. Sculptures and objects/space – mass-production/replications of objects, included soundscapes. Performance art.

Are Schultz works ever finished?

Works aren’t finished in general – artists are decisive and will change work at some point

Idea of collages/3D/2D - Collages on the monumental picture, objects of the 21st century

Notes/what to read:

- Canvas Modules: texts on Andy Warhol

- Megalo printmaking studio residency in Canberra

- Claire Bishop - Artificial Hells – on participatory art

- Living as Form

On The Assessment:

- Free-standing sculpture/assemblage

- Any form that conveys the 2D image in some way

Materials:

- Large scale prints on fabric

- Drawings

- Prints

- Photocopies

- Found Imagery

- Found Fabrics/Clothing

Homework by Thursday and WK 9

Read text from printmedia:

Danto - Warhol Brillo boxes

Claire Bishop - Antagonism and relational aesthetics

Rosalind Kraus - sculpture in the expanded field

Research artists and email works to that inspire me – names and one image

Collect imagery for technical class Thursday to release onto paper/fabric (might have to print a bunch of stuff from uni)

Collect small scale materials

ACTIVITY

Make an interactive/performance art from sheets of paper!

My group thought to make a dollhouse with paper cutouts of furniture, where classmates discussed nostalgia to child play and dolls— the usage of imagination to create a story (where the cat-not shown in the photo-lives in the house waiting for their long term loved one-the cat in the portrait- to arrive), as well as that anything can happen and its up to the audience to decide what to do (house became a gravity-defying space for creativity!!)

BEC (second class

We went to the Chau Chak Wing gallery to investigate prints pulled from the archive (mystery prints that we had to deduct just by looking and some research!)

CRITICAL MISTAKE, 1971,

- Etching, laser print

ACRYLIC SCREEN PRINT ON POLYMER SHEET

Paired with “The Mechanism of Meaning”

- The artist with “The Mechanism of Meaning” is encouraging the audience to think outside the box— based on their personal ideals and experience, solve the puzzles that is provided.

- “Models of thought”

- Philosophical ideas and human condition

- “we hope future generations find our humor useful for the models of thought and other escape routes they shall construct.”

- For some reason, “Critical Mistake” is reflective of someone else’s (the artists?) opinion and discourages the viewer from answering on their own.

- “The Mechanism of Meaning” is left untouched unlike “Critical Mistake”

- Maybe to question how easy humans are influenced/follow to what they see?

- Confronting, shiny and tempting

Homework by Thursday and WK 9

Read text from printmedia:

*  Danto - Warhol Brillo boxes

* Claire Bishop - Antagonism and relational aesthetics

* Rosalind Kraus - sculpture in the expanded field

Research artists and email works to that inspire me – names and one image

Collect imagery for technical class Thursday to release onto paper/fabric (might have to print a bunch of stuff from uni)

Collect small scale materials

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‼️‼️‼️ START OF SECOND HALF OF SEMESTER ‼️‼️‼️

(transfer from screen arts to PRINTMAKING!!)

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Animation Drafts

Drafts were drawn— before I had my hands on the GH5 during the period I was still unsure about my idea :(

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Roger Rabbit was a nice inspiration/reference for my artwork as it also played on the idea of 2D animation overlay on real film!!

Who Framed Roger Rabbit (1988)