Antony Gormley

I have chosen Antony Gormley mainly due to his casting and figurative work looking at people and interpreting what he sees. He undertakes large exhibition work and large-scale pieces, which I aspire to. His work has meaning, which people relate to, and he explains his concepts clearly. The British Council Transform (2014) describe Gormley’s work as ‘investigations into the body as a place of memory and transformation’ and this relates to my work regarding links to transformation and for the ability of the body to hold loss and emotion and movement in muscle memory.

To read more about Gormley follow this link

Marc Quinn

I’ve chosen Mark Quinn because he is a leading contemporary British artist with a large variety of exhibition work that aims to be controversial. He has inspired conversation and discussion on various topics, which are interesting and are based on the perception of life. He has looked at topics such as perception of disability and how we react to them. He is known for using himself within his sculptures of the human form.

To read more about Marc Quinn follow this link.

Glamour and grotesque

I had my first lecture on the Glamour and Grotesque.The lecture was interactive and almost a workshop style which I found very informative and constructive to my learning style.

We looked at 1920’s and Glamour including some photo’s of Marlene Dietrich and Greta Garbo, these woman were icons of their day, showing intrigue and  demur.

Following this lecture I have realised there are very set ingredients to being glamourous; these include certain textures, images, light and tone which give the viewer or recipients a reflection of glamour.

I found identifying in the lecture the key images of this era and glamour were silver, black and white and shiny materials using light and tone, geo,metric lines, oriental, foreign and the exotic to portray these images.

This learning has given me a clearer understanding of how to use glamour within my work , looking at using more parian clay (shiny) rather than plain porcelain which is not self glazing in style. This may highlight the use of glamour on a figurative sculpture.

Marquettes

I’m making Marquette’s Of movement in silk and circus performance, looking at stretch echoed and angled body shapes I find interesting , and how these may interact with performance , looking a context of sculpture.
Is this a static sculpture or can this be
more , fine art of will it look just like a prop ?interactive? I’m looking at stretching the idea of figurative sculpture in a performance setting, can it hold integrity and add to a story ?

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maquets

I am currently making maquettes for a performance based sculpture show to see if this idea works.

I have made 2 stages for setting . the first was made of cardboard and fell apart very quickly, and could not hold up the clay figures I was planning to make and use,.

I then designed a more structurally sound frame and stage maquette , and proceeded to make this out of ply and wood dowelings.

this was a succesful 🙂

Then I proceeded to start making my maquettes out of various clays , firstly porcelain, then will go onto white reclaimed to see the difference in small sculpture , which was easier and had the best results.