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We looked inside some of the posts by casfsubmssion-laylahepplewhite and here's what we found interesting.
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3D Final Work
'Can I Go Back Yet?' - installation
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Me trying to imagine what the hell this will look like installed properly, you can really see me pondering in this one.
This one shows me crashing out because I can't remember the measurement for the long strand down to the floor, so i continue to put beads on, measure it, and it's still too short lol.
These are some process photos from my 3D assessment. Yes I know a lot of them are from the same night, but I'm terrible at remembering to document my process. I worked on this for weeks, and only started remembering to take photos in the last 2 or so weeks, I'm sorry I will document better next time! Either way these were taken during crunch time, when I was trying to get it all finished early so I could take it in over a few days on the train. I clearly had some help, as you can see my sister helping me lift things and my boyfriend holding it up while I messed with the wires and beads. It was a community effort to help me not have an absolute meltdown.
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3D
artist statement: A
My work ‘Can I go back yet?’ explores the concept of childhood creativity and how children are inherently wired to be more creative, and this is slowly taken away with age. I worked with as many materials as I could, focusing on both the experimental aspect of the work in a conceptual way - i.e. childhood creativity resulting in the experimental forms of artwork children produce and physically with multi media forms. Through the use of corks, ribbons, postcards, beads, buttons and a range of other materials the windchime is expressive, creative, and reflective of childhood whimsy. I used materials I had sourced from a variety of places, many of which came from recycled junk to continue to explore the ideas of experimentation with new and unknown materials. This piece evokes a level of sadness in the audience, as many artists experience this ‘block’ in creativity often, often as a result of the education system and the pressure placed on young artistic children. Artists that inspired the eccentric and bold nature of the piece include Nick Cave’s ‘Until’ (2016-2017) and ‘Sounsuit’ (2012) and Pipilotti Rist’s ‘Pixel Wald’ (2016) and ‘Massachusetts Chandelier’ (2010) among many other works.
artist statement: B
Research has been conducted about the creativity of children throughout their schooling, and between 1974-2008 results present the following issue, that children are increasingly losing creativity, imagination, and the ability to be emotionally expressive as they move through their schooling. This is often coined ‘The Creativity Crisis’. My installation seeks to explore this idea, as I among many artists feel that they are less creative and are more afraid of the outcome of their experimentation than the process itself. As children there is less fear about the result and more focus put on simply ‘creating’ works. Through the use of a depiction of myself at the age where my creativity was at its peak - as seen in the artworks on the back of the ply wood figure - the figure focuses intently on the bead string she makes, which connects to a large, overstimulating windchime. The title ‘Can I go back yet?’ plays into this concept, as I, the artist, am questioning when I can get back to this period of creativity, or if I can at all. The piece is made to be viewed from all angles, as you process the figures ‘hard work’ as she makes something that may seem ugly, messy, or too ‘over the top’, whilst she is oblivious to those thoughts, focusing intently on her own creation. The intention behind this piece was to invite the viewer into my own personal experience with creativity and its highs and lows, and to allow those fellow artists viewing to take a moment to reflect on their own experiences with this concept, and how it has impacted them as an artist today. Through the experimentation within 3D workshops there is the sense that this creativity isn’t as far out of my reach as I once thought it was, working with new, unfamiliar materials in often unconventional ways, this is expressed through the experimental nature of my work.
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3D reflection
I was happy with the success of my installation ‘Can I go back yet?’ even though I had measured the roof to be lower than I had initially thought. It ended up being a refined piece, I didn’t feel like it was missing anything. I liked the beads I used in the end because they were so diverse with different textures and shapes that each strand is completely unique which was the aesthetic I was aiming for, much like a kids handmade friendship bracelet. I learnt through my check in discussion that I needed to focus primarily on my own personal connection to windchimes and what they symbolise for me, and I needed to expand past the ordinary concept of a windchime. I did this overtime through the expansion of wire up and outwards and the use of a variety of media to make the base part of the windchime. By moving away from the traditional wind chime look I continued to focus more on experimentation, allowing the work to fully connect with both my theme and the guidelines of the project.
I was given feedback upon viewing my finished work about things I could change if I were to continue to extend this piece in the future. One of the main points was the figure on the plywood, there was the suggestion of painting it with oils (If I had time to let it dry before presentation) or to fill in the charcoal with ink to darken the stain. I think with more time I would have done this, but due to time restrictions I stuck with the charcoal/pencil sketch. I also think that in the future, with more time and space I could make longer strands/more complex bead work to continue to expand the size and complexity of the windchime - further emphasising the experimentation theme. I think personally I would also choose a different space to present the work, as the white walls and wooden floor made it very difficult to properly photograph/document the work. I would likely opt for somewhere with a completely white surrounding or somewhere with light that isn’t as harsh. I learnt through this project however that not everything goes to plan perfectly, from breaking the hanging wire multiple times during testing, to snapping a full strand off 2 minutes before presentation, everything was an experimental process that I had to move through. For someone often focused on perfection and making sure everything goes exactly to plan, this project tested my limits in various ways, but I am extremely happy with the outcome of my work. I learnt how to use machines I never thought I would use, I learnt new techniques and methods of creation, and most importantly I let go of my expectations, and let my work move on its own path. For a 6 week project I feel that I couldn’t be happier with my presentation.
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Some 3D feedback from these wonderful people! Loved this class so much <33
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3D readings and research!!
THE BOMB Joeun Kim Aatchim - An artist’s drawings on silk never finished Jouen Kim Aatchim uses a wide variety of natural materials to complete what she calls ‘drawings’, experimenting with the amount of each material, the viscosity, transparency and sheen. I was drawn to her work because it feels like you're remembering something that you haven’t necessarily lived or can’t quite remember fully. Her drawings feel transient, and this is welcomed by the idea that they are unfinished. Her work ‘I shall continue to move forward with my frail sanity as my guide: a still life at triangle’ (2021-2022) incorporates mineral and earth pigments, chalk, wax, shellac ink, etc to create a fleeting, almost disappearing bouquet. Her work feels like how dreams feel like, the edges blurred slightly. I think it’s very cool!
Peter Lange-Berndt ‘Material generally denotes substances that will be further processed, it points to the forces of production at the time. The term describes not prime matter but substances that are always subject to change, be it through handling, interaction with their surroundings, or the dynamic life of their chemical reactions’ ‘Material factuality is only a springboard for leaping into abstraction and visuality, realms understood as being less physical, as art historian Hope Mauzerall has phrased it “Materiality or matter here is recognised but then cancelled out” - materials are only used to think about or to think with’ Peter Lange-Berndt talks about how materials are something that change constantly, and are used to extend our thinking and understanding of a realm beyond reality. Materials are used to show abstract thought and ideas, and hold meaning through how they are made, used and shown.
Jane Bennet ‘It hit me then in a visceral way how American materialism, which requires buying ever increasing numbers of products purchased in ever short cycles, is anti materiality. The sheer volume of commodities and the hyperconsumptive necessity of junking them to make room for new ones, conceals the vitality of matter.’ This line along with Bennet’s whole text about matter as a whole makes you reconsider the role of materialism in society. It is ever present and as she mentions we move through repetitive cycles to have the newest thing by junking the last thing we had. By doing this we therefore destroy/hide the strength and importance of matter as a whole.
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'an unconventional convention of objects'
The mini 3D showcase we did as a class in 302 to show off some of our classwork! We got to hang and display our own pieces however we wanted and ended up with this!
Was very cute :)
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3D Skills!
Within 3D classes I worked with a variety of new materials and with new methods that I hadn’t before. I learnt how to manipulate wire into various shapes, how to freely line draw without the worry of it being wrong, how to use a sewing machine, how to hand stitch, how to use clay and how to create new, abstract forms out of found material. These in class workshops and activities allowed me to work collaboratively and meet new people, as well as learn valuable skills for my project. Within my project I used a variety of the materials we used in these activities, including wire, beads, buttons and fabric. Each workshop taught me something new that I can now use further on in my degree and in future projects (like using the spray paint studio!).
In my tech workshops I worked in areas I hadn’t had the opportunity to in highschool or in my own time. First I went into sculpture and with Tim’s (and Sparrows) help I learnt how to use a bandsaw, drill, circle cutter, heat gun and a variety of other tools around the wood and metal studio. I was inducted into spot welding, and a variety of other machines that assisted in my project, including my use of the bandsaw to cut out my figure on plywood! My second tech workshop was with Cambora in ceramics, where I learnt (for the very first time) how to make forms with my hands, how to operate and throw vessels on a wheel, and how to glaze my works. I was inducted into a variety of spaces and learnt how firing in the kiln works, and who I can go to for help for any future projects If needed. All of my tech workshops taught me how to work alone and collaboratively on a variety of machines, which will all help me in the future!
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3D research/reading
The beginning of my research started off with the concept of childhood creativity, however I wasn’t entirely sure where to start, the only thing I knew was that I wanted to work with various kinds of media. I started with the compendium and stumbled on works by Pipilotti Rist, Mikala Dwyer and Liang Shaoji, all of which started my research. Pipilotti Rist’s work particularly caught my attention due to her unique style, use of a wide range of materials in forms that could be considered out of the ordinary. Her works ‘Massachusetts Chandelier’ (2010), ‘Pixelwald’ (2016), ‘Tosender Speicher’ (2013) and ‘Wasserschatz’ (2019) were all ones that I drew inspiration off, particularly her use of various materials, colour, lighting and style. I eventually moved towards the idea of a suncatcher/windcatcher as one of my main inspirations was all of the crafts I used to do at my grandparents house out on the back deck after school. My grandma is an avid collector of windchimes, hanging ornaments and outdoor garden figurines and I felt inspired to try and start with that structure and go beyond the conventional concept of a windcatcher. After my mid-project check in, Vicky told me about the artist Nick Cave, hoping to inspire a more unconventional wind catcher to flow more into the experimental side of the project, and it worked like a charm. Nick Cave is my main inspiration for my project, his works ‘Until’ (2016-2017) were the starting point, and I eventually explored more into his ‘Soundsuit’ series and his wide range of colour, material, space and form. His works are extremely complicated and elaborate, and were an amazing inspiration for the types of things I wanted to include in my work. Obviously not at the same scale, I took inspiration from his full rooms of suspended sun catchers and hanging ornaments in my work. Another inspiration along the same vein of work is Susan Chrysler White, with her elaborate and highly stylised plexi glass installations including ‘Interior Garden’ (2013), ‘Yin and Yang Kachinas’ (2013) and ‘Medusa’ (2013) all of which are amazing, bold installation works. From here my research moved more into how I could incorporate various materials and forms in a non conventional way, which can be seen in the outcome of my work.
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This is the unfortunate result of the plaster class we did, where many aspects of my work snapped and destroyed - which is OK! I don't really like this work, both because it broke and because I ran out of time but it's important for me to remember that I don't always have to like my work, because sometimes it just doesn't go the way I plan! It was still a fun experience to shape the clay and watch the plaster form.
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3D class workshops part 3
a mixture of photos of my wire and metal work in class! With the wire works we focused on overlapping areas to provide stability, and making interesting shapes! There is a photo of an experiment I did at home with wire and beads for my own assessment (peep the penguin pyjamas) and some metal work done with Tim! This taught the class how to spot weld, use the metal guillotine, and shape metal with a few machines!
The wire work was all useful for my assessment as I used wires throughout my windchime to add both character (in the top half) and length/shape in the bottom half!
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3D class workshops part 2!
Soft fabric sculpture! Amy and I made a very... interesting sculpture. Going with absolutely no plan, and working off very little sleep we ended up with a weird, fantasy land textile sculpture covered in everything we could find. I have no experience with textiles, sewing machines or hand sewing so this was actually really fun! I enjoyed it a lot and I'm glad I got to experiment with materials I haven't used before
Line drawings of some works I have done in class! Not a big part of the lesson but it was fun and relaxing to go with the flow :)
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3D In class workshops part 1!
mixed media/recycled sculptures! Kanies, Amy and I made this interesting jewellry, tile and bead sculpture during one of our classes. It is held together by a lot of glue, wire and prayers to be honest but the result was really cool and allowed us to experiment a lot, expanding our comfort zone! That piece is now on the table in the walkway of my house :)
Ceramic bell! I shaped mine like a cowboy hat, it turned out a little rough with its odd shaped patterns but I like her! The little dongle inside is the cowboy too obviously. This was the first time I had ever worked with clay that wasn't airdry clay, and it was hard for me because I have a thing with texture and this was interesting. I do like the sound of it ringing though, it is also hanging in my house now :)
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3D workshop - ceramics!
Now unfortunately I don't have a photo of my works because they were being fired and/or glazed everytime I was meant to take a photo :( regardless these are my sketches of what I made! With Cambora I learnt how to:
use a pottery wheel
throw and shape clay
hand form vessels
use the glaze and kiln room
use a variety of pottery tools!
This was such a fun workshop as I have never worked with ceramics ever, and was interested to learn more about the techniques and methods. I liked how my pieces turned out before they were glazed and fired so hopefully I will like them even more once they are out of their final firing stage at the start of semester 2! This was such a fun experience and something that I think I will be interested in continuing as an elective in the future :)
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3D tech workshop - sculpture
Tim worked with me, Gabriella, Kanies, Mabel, and Angela for our groups sculpture task. As you can imagine it was... something. My maquette as you can see, is no where near my final work. It also collapsed and destroyed itself on the train in, which Tim found quite funny. Ultimately though, Tim helped me construct my work based on my sketches instead, and he taught me along with the other girls a bunch of useful skills for later assignments! Including:
bandsaw
drill
heat gun
circle cutter
wood glue
bottle joints
I think I will definitely use a lot of these techniques for later works and having access to the workshop will make things in the future exponentially easier! It was also a good time with Tim and the other girls, it was a lot of fun!
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