k00320443

[k00320443]

Final assessment wall:

Our body is the form we live in. We experience this everyday exposing an intense scaffold for our walking personality and existence.

I based my assembly project on the contorted yet defined mess living inside of us, a side which lives an almost completely separate and discrete existence, an existence with such complex and design and construction that many including myself will never understand, but yet even tho we may not understand it everything we ever known, loved and experienced desperately relies on this mess within.

In my project I tried to capture the chaotic yet captivating disarray that lives beneath, generalising these complex forms of immense detail into fathomable unorganised definition of the inner and outer bodily form, constructing and deconstructing, grasping and understanding, existing but not seeing, not seeing the work of art and craft that lies within everyone you will ever know.

[k00320443]

I wanted to use a martial that looks and feels organic as a representational piece for the assemble of the physical form. I used sheets of latex which I think captures this generalise concept of of organic matter of organs, fat and flesh as if it was all condensed into sheets sowed together.

A fly also got caught in the latex which leaves a very cool detail within.

[k00320443]

After doing the print workshop which I enjoyed I did these pair of prints which show a possible development in my assemble project. I began to look at tin cans as a way of showing and symbolising the condensed and generalised mess of the the inners of the human putting them along side flesh of hands and legs. The ideas on cans have potential to convey my idea of a unrecognisable mess of organs and bodily parts that lay within. I really enjoyed the print workshop and hope to do more in the future.

[k00320443]

Taking inspiration from my artists I took many details of my primary source like tone shape and value exploring them through a half exposed body oil work. I tried to capture the chaotic essence of the inner body while also keeping a vague silhouette of organisation and form. I used this work to further develop my idea of the contorted and disjointed yet defined mess that lives inside us, using many generalised tones and shapes to to display a definition of organs, bones and flesh.

[k00320443]

Artist Inspiration: David Deweerdt.

Deweerdts works encapsulates an essence of the human form which is quite literal but also shows a unique take on the meaning and viewing of the physical body. His pacific use of colour and tone taking place within his subjects encapsulates the relation of inner and outer body joining the two into an interpretive definition of the human form reproducing a form as of its skin and inners were flipped to the viewer.

Deweerdts raw representation conjoins the silhouette of the body along side the disoriented mess of the inner gruesome mess. His generalisation of anatomy particularly stand out to me, creating outlines and and profiles of organs and muscle, moulding them all into one.

[k00320443]

Primary research:

After inspecting and exploring the cow heart, I did a few initial primary sketches and pen drawings. In the third picture I used liquid latex on my hand which was cover in charcoal to capture the texture of the heart.

Painting directly from the heart I tried to emphasise form and colour found within, using and exaggerating tones that interest me.

[k00320443]

Artist Of Inspiration: Chaïm Soutine.

Chaïm Soutine’s series of Carcass show graphic yet beautiful representation of the constitution but also the disassemble of the physical form. Soutines series show the butchered and gruesome representation of a living creature capturing it in a light not often seen.

He displays a sense of contortion and form, capturing the chaotic flow of the inner guts and vessels, generalising the complex bodily workings into a bloody unorganised disorder which I admire and look to possibly use throughout my project.

[k00320443]

Exploration of primary source

Once I required the cow hear I dissected it in half to reveal further exploration of my primary source. When opened it revealed immense detail of vains, arteries and other blood vessels along with tenants, muscle, flesh and fat, all of which fall under the construction of the physical form

[k00320443]

Primary research:

For the primary research I sourced a cows heart from a local butcher. The idea of a heart reflects the construction and assembly of the physical form into one singular object. The heart will allow me to look back on an object consider new developments and ideas.

[k00320443]

Using my previously made plaster hand I manipulated and changed its appearance resembling a semi dissected hand. Leaving the hand partially constructed and partially deconstructed I tried to resemble a vague understanding of the inner bodily form construction a direct correlation to the assemble of the physical form. In this work I also began observing vain structure, flow and form something I wish to explore later.

[k00320443]

Inspired by the charcoal workshop I created several pieces exploring the assembly and constitution the physical form. These works look at the surface level interpretation of the human body, consisting of vague representation of organs and bones. In the last picture I used my previously made plaster hand and used the missing fingers to my advantage.

[k00320443]

Charcoal workshop: I thorally enjoyed this workshop, we examined charcoal in quick 30 seconds and 2 minute free hand mark making. I found this workshop to be very useful as it thought me to loosen up when sketching. I will definitely explore loose and large scale charcoal drawings in my assemble project.

[k00320443]

Artist Of Inspiration: Francis Bacon.

An artist that I believe captures the assembly and creation of the physical form is Francis bacon especially in his portrait studies and bodily works. These pieces of work perfectly reflect the chaotic yet captivating nature of the physical body, crafting balls of flesh and skin in to a non formative but yet recognisable pieces of being. I love that Francis Bacon treats the human form how he wants, breaking and creating an extremely raw representation of how the bodily form is viewed, something I wish to do in my work. Bacons work to me feels as if the both inner and outer form conjoined into one definition of a body, making me feel as if I’m viewing the definitive answer to the human form. I really wish to implement many of my thinkings about Bacons work into mine, exploring and manipulating the form similar to many of his fascinating works.

[k00320443]

Plaster workshop: I took a particular interest in the plaster workshop as it reflected heavily with what I wanted to explore. Plaster prints and moulds alowed me to capture amazing details which furthered my exploration into the human form. I focused on the hand, of which to took a plaster mould, With this hand I have future ambitions to distort and possibly use as a primary source for drawings and research.

[k00320443]

The Assemble and Construction of the Physical Form

For the assembly project I narrowed my interest to the construction and assemble of the physical body. I became particularly focused on anatomy and the making of the human form, looking into old surgical drawings and how skin, bone and muscle interact with each other to create a physical body.

[k00320443]

The assemble project:

when announced, I created a mind map to help me cultivate and navigate my ideas for the assemble project. I began to look at the physical along with abstract interpretation of the word to broaden my understanding of what was given to me.

[k00320443]

Laser cutting workshop: working with adobe illustrator along with the laser cutting machine.