reference to yellow hands tested.
Perhaps to reference my difference, discipline, past, How could someone with yellow hands make all this stuff so white?
Not to be included though, perhaps too personal a reference
considering lay out
Someone told me that together m pieces look like I am building mini city. I was thinking temple, but I’ll take that. How could this progress? Could I push my sculptures mutual developement further, considering from the starthow they will work together. perhaps a bit of cross symbology.
Also this involves conception, which runs counter to my curent style of make make make, then curate.
Some of my earlier sculptures, now curated within the space and interacting with 2d elements of my installation in a harmony (perhaps through monochrome) shared colour that is. That I have not achieved thus far.
A painting I am debating whether or not to have shown alongside. It fits the colour scheme of my work. But would perhaos be too much in the space.
I need to be simple perhaps. That is what this arrangement has helped me to realise.
Some details of the “figure on table” piece. Shows the texture, built up with hessian and plaster, also details of the nail arrangements. Evoking the “primitive’(dnagerous term) and thus referencing the long history of the spirit within sculpture
Finished photos of the corpse in situ. Alongside the words “Bleached white by the sun”
hopefully evokative, suggestive together.
I am not entirely happy with the finished piece, but the nails were A good addition. adding to the fetishistic feel. perhaps referencing acupuncture
Some more details of e painting/ sculpture combo. All plain white ruins, except for a bit of scratching, graffti, restless hand. Like te rude words ofund etched in pompei.
except this is modern. The ageing process artificially applied by me. Am I trying to say something? Or is this process just a result of my attempts at a genuine, spiritual form repeatedly failing in the face of my own postmodern cynicism?
My totem, that was once built up tall has been hacked down. Looking into dereliciton as Tom saw in my work I have hacked back at it even more. This piece exists alongside the painting behind it. Without either it feels empty. Together they somehow work.
The brush on top is an act of whimsy, but I guess it also references the methods of production of the piece, That was added after a conversation with James.
Trying to curate the wall space further
this guys in the second photo have been watching over me for a while. They bring a whimsicality but quite subtley and gentley. Theye are black and white which helps
Monoprints. Have been etching as well in 2d. Print making seems to be working better for me than painting. Something about the finish. The age.
(implied) also it suits monoprint.
Andrew Lister is giving me good feedback
different methods of etching and approaches e.g. I intend to use beeswax and make imprints into it.
I feel like print will be a big part of my project next term.