Very similar to the mushroom man
1.tin foil armature to create base for head, wire frame to affix to body 2.cover head in super sculpt, affix the epoxy eyes by inserting into clay and framing in with clay eyelids 3.start working out face detail, reference from my experimental mushroom sketch 4.go through theCollins Nature Guide Mushrooms and toadstools identification book to find mushrooms i liked the shape and colour of that were also from britain/europe (I used agaric this time, as a beautiful mushroom that is highly toxic and often confused for a hallucinogenic kind. I liked the colours and the matriarchich symbolism behind giving the female to ability to kill) 5.create wire base and structure and pad out using tin foil 6.cover in super sculpey and build with head using roller tool 7. work in textures using various cross hatching and engraving techniques, use cling film to soften marks (very useful for nose pores) and create arms 8.bake at 250 for 15 minutes 9. use a bowl to create and bake a mushroom cap at the same time, pressing it on top like mould 10. using felting wool and a foam block with felting needles, make the textures cap- red, orange, pink and white wool were used 11. wrap the grey thick yarn around a knitting needle, brush out using a groomers dog comb 12. colour using thin acrylic wash, use pigment powder to shade and add depth 13. glue the wool pieces on using superglue, also use 2 part epoxy glue to affix the cap to the fabric, and then to the figure. use the same glue to affix a half pair of false eyelashes and trim to size 14. after spraying mr super clear matte in a well ventilated area use clear nail varnish to add realistic moisture, in the eyes and mouth, dabbed around other areas 15, use PVA glue to attach model railway scatter grass to the slate (which I found on a walk outside a neighbours house, whom I asked and they said i could have it) and collect rocks of various sized and DRY matter, i refined out the pieces i liked and that balanced well and attached these using 2 part epoxy glue. I put some dried twigs in a bundle and tied with yarn to mimic the gatherer depiction of the mushroom man
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I knew that being in lockdown would impact the feedback and creative criticism I would be bale to get from this project. To combat this I will be posting on my virtual platforms instead, and utilising connections with creative friends for constructive dialogue. As the page I had taken on last time, raisedbedsproject had garnered some followers already, but it was for a group project I decided to self promote on my instagram page @poppyelphickart.
Using targeted #’s I will market this towards Nottingham’s art scene, I have done this by using the instagram insights tool to look at which hashtags are most used for posts like mine. I feel like I could’ve been more involved early on, and I could’ve started doing this months ago. I am happy that I’ve done it regardless as it spreads word of mouth and can get my name and work out there. I feel like I am constrained a lot by my home life and trying to balance art work, friends, and a turbulent home situation. It has been a very definite struggle getting to do anything in my current headspace and enviroment, let alone try and be creative and productive. In future I would like to work on my time management to give myself an easier time, and not have to sacrifice so much for the sake of other things. I believe if I weren't in lockdown at home with all that is going on, my problems would be organisation based, and I will take that as a lesson moving forward and try to impact my behaviour positively. This brief was one of our own choosing after Habitat last year I wanted to explore a similar vein of thinking as it was a project I really enjoyed.
After my interest in fungi during that year, I decided to just focus on that, with a key word of undergrowth in mind. I wanted to focus and draw attention to the unseen, the life form that supports all life on earth and is so often overlooked. I followed a lot of different steps and routes to allow me to create my final piece, which is a trio of sculptures. The work of various artists alongside my own mind inspired me to do this piece. AMong many artists, I found Sonja Baumel and Edgar Lissel very inspiring as they are the forefront of sci-art. These are two artists who’s subjects are similar but who visually are so removed from each other. Both focus on the line between science and art, they even use the same medium in some pieces but have very different outcomes. Sonja Baumel’s work is so varied in medium, from sculpture to textural to wearable. In this regard I relate to her strongly, as I have produced work in many kinds of art. As I have a fascination in plant life and symbiosis, she is driven by a curiosity about the delicate ecosystem of the human skin, microorganisms and bacteria that have been around for a lot longer than their hosts. I think there is something beautiful in appreciating the simplicity of these tiny organisms so resilient and unseen. Lissel’s work on the other hand is very complex, and very scientific in its nature. He takes bacteria samples and works with biologists to create his work, he works in photography I suppose but it’s a keener focus on the photographed above all else. He cultures petri dishes and guides bacteria into shapes and configurations that end up being beautiful. Unlike Baumel who has a subject with the notion of being unsightly (bacteria) he actually uses gross objects like rotting meat and fruit and makes them look beautiful. I feel like my work is influenced by both artists, but not so much in terms of look, as you can see from the very clear aesthetic difference, but emotion. Just like they are driven by a curiosity for bacteria and microorganisms, I am driven by my love of mycology and the complex relationships that nature showcases. My final pieces are 3 sculptures depicting a human/fungi hybrid and one inspired my folklore around forest nymphs (protectors of the woodlands). I went for a more sentimental/kitsch style, in my experiments for this sometimes the fungi wouldn’t look as beautiful as I had hoped, or the surrounding elements would bring back negative associations. It could look too literal or too removed. I wanted to find a balance that still stayed true to my style as an artist. I chose to mount these on found slate slabs (found on the roadside on a walk, i presume from roofing or something) as a nod to my own passion for sustainable practice, and as I looked into symbolism in my work, I discovered that slate symbolises passage from one world to another via death, like a slate headstone. Spiritually "Slate has meaning and properties of vitalizing inner body energy. This gemstone can revive vitality or passion that you lost. It would also give you power to prevent negative energy to come around you." (https://www.gemstone7.com/572slate.html#:~:text=Slate,energy%20to%20come%20around%20you.) This project for me differentiated fundamentally in my sketchbook, as I was experimenting pre-covid and getting on with my work for Liz, then after lock-down happened I had so many personal hurdles to face at home which made doing work in my home space unsafe and difficult at the best of times. For this reason I felt like I have not done as much experimental work as I usually would, as I have no space or resources at home, and I am suffering greatly mentally. I find my pieces visually stimulating, and I do honesty like these pieces. I wish I had left myself more time to work on my sketchbook, or to present and set up my works. In truth, I know if the current pandemic didn't happen I would have made better work and I have no doubts about that, but I know that I did what I could with what I have access to and my mental resources right now. I actually came across this artist accidentally, hes a 16 year old artist from Ontario.
I love his style of work, it completely showcases his youth as an artist. It also reminds me strongly of Tim burton, i wonder if he took inspiration from the films. Much like other artists I have looked at, Callum uses found materials. I think if possible I would like to incorporate this into my work. They also incorporate a repetive elemtn in the artists I have looked at in the sense that they are unsettling, which I suppose blurs the kitsch line too. http://dzinetrip.com/tag/callumdgart/ "Callum Donovan Grujicich, a 12 years old, living in Whitby, Ontario (just east of Toronto) makes sculptures out of homemade clay and found objects. Most of his figures stand a foot tall and are decidedly provocative. Creepy might be a better word. Simple yet expressive, they look like characters from a Tim Burton movie.Callum started making art two years ago when he was ten. No clay? No problem. He brewed up a concoction of toilet paper, dry wall compound, mineral oil and glue. He sews his own clothes and decorates his creations with nuts and bolts, shards of plastic and throwaway objects he finds on the ground. Callum says he wants to be a professional sculptor when he grows up but the artist / entrepreneur isn’t doing badly right now. His pieces as seen on his website are constantly sold out and his Instagram account @CallumDGArt has over 49,000 followers." https://courses.lumenlearning.com/boundless-biology/chapter/importance-of-fungi-in-human-life/
Simply put, without fungi we would not see the world as it is now. It would be covered in waste and food rot, overrun with pests and be tragically less biodiverse. The majority of grasses and trees have symbiotic relationships with fungi, providing sugars in return for water that only the fungi’s long hardy roots are able to tap into, without this complex unique relationship these plants would not have access to such vital life supplies. Humans started off as early foragers, we would have relied on mushrooms at many points in history as a reliable source of protein, fibre, selenium and potassium. With a more environmentally aware movement taking hold in the present and surely future, mushrooms are a fundamental part of meat substitutes for the wide array of deep flavours and textures the many different strains of mushroom prove. In baking and cheese, fungi actually serves a crucial role in its composition in forms like yeast and penicillium or agaricus campestris. Medicinally we have fungi to thank for Penicillin, accidentally discovered when a spore got into some petri dishes and killed and processed the bacteria within. They do this in their natural environments to kill the bacteria around them, thus the competition to food and water supplies. Alongside penicillin Cephalosporin are also isolated from fungi. Medicines like this treat all from infections to organ transplant rejections, steroid hormones and blood clotting medicines. It is also utilised for its uses in DNA technology experiments as they produce proteins in a manner like humans do, they are actually more similar in this way to humans than plant-life. As a simple eukaryotic organism, fungi have impacted the world so much and the world as we know it would be a drastically different landscape without it. I think this is an important point for me to research for this project, as I want to showcase the complex beauty and depth behind something people never even think about. I want to make work that will honour something so often overlooked or seen for its dirt and rot, for something lifesaving and fundamentally awe-worthy. 1.tin foil armature to create base for head, wire frame to affix to body 2.cover head in super sculpt, affix the epoxy eyes by inserting into clay and framing in with clay eyelids 3.start working out face detail, reference from my experimental mushroom sketch 4.go through theCollins Nature Guide Mushrooms and toadstools identification book to find mushrooms i liked the shape and colour of that were also from britain/europe (NOT DEADLY) 5.create wire base and structure and pad out using tin foil 6.cover in super sculpey and build with head using roller tool 7. work in textures using various cross hatching and engraving techniques, use cling film to soften marks (very useful for nose pores) and create arms 8.bake at 250 for 15 minutes 9. use a bowl to create and bake a mushroom cap at the same time, pressing it on top like mould 10. using felting wool and a foam block with felting needles, make the textures cap- beige fawn white and grey wool used 11. use green stiff wool to felt a bag, the hair, moustache and eyebrows 12. colour using thin acrylic wash, use pigment powder to shade and add depth 13. glue the wool pieces on using superglue, also use 2 part epoxy glue to affix the cap to the fabric, and then to the figure. use the same glue to affix a half pair of false eyelashes and trim to size 14. after spraying mr super clear matte in a well ventilated area use clear nail varnish to add realistic moisture, in the eyes and mouth, dabbed around other areas 15, use PVA glue to attach model railway scatter grass to the slate (which I found on a walk outside a neighbours house, whom I asked and they said i could have it) and collect rocks of various sized and DRY matter, i refined out the pieces i liked and that balanced well and attached these using 2 part epoxy glue. I put a few in the satchel for garment decoration. I wanted to add to the illusion that he had been foraging. Most artists are aware that some of the materials that they use and processes that they undertake can carry health and safety risks, and as students we have been introduced and familiarised with some aspects of health and safety in previous projects.
What many artists may not be aware of is that they as self-employed individuals, have a duty under health and safety law to ensure that their working environment complies with regional health and safety legislation. For this project tghis will not be so nessecary legally as we are working from home, but we should prioritize it equally as we should still be acting to protect out health and the health and safety of those in our household. Being mindful of health and safety is also a great habit to get into as an artist and is a practice we need to familiarise ourselves with to prepare for working in public/private galleries in future. For most artists their workplace is the studio. Whether like ours, is a purpose built facility with access to different building and spaces. Perhaps a rented space or an extension to their home. The nature of producing and creating art, especially the way I do, means that I use a lot of different methods and materials to make my work. I also undertake a wide range of physical activities and processes in producing work. Both materials used and production activities themselves can be detrimental to an artist’s health and safety, quality of life and career. Unlike normal workplaces, we do not have occupational health to come and make sure everything is safe and healthy; we must monitor and control these ourselves. Apart from it being a legal requirement, it is in the interest of artists to protect their own health and safety as well as ensuring that studios and work environments are safe for visitors, family or clients. The Legislation Artists that work freelance and do not have a residency are legally bound to provide a safe working environment as set out in the Safety, Health and Welfare at Work Act 2005.” Failure to provide a safe working environment can result in civil cases taken by visitors or employees if you employ others to work with you in your studio.” Risk Assessment A risk assessment identifies the hazards in a workplace and evaluates the risks posed by these hazards. Below are some terms you will often see in a risk assessment.
* Analyse the studio or workplace. This may involve listing all the activities carried out in the studio, drawing up a diagram of the space and mapping the location of equipment such as computers, sinks, radiators, shelving, kilns etc, it may also be useful to monitor the hazards in proximity to areas that are frequently used * Identify the hazards associated with activities you’ll be doing. For example, electrical hazards associated with untaped cables which may cause tripping or falling. Chemical hazards associated with toxic materials, hazards that are associated with stone work – dust inhalation for example (which is why the ceramics studio has ventilators). Textile dyes are particularly hazardous to skin and phytochemicals used by photographers are associated with skin and respiratory diseases, one of the reasons the photo studio in 25 Stoney street has twice the eyewash stations as any other department in the building. Some hazards may not seem so obvious such as unsecured shelving, the glare from PC monitors, for example, but even the chair that you sit on, if incorrectly adjusted, can cause back injury. * Rate the risk level associated with each hazard. This assessment of risk is a question of judgement, come to a reasonable conclusion on how dangerous you think it actually is. * Evaluate the ‘controls’ that may already be in place to make the hazards less hazardous. Controls are essentially precautions that are put in place to eliminate or reduce the risks. A control may take the form of signage near a leaking sink that warns of a slippery surface, warning labels on chemicals, Personal Protective Equipment (PPE) such as goggles and dust masks for working with stone or when printmaking for example. Hierarchy of Controls After a Risk Assessment of the studio or workplace has been done, there needs to be a resolution or a balance to each risk proposed. “ The Health and Safety Legislation sets out a five-step hierarchy of controls on how to deal with or control risks. It is called a hierarchy because the most effective control is placed at the top. You should implement these controls in priority order starting at the top and working down the list. 1. Eliminate: If you can eliminate the hazard altogether you should do so. So for example, avoid using a particular type of toxic chemical altogether or avoid carrying heavy loads yourself. 2. Substitute: Can you substitute the materials or equipment for ones that are less hazardous? For example, can you use an alternative brand of paint – one that is less toxic or can you substitute that faulty heater for one that works a bit better. 3. Engineering: Can you install Fire Extinguishers in your workplace? Ensure that the electrical installation in your studio is certified and maintained by a competent person. 4. Administrative: Clearly display signage warning of hazards associated with materials such as chemicals and toxic paints or signage warning visitors of poor floor conditions or obstructions. 5. Personal Protective Equipment (PPE): PPE is any safety clothing or equipment worn to protect against hazards. You should use goggles to protect against dust or debris for example.” Summary of Responsibilities To summarise, you must display a Safety Statement in your workplace or studio. The Safety Statement must be accompanied by a Risk Assessment. This must include risks for all people including visitors. For every hazard identified, controls or preventions must be put in place to ensure the risk of harm is eliminated or reduced. Finally, your Statement and Risk Assessment must be revised annually to ensure any new hazards are identified and controls implemented. Sabrina is an incredibly talented sculptor, she is able to emote joy and pain so easily in her figures and completely brings them to life in their body language and emoted faces. Her style actually reminds me of the film mirror mask a little, very much miniature worlds and a varied depth in her characters. As I am making figurative sculptures, I chose her as a relevant artist as she manages to make art that is doll-like but still accepted as art, and not craft. I believe that is because there is both a detail in her work that is beautiful and ornate, and also a darkness that keeps it from being cliche. I truly wish I had more fabrication experience, as Id love to be able to make ornate clothing for my sculptures, but as I attempted in the raised beds project this was not my strength. I like that she works with clay, I am unfortunately unable to do this due to the corona virus shutting down my university but I would've loved to experiment with earth clay sculptures. I think her style is fantastic, I love her use of scale, texture and composition and I find it so interesting that she manages to land in this very niche genre of art so well. Its almost kitsch but its also not because its not cutesy, but its not quite art in the way that paintings are perceived to be. https://www.theguardian.com/artanddesign/jonathanjonesblog/2013/jan/28/kitsch-art-love-loathe-jonathan-jones#:~:text=The%20Oxford%20art%20dictionary%20hedges,or%20knowing%20way%20...%22&text=In%20fact%2C%20kitsch%20started%20out,the%20entirety%20of%20popular%20culture. "art, objects or design considered to be in poor taste because of excessive garishness or sentimentality, but sometimes appreciated in an ironic or knowing way ..." ... In fact, kitsch started out as a dismissive term for the entirety of popular culture." https://www.forbes.com/sites/rogerscruton/2014/02/21/a-fine-line-between-art-and-kitsch/ "For half a century or more Greenberg’s view was orthodoxy. To be a modern artist you had to turn your back on the literal image, since the very attempt to produce traditional art would turn oil-paint to candy-floss and emotion to kitsch. You must go forward with the avant-garde, and forward everybody went, to the point where nobody quite knew just where he was going, and art had ceased to be something to look at and become something to think about instead. Then, in a burst of inspiration, Andy Warhol began producing Brillo Boxes. These were not figurative paintings, since they were indistinguishable from the originals. But nor were they ‘avant-garde’, since they were neither abstract squiggles, nor demolitions of reality. They were just there, with no explanation, because that was what the artist had done." I looked at a few ways I could display my work, I had originally thought of a traditional gallery plinth, but knowing that would incur more expense and cost than I had room for in my budget alongside space issues with me having to do this from home, I decided to look at other options. It was important for me to try and emulate a university setting and present it as such. I used Photoshop to see what my work would look life in different settings; this is where I superimposed my ceramics on plinths. Knowing I couldn’t use gallery plinths from home, I had to think of the next best thing. I had considered a table, but with the detail of the art and the fragility of it I wanted it to be near eye level so could be appreciated up close. I trialled the pieces on a shelf against a plain wall that I already had in my kitchen, after taking these pictures I ended up discussing it with peers and my tutors to come to the conclusion that it looked a bit clinical. In my efforts to not sentimeltalize my presentation, it looked out of place. My tutor suggested presenting these in nature, I had thought about this but worried it may look like a garden centre decoration in that setting. I decided to take test shots anyway, to experiemnt with presentation.
I ended up liking the look of all the three sculptures photographed seperately in different natural enviroments. This was to create visual variation, and not just look like I had plopped each sculpture in the same place and photographed them. I wanted the placement to be deliberate and considered. I narrowed each sculpture down to three images I liked, and used these as my final piece submissions. I think the home working was a big impairment to this, as a lot of details like the texture on the pieces and the needle felted mushroom caps cannot be seen and appreciated fully over the screen. I will upload videos to try and combat this issue. |
Author24 year old student from Nottingham, United Kingdom. Archives
June 2020
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