11- 15 January
I started to draw the dome using the normal dome template I found online in real scale using cardboard. this proved to be difficult because cardboard is not the suitable material to manoeuvre to shift or change to get the right angles of the pentagon. Also, I made up my measurements as a guide and messed them up due to confusion, incorrect angles because a protractor was not being. Thus, my cardboard pieces had huge gaps by the side. When I googled how to draw it using a pentagon I was confused and did not understand as it proved much harder than i thought but I chose this project to challenge myself so I was determined to find a solution.
We were introduced to the room project. I made several outcome ideas and decided that firstly I wanted to make an extension of architecture because it shows growth and expansion, making the shape naturally fit in the space it occupies. I decided I wanted to trap air and discussed how you trap air. Then I thought about what made me feel trapped and how it feel to be trapped and i began looking at domes. I also, wanted to make a model of the view downstairs of the corridors and make a scrunched sculpture but I did not follow through with this idea as it seemed too easy to do and I did not throughly plan out how I would make this model from 2D to 3D.
Monday 3rd December
I came to class prepared, bring scrap textile needles, salt, soap and thread. I because to burst detergents and add salt and mixed them with scrap fabric. Also, make a scrap, due to the materials I had chosen this time, the work stuck, not completely dry on the paper but dry enough and suitable enough to be presented. I then got a paintbrush and started cutting the ends of the paintbrush, allowing it to shed like it was dog's skin. I liked the bristly texture and tried to combine the units together to form an almost solid base to grow on.I made a hen or a shelter. Then I made another one with detergent and cling film and one with honey and cling film. Then I made another haystack with pins to make the work less fragile but aggressive, prickly, so you would not want to touch it and the only recognisable form could be the nails. I tied rope at the end to create a bondage and used the remains of detergent to make a spiky frog life underwater creature shape. My pieces looked fragile but spiky so aggressive. They should be untouched and preserved but admired. I played with net and nails and formed a gloop but again it was lifeless and flimsy, I had no control over it...Therefore, I took a mold of the material take ink up the space of the overall shape surrounding it and decided to cast it so it had a solid form or shape.
Thursday 29th November
I researched this day.
Wednesday 22nd November
I went to the studio and started deconstructing my work because it was busy and just became distaracting and took away from the main purpose which was ti be worn. I began to play with mudruck and place layes and layers of solely mudruck to protect the piece from the sharp edges and give my work a high quality finish. This was successful because it was easy to use in the duration of time needed and the finishing. At first I wanted to cover my whole piece in mudruck but I liked the contrast in materiality, moving from softness to hardness. Therefore, I only did a section of my piece in mudruck and left the rest of the metal untouched. This still posed a threat to the user but I could easily just give the user access to just one part of the sculpture.
Thursday 22nd November
Moving forward with this feedback I would have explored the notion of consumerism and how it poses an effect in today's society.
Thursday 15th November
I went to the charity shop to gather materials because I like to make through thinking instead of formulating ideas and making an outcome before it already exists. This process is natural and organic and means ideas flow easily meaning final outcomes are unexpected and most times successful. The measure of success, is then not measured by the boundaries of preconceived ideas in my head. Therefore, limiting the chance of failure or disappointment because an ideas constructed originally was in my head can not be seen visually.
Materials gathered at charity shop were mostly metal (steel and copper) because I had decided that metal would be ideal for my sculptural due to its strength and malleability. Consequently, it would be simple to drill or hammer in order to manipulate the material so it could be tailored or adjusted to be worn around the body. Also, I was inspired by traditional sculptural techniques which artist such as: Henry Moore has used. I felt that my casual contained too much variation of unlike materials and wanted to investigate traditional solid materials to add some contrast to my work.
I went to metal workshop and found scrap piece of metal that already looked like an animal carcass. This carcass had holes in it which I immediately thought could be worn on the body as a garment. I wanted to present the object as my final piece in itself but it was a ready made object and that made me feel as if it lack originality and quite frankly I felt this was a problem because the object would not be pushed any further. Consequently, I began to ponder if this was really art? Stealing. Consequently, I began to merge the metal carcass with the straws I had bought from the charity shop and add bent acrylic. Somehow trying to copy the process I had used for the materials news project.
What I found challenging was that I could not just present the material on its own as I felt I had no ownership over the work because it was uncompleted scrap material. I combined materials from the charity store into the incomplete scrap piece of metal and started playing with the arrangement and positioning of the scrap. Also, during this experimentation I would place the object over my arm, above my foot and anywhere else. I noticed that I was using a lot of metal which was what I intended to do in the first place but upon asking Karen for feedback I was encouraged to explore other mediums of materials. Therefore, I began experimenting with think rods of acrylic strips, straws, glue and a fluffy textured fabric. This was however unsuccessful, the aryclic rods broke and the straws tips melted. This was unsuccessful because the straw had become flimsy and not stiff. Consequently, the straw would not be able to withhold the strength of the persons arm despite the weight of the scrap metal. Therefore, making the material not useful and not fulfilling its purpose which is to be worn. The snapping of the acrylic rods was used to accentuate and an arch in which the user could identify where they could put their hand through it. Without it, there would be a lack of direction. Further to this point, the smoothness of the acrylic would have been safer to use as coverage in the sides of the metal. e Also, this was unsuccessful, because the fluffy piece of material could itch the skin of the user depending on how sensitive the person's skin was. Also, the piece itself was too dangerous to be worn because the scrap metal was stiff and sharp and could easily cut through the skin or the user, it is uncomfortable meaning the user may only wear the piece for a short period of time. In addition, the weight of the scrap metal may make the person unbalanced and disorientated, causing confusion and headaches and if this was supposed to be a wearable performance piece then my user would need to move in order to perform stunts.
I decided to use the glue gun in the end as it posed no difference to sealant. However, while constructing my dome there were problems. The angles and measurements were wrong. In the end I just made a sculpture out of the the pieces as it was a better solution than throwing them away and the measurements on some lengths fit perfectly so I made an abstract sculpture that somewhat has the frame of a dome but was an incomplete dome. Therefore, for my main piece I decided to vacuum for a dome but used clay to make the dome bigger although using plastic to do vacuum forming was a better solution because of the mount of the clay the vacuum former leaked a bit, allowing gas to come out. Consequently, I made it twice before it worked. Those failed plastics I kept because I was intrigues by the shape it created between them and so used them as a component in my final piece
I made miniature models of the dome and explored the Buck minister Fuller as domes are perceived everywhere. I used a template of the the dome online to make a paper scaled dome before trying it in acrylic. This worked and I added cutips to demonstrate the attachment to the vent. The Buck minister Fuller uses geodecical domes and I wanted to try it so I attempted to make a geodecical dome out of paper, however this was too complicated as I was getting confused very easily.
I am fascinated by space and how objects occupy a space. Both in a physical and
socio-political sense, space is negotiated between bodies who occupy it. This deeply-rooted
fascination makes me question notions of ownership and what makes an individual, group or
nation feel entitled to a space, area or country. With questions of restoration looming over
the art world, my aim as a Nigerian artist has led me to use scale, depth and perception as
tools to visually and physically communicate political, social and economic issues especially
within Nigeria. A prime example, would be the 700 stolen Benin artefacts that are being
negotiated to be loaned to Nigeria. Despite the fact, they are rightfully owned by Nigerians.
I am inspired by Japanese artist Yunkinori Ynagagi's unconventional approach; using ants as a
theatrical performance to carve through sand flags. This "moving tapestry" is as dramatic as
my wearable construction of steel and plaster. Practicing in the UK's Leading Stage and Screen
Combat Company RC Annie has inspired my theatrical and sinister approach to my work. I bend,
drill, weigh and resize the object before placement on the body. My process is hands on. I
subtract and add clay. I challenge the idea of the ready made vs made. Inspired by Duchamp
where sculpture is not confined to the non existing but the pre existing. The ready-made scrap
sheet of steel has become a space within a space. The holes in between the frame of the object
draw your attention away from the object itself. I was drawn to the use of metal at the
British Museum due to its elegant and fiery aesthetic. The shiny steel is an unpolished, rough
man made structure. Unlike Ynagagi's work causing the space surrounding the object to be
forced and manipulated. Space is carved around the object and is subjected to grow quickly, to
adapt around the space and not the space form on its own. Likewise, people are supposed to
adapt to change of environment or control of space. The atmosphere of the space changes. The
intangible interaction is aggressive causing the space between the object to dominate its
surroundings. It is now a battle of space. The reflective glow ,due to the flash of my camera,
explores the sinister yet icy object which is now a stage set for my miniature sea creatures
to explore.My plaster collection explores sculpture presented as an object. Each sculpture
being once occupied by an original space. This being the circular shape of a paper cup or
being the outline of a pre existing conglomerate of materials. Some of my plaster collection
being a combination of cut off bits of a paintbrush used to make my creature. The raw
materials being only plaster are used to show how space can be transferrable through mediums.
The sculptures were empty and untouched. By using plaster I was able to reposition the purpose
of the space once occupied by a 3D shape. By doing this I had the freedom to eliminate and
fill in spaces. Plaster being primarily associated with traditional sculptural techniques made
me question the value of an object and how an object influences consumer culture.The
foundation course I am currently studying has enabled me to formulate ideas quickly,
communicate ideas assertively and identify when to push, minimise or pause my outcomes. During
this course, I have experienced rapid and diverse change within the course. Interchanging 2D
and 3D and using operating systems like Photoshop has enabled me to become adaptable. I have
undergone a Massive Online Course in Colour and Fashion Design at the University of Leeds.
Engaging in conversation with Jack Irving a CSM alumni in Set design, who now makes inflatable
alien couture, has encouraged my interest in other areas of art. I'm not confined to one
practice and Iook forward to my future creative career. I enjoy experimentation with
unconventional media; salt, dishwashing soap, sand paper and plaster. I am determined and
fearless, open minded and independent.
Tuesday 4th December
I casted the shape and sanded it so it would be smooth and presentable. It was a space of a space. I had forced the shape to form in another material and i did this because I am interested in space and how space is determined, fought for and occupied by a being or object. Back to the net piece, it was still gloopy and unusable so I decided to try an unfamiliar material which was latex which I was inspired by artist such as: eva Hesse due to its stretchy and smooth texture but foul and dangerous smell. As for my other small soap and hairy creatures I began to cast them in plaster, due to their size I decided to use a cup because they were so small and delicate and would not want them to be lost in translation. I decided to play with colouring the plaster using acrylic paint which was successful. At first I used dye which did not work due to the fact it dissolved in the plaster. I did this to make my work more vibrant because I enjoy playing colourful and this made my collection of plaster more interesting.
Monday 26th November
This was when we received the lecture about language of an object. We had been briefly briefed about it at the strat. Therefore, I bought some fruit( apricots and tomatoes) to help with my work as they are already made objects in my opinion. From the lecture . I was inspired mainly by Peter Fischili and David Weiss expecially their Equilibres series because their work was mainly about balance and depicting objects before they fell off balance. Therefore, I began to experiment with apricots, pins, plastic lids, plastic cups, kebab sticks etc. It was difficult to balance the apricots on the surface of plastic lids because of its slippery texture. I used net and styrofoam as well, I started to realise I was making miniature creatures that looked like they were in a circus or play, tumbling down on their bum.This was very successful due to the vibrancy of the colours, the play of humour with their eyes as needle pins, just like peter fischili and david weiss work. it almost became a comedy show to see what happens next.
At home I played with materials I had hoarded in my bag.
Monday 19th November
Using the already existing materials were not working and it was obvious I was trying to imitate already existing process I used to create my "Material News" project.
Therefore, I tried experimenting with clay. The colour alone was not appealing and the feeling of the clay un top of the metal took away the elegant yet polished quality of the metal. Making the metal scrap almost repulsive to look at and unbearable to be worn on the body. The use of clay made it seem as if it was waste from your excretory system due to the brown nature of clay. Therefore, making it unappealing for the consumer to wear and even for me to wear. Also, the clay added weight to the already bulky piece which created a boundary for the user. However, this restriction could have been a blessing looking back because it could make the users stature change, causing them to arch their back, making movements slower and dragged out. It was no longer a high fashion garment or a performance piece it was just a scrap piece of metal with masses of clay.I was unfamiliar with working with clay in such mass and did not want to use it. It had "sculptural" connotations to traditional sculptural practices but I was up for the challenge. In addition, I attempted to combine other unlike materials to the metal such as mudrock, net, nylon and clay. At this point, I concluded that my sculptural piece had become a mess but I kept going regardless because it was all part of the process.
What I learnt using this process was patience because when I applied water to the mudrock it proved difficult to act as a casing to protect the mud and the mud together, it slipped off meaning it affected the finishing of my product.
For my final piece I hung one dome to the vent using thick rope to act as the only sort of ventilation that the vent had to pump air into. Like a system. Breathe in and out. I placed the clay underneath another dome to protect it because one of my ideas with this piece was to use the clay as the covering of the mouth of the vent. However, the clay was too fragile and it was dusty and it was too heavy to balance of the tip of the vent. I placed my other transparent dome with nothing on the floor with it as well. Then my abstract sculpture on the floor by the right. This piece was not what I expected but it fulfilled some purpose. It trapped some air or rather something other than air. Itself something and the object beneath it.
I decided to use illustrator to make my template two times bigger which made it A3. Then I cut it in bitesize chunks so I could print in A4. After this, I marked out my dome on acrylic, I chose to use acrylic due to it's aesthetic quality mainly. I liked the idea you could see through what I was trapping but you could not physically see the air or air particles and if you wanted to then the acrylic needed to be condensed which I did not want because the state of matter would be changed. However, the problem with the acrylic was that it was flimsy so the edges where not able to support each other well if I used tape and I considered cellotape because it is see through so I would have a clean finish. However, it was not strong enough and so my other options were to use the silicone sealant due to its strength and invisibility or glue gone. When I cut the acrylic I did not number them and so I was confused severely by the arrangement. This is something I learnt: not to be in a rush because I was too impatient.
I started to test materials and processes, using a vacuum formed dome shape as a test to build a miniature model using tubing that could be used to hold my tubes together. This worked and I proceeded to stack them on the tube to see how the structure would stand, how I would seal the tube so the air does not to escape. I learnt drilling a large plastic dome could be difficult as the drill will not stay steady and may slip and cuut my fingers and I mostly likely would need scissors to cut the edges to have a neat finish.
Thursday 6th December
Today was our crit. I made a stand for my sculpture out of two wooden sticks in which I planned to put a wire frame on it and place my sculptures hanging from it or sitting on it. This worked as it was sturdy and strong.
Tuesday 27th November
This was the sculptural elimination part of the brief. I wanted to make something organic and mushy so I went to the supermarket and bought, honey, dishwashing soap, detergent and oil. When I got back I started playing with some plaster I already had, mixing it with oil and honey and soap and cling film to form a gloopy substance. The problem with this is that it just turned to a paste, like toothpaste that would not dry. Consequently, it was a waste of time. I had no idea to let it set or dry.
Tuesday 20th November
During the weekend I had read two articles about Eva Hesse's body of work. I was intrigued by her life story which had the involvement of WW2, through her life struggles I felt as if she had lost herself and rediscovered herself as her life was very traumatic.
What inspired me was one of her sculptures that appeared to look like ball sacks in a net that drooped and hung nicely. I got a plum net I had kept in my room and decided to squeeze clay into little sausages to see if I could copy or imitate her idea. I wanted the clay to be moist, soggy, unprotected, meshed in order to make it look unappealing to highlight the value of waste. Given the poo more value than to be discarded in the toilet, showing it can be transformed into something useful. However, I felt I was not doing any work because I was just copying exactly what I saw so I began to flatten to clay and squeeze it in order to make larger shapes. The looked like poo but despite that, this was successful because my metal scrap bit was accompanied by something else. This was sculpture became of an object sculptural piece than a performance. Consequently, I did not push this idea further because I was pleased with the outcome- showcasing minimalism sculpture like in the 1960's from artist such as Eva Hesse. Sometimes less is more. However, the two pieces served as a contrast to each other and did not complement each other.