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Before and after

I have decided to change the placing of the objects. I quite like the foam pieces all over the place, it gives a more playful effect and (in my opinion) works better both conceptually and aesthetically .

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Final installation with video which you can see here:  https://vimeo.com/270084513

I have overlapped two of them for a more subtle effect, it still needs some adjusting as it’s jumpy at some parts. I wanted it to be smooth.

I am generally happy with the outcome, I feel I have done a lot in a short time, it is a little bit disappointing that I couldn’t source the right coloured materials (salmon pink just like on my drawings) 

I am not in favour of the space either, I would imagine the installation in a more open space so people can walk around the objects.

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I wanted to make this line out of a hobby /craft pipe cleaner but could not source it on time. 

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Franz West

was born in 1947.

West's artwork is typically made out of plaster, papier-mâché, wire, polyester, aluminium and other, ordinary materials. He started to produce paintings, but then turned to collages, sculptures, portable sculptures called "Adaptives" or "Fitting Pieces", environments and furniture – "welded metal chairs and divans, some minimally padded and upholstered in raw linen. For his early sculptures, West often covered ordinary objects—bottles, machine parts, pieces of furniture and other, unidentifiable things—with gauze and plaster, producing "lumpy, grungy, dirty-white objects".

For all West's playfulness, as a man as well as an artist, and the lewdness of many of his sculptures – some of which are like giant sausages, penises or brightly coloured turds – he was a serious, largely self-taught reader and thinker, especially of philosophical and psychoanalytic literature. He understood the power of the abject, the seriousness of the absurd. He was Viennese, after all. 

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Kate MccGwire

(born 1964) is a British sculptor who specialises in the medium of feathers. Her work experiments with the binary notions of beauty and disgust, malice and tranquillity, and the familiar yet otherworldly. Her use of pigeon feathers takes a waste product of the ‘rats with wings’ and elevates them to the status of art. By re-framing the object, placing it out of context, it generates a kind of ‘field of attraction’ around it, the viewer is left both seduced and alienated, relishing the spectacle but at the same time aware of something disquieting, something ‘other’.

Much of her practice references Freud's 'Unheimliche' (the uncanny, or, literally, the 'un-homely'), the idea of a place where the familiar can somehow excite fear. It also embraces artistic notions of the Abject. In so doing the artist creates a shift from a world in which objects sit in their conventional place and allows a new perspective, exposing the viewer, in the most visceral way possible, to the truths that lurk behind the familiar and to the reality of what it is to be human – a brutal but also unrelentingly beautiful consciousness of the ugly and the funereal, fear and disgust.

Although at first glance the feathers’ incredible colours and patterns seem exotic, she sources all of her materials from dropped feathers provided by farmers, gamekeepers, and pigeon racers. She was originally inspired to begin working with feathers after discovering a local pigeon colony that dropped feathers near her rural art studio. Magpie and mallard feathers gleam an iridescent inky blue, and pheasant feathers sport detailed patterns.

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Carol Bove

Bove was born in Geneva in 1971, currently lives in Red Hook, Brooklyn. South Brooklyn’s industrial landscape has been inspirational for the artist, and a number of her signature materials were originally harvested from neighbourhood junkyards and building sites. Other found objects that she has used repeatedly, including peacock feathers and driftwood.

Her work connecting the natural and the man-made.  Her works share an interest in sculptural syntax: this against this, that against that, the natural and organic alongside the made, borrowed things conjoined with her own. Her primary focus, as well as an abiding feel for form and placement.

“Bove’s is a game of staging and placement. For her, making art and showing it are part of the same activity. We get tangled in her complications and seduced by the elegance and wit of what she does, her generosity of spirit.“

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inspiration

from various artists I found on Pinterest

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leftovers

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Here is the video projected onto the wall as part of the installation.

I quite like it, although I feel the way the foam-pieces are installed can be improved.

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Trying out different ways to install the foam pieces. Instead of putting them all around on the walls and floor, I wanted to see how it is in a wave / serpent shape.

Here I used thread to keep the C-shape of the foam.

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I have started to use the installation space (which is great in terms of the 3 walls but the lighting is awful and the shelf on the back is disturbing.)

Fixed the wire-snake, I cut the wire that was in between it’s curves.

I was also trying to introduce the pink fury thing into the installation but the blue and this particular pink are not good together. The two colours together has this kind of fake candy- floss, very girly aesthetics that actually could express my idea well yet I thought it is better without it. 

Ideally I would like to have a salmon or peach- pink, same as in previous drawings.

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I figured out what the best way to make C-shapes of the foam, fixed it with wire.

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Getting closer to end of the project I am thinking what can be my final piece.  

I’ve made a giant serpent out of chickenwire to reflect on my previous drawings, (secured the ends one by one, took me a day and a bluster on my palm)

The wire-snake meant to be only for development but I have decided to include it to my final as I like how it looks.

I still have to figure out how to keep it’s serpent shape without tying the curves together...

the drawings are plans for installation

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experimenting with other shapes 

rolled them up and fixed it with wire, the shape was inspired by my previous ‘drawings’ (from the photocopier that I cut in circle shape).

also tried to use the pink fury material, covered some foam with it.

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I have got the foam!

I thought it is going to be fun to work with it. I also thought it is relevant to my theme, because it is soft, pastel colour and it is mostly used for household objects (which commonly considered as feminine?)

I intended to create bridge like objects of the foam (to create an installation, see drawings in sketchbook) but hardly succeeded. The material it to firm to glue or sew or use the stapler gun on it. 

The only way was to use tape / wire / thread but I wanted to have a smooth clear surface.

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experimentation with different materials

Today I discovered chickenwire in the studio and I liked it. It is fairly easy to work with, to create a snake-like body. 

As part of my research I found an opinion that: “ Femininity is a culturally and socially constructed concept”. thinking of this statement, using wire to construct a serpent seems to be more than appropriate. 

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making drawings of my sculpture

using the photocopier to mirror and layer various drawings

I am happy with the one on the right, I like the colours and forms, I can already see an installation.