Expanding Boundaries: short-term art an shadows.

Argggh! I added the following photographs and clicked the update box and ended up deleting my original post! I am not very good at this blog malarky yet :o(….

These are a series of photographs documenting the changes in placement of the paper folding. I am interested in the shapes that the shadows cast from the overhead lighting.

Advertisements

Topographic

Maya Lin layers

 

 

 

 

 

MayaLinLandscape topographic

 

accessed 08/05/17

613703127_1280x720

lin-inst-001

lin-inst-002

https://art21.org/artist/maya-lin/

accessed 08/05/17

Emergent Form - Maya_Lin_01.jpg (500×398):

cardboard and adhesive
box dimensions: 27” x 22” x 8 1⁄2” landscape dimensions: 27” x 22” x 7”

Maya Lin

24 Sep – 13 Nov 2009

© Maya Lin
Mac World, 2009
cardboard and adhesive
box dimensions: 27” x 22” x 8 1⁄2” landscape dimensions: 27” x 22” x 7”

 

MAYA LIN
“Recycled Landscapes”September 24 – November 13, 2009

Salon 94 is proud to present Maya Lin: Recycled Landscapes, an exhibition of small-scale sculpture made from discarded children’s toys and salvaged materials. On view from September 24 through November 13, this body of work continues Lin’s investigation into our connection to the environment, but here on a smaller, domestic scale.
The exhibition is built around eight spherical objects that bring to mind a constellation of small planets or geological formations. Lin refers to them as asteroids, and presents them in a range of scales and materials. Two of the asteroids are made from recycled tempered glass that has been shattered into small bits and reconstituted into sparkling, multi-faceted globes. They are accompanied by orbs made entirely out of brightly colored plastic toys and discarded plastic materials.
One asteroid consists of balls, another of bottle caps, while two others are built out of the empty plastic vending capsules from local gumball machines. Two of the largest asteroids are made respectively of boys’ toys and girls’ toys — loved, consumed, worn out, thrown away – and seem the most culturally laden of the objects, and also the most poignant.
In a departure for Lin who is renowned for using functional, unexpressive (or “mute”) materials that mimic the colors and forms found in nature, these sculptures are comprised of boisterous everyday objects whose use-value is ritualistic, emotional, consumerist. By categorizing and re-arranging them into larger sculptural accretions, Lin opens them up to critique, while simultaneously re-investing these forms with new cultural meaning.
In addition to the asteroids, Lin will present three atlas landscapes, used books that have been painstakingly carved layer by layer into crater-like geological formations. The re-creation of these cartographic tomes into discrete landscapes that are perhaps real, perhaps imagined mimic nature’s ongoing cycles of creation and destruction and highlight Lin’s interest in finding the boundaries where the real and the ideal, nature and culture intersect. Alongside these atlases will be several carved phonebooks that resemble 3-D renderings of topographical maps; a series of freestanding cardboard landscapes that recall mountain ranges despite the corporate logos that adorn the packaging; and a seafoam green recycled glass sculpture, Wavefield, reminiscent of Lin’s new environmental sculpture at the Storm King Art Center.

Maya Lin: Three Ways of Looking at the Earth, an exhibition of three large-scale works, will be on view at PaceWildenstein, 545 West 22nd Street, New York from September 10 – October 24, 2009.

A committed environmentalist, Lin is working on her last memorial, entitled What is Missing?, which will raise awareness of the current crisis surrounding biodiversity and habitat loss. 10% of all profits from sales of Maya Lin: Recycled Landscapes will be donated to What is Missing?.

Maya Lin (b. 1959, Athens, Ohio) is renowned for her art, architecture and memorials. She graduated cum laude from Yale University with a Bachelor of Arts degree in 1981 and went on to earn her Master of Architecture degree from Yale in 1986. She has maintained a professional studio in New York City since then.

 

 

 

Paper Goes Viral: Cellular Sculptures By Charles Clary:

accessed 08/05/17

 

This is an idea for a Kinetic piece…

I am using Contingent Art and looking the patterns  inside of a red cabbage when sliced open. I find the patterns captivating and like an optical illusion. I will be adding images as I progress.  I feel that there is potential in making the patterns into a Kinetic Piece.  I especially like the idea of Kirigami with movement and pop-up card techniques.

 

Spiral-red-cabbage

red_cabbage

red cabbage tree lady

 

 

Kirigami:

Wednesday 26 April 2017

Wow I am so excited. I think I have just had a break-through as I so wanted to try making Kinetic art pieces, but hampered by lack of knowledge on mechanical motion. I have just been lucky enough to come across a Kirigamic magic spinning card on my newsfeed on Facebook!

Unfortunately the video goes like the speed of light…

I will post more when I have tried it out…Kirigami spirals

The above image is not the one I saw, though when I typed in Kirigami magic spinning card to search for images, on-line I found this one, and as I have been looking at circles and spirals for my proposed pieces…

Kirigami magic spinning card diamond

This is the diamond one I first saw, though from a different source.

I have been inspired by Alexander Calder mobiles an also the Kinetic wooden pieces by David C. Roy.

I will update this post when I have had a chance to experiment with Kirigami.

 

 

 

Ceramics

http://www.tate.org.uk/art/artworks/derain-the-pool-of-london-n06030

henri-matisse-spanish-still-life

Henri Matisse
Still Life, Painting, Oil on canvas, 89.5×116.3 cm
Origin: France, Circa 1910/1911

http://www.arthermitage.org/Henri-Matisse/Spanish-Still-Life.html

These are two of the three ceramics pieces that I produced. The forms were inspired by the Plinth pieces of Brancusi and the painting I chose were Matisse and Derain, in the painting style on ceramics of Betty Woodman, as she has definite brush strokes, that are rough, rather than refined and smoothed edges.

I discovered during this task that I particular like painting in the style of Impressionists and abstract painters. I was apprehensive that the feathered edges of my brushwork would change after the firing and was so relieved that they remained.

 

 

 

 

Painting with oils-Opaques.

For this painting of the still-life, a limited palette of four colours was used: Yellow Ochre, Burnt Sienna, Ivory Black, Titanium White.

I chose to use the same composition of the still-life for this painting, so that I could compare with the previous painting. In this painting was to use opaque colours in order to represent the seen colours.  Burnt Sienna and Ivory Black produced a very deep brown which was used as an equivalent of violet.  The aim was to look for warm , cool, lighter equivalent to the colours in the still-life.

I found this painting more difficult to do to find the warm and dark colour equivalents.

My beautiful picture

 

My beautiful picture

My beautiful picture

My beautiful picture