Substrate Matrix as a Whole

The four Foundations classes have finally finished the substrate matrix! Combining four substrates from each student utilizing collage, paint, cultural color and found materials the wall comes together to create a unique and energetic piece of art. This piece as a whole holds something very unique within it. By integrating each separate piece into a singular element we create a wall that forms unintended connections, patterns and forms. Sparkling with a wide range of colors I find it amazing how each piece interacts with its neighbors, and when viewed from a distance morphs into a tantalizing borage of color harmonies and gradients. In addition to the color the forms in the piece as one create unique relationships and commonalties. One piece will seem to be the perfect partner to another even though they were never intended to be next to each other. The random aspect of the piece as a while plays perfectly into the processes we went through to make then and in the end comes together stellarly to create a wall mural that is composed not from one specific thing but rather many. 

4th Work + Series as a Whole

The fourth work we set out on combined the inspiration from our third works with the recent investigation of found objects and color. For this last piece I united the somewhat random color composition of melted crayon droplets with the found element of a old music CD. To make the piece more intriguing I cut the CD in half and lifted the bottom side to raise it from the substrate and create a three dimensional aspect to the piece. 

The series as a whole came together just as I had wanted and ended out being extremely successful. Noted by the other students in my class a few common elements of my substrates include: the common central form element surrounded by a jumbled / randomized background composition : The use of bright colors in harmony with a strong symmetry thus balancing the piece and grounding it. All the piece hold a certain weight and intrigue which I find to be very unique and highly pleasing to the eye. This section turned out to be by far my favorite in addition to being the section which I produced my most accomplished works. 

Cabinet Article

http://www.cabinetmagazine.org/issues/7/colors7.php

Safety Orange - the color that commands your attention and ignites your imagination. Bright and stunning, this orange is the color of everything from constructing signs the vibrant neon colors of the eighties. Safety Orange has over the years become the color of the new millennium advancing in rank as the chosen color of technology and dominance and all the way to the governance of our capitalist state. Invoking the soul and providing the lust and desire of our youth orange has become the hue of everything that is fresh and new in our lives today. 

Process Book Part 1

Third Work

For this third work we were required to use a three dimensional element for the piece, in this case we utilized elements of cut out particle board. For this piece I was responding to jasmine's jellyfish design. I drew the teardrop shape from the body of the jellyfish and repeated it in a patterned symmetrical design. For the color we were asked to use a cultural color system. For my substrate I chose to research and draw inspiration from the Pacific Coast Native Americans. Combining elements of depth, symmetry, rhythm and color I created a finished substrate which I proudly add to the sequence for this project. Enjoy.

Cultural Color Research Paragraph

The artwork of the Pacific Northwest Native Americans is truly something to behold. Combining strong elements of craftsmanship and design, the artists of this region have truly mastered the bond between form and meaning as well as the relationships in color.

Focusing specifically on the coastal tribes in the area my cultural connection will focus on the color relationships in the area and how the native peoples view color in relation to their art. The color compositions of the peoples in this area are fairly stark and usually consist of only two to three colors. In more recent generations Native American artists have utilized nontraditional paint colors bought in tubes or derived from unnatural pigments.

The most commonly used color in pacific coast Native American artwork is black. It forms the thick and bold outlines of most every painting or weaving and stands as a stark flattening element to every piece. In traditional process the black pigment would be derived from charcoal, graphite or lignite coal.

The second and most recognizable color of the region is red. Used to fill the various shapes and formed outline in black the red pigment of these peoples would usually be created from red ochre or hematite minerals. Red also held a deep symbolic meaning to the artwork of the pacific coast Native Americans. Representing numerous things such as thunder, sunsets and the earth red stood as one of the most universal colors in their palate.

The minimal color palate described served as highly inspirational for me, forcing a unique composition and respect for the way forms interact. The colors of this region and the peoples that lived in it are commanding and influential and I hope that by utilizing the pigments these people traditionally implemented I will be able to create a piece that is both dynamic and simple. 

Sources:
http://www.freespiritgallery.ca/nwcolors.htm
http://www.lewisandclarktrail.com/section2/colorsanddesigns.htm

Second Work

For our second work in the series of four we were asked to draw inspiration from a fellow classmate. I was assigned to work of of Alex who had made an orange collage of cut out triangles with a distinct circular object in the bottom right. The substrate was to be covered using only acrylic paint with the sole requirement be that we utilized some set of color harmonies. For my piece I used both the analogous orange color harmony and the complimentary blue-orange harmony. The piece drew fairly literally from alex's original piece with the exception that I added a second, more subtle circle to the composition. It all turned out very well and up to my expectations. Hope you like it.

Wednesday Night Art 21 Response

Last Wednesday night in our foundations class we were shown a screening of Art city in which they covered the life and works of three different artists. We were asked to comment on their process, my immediate reaction to that night is what follows . . .

            The best part about the process is that it can completely justify a piece. Often times today in art the process can be the piece; the final product has been slowly dissolved into the ether, substituting vomit on the canvas for a honed oil painting.

            The videos we just watched clearly showed the way in which artists think of their process as the end all be all. For them the process can be almost more important than the final product. The process is what they have to deal with while they’re wasting away their hours in front of a canvas. Some have a perfectionist attitude – careful, collected, and precise, others are freer, taking risks and not worrying about getting messy. Process is not always about what goes on physically though, often process involves the thought development before the work is started - the story or memory behind it. Usually that’s more fascinating than the actually piece itself.

            My arm is getting tired from writing this semi-rant so ill close with this: process is for the artists; it is about the enjoyment of it. Artists are selfish and most of that selfishness is reflected in the process, sacrifice process and you sacrifice your ability to make intriguing art. 

First Work

The first in a series of four, the following is my photgraph collage inspired / based on the color yellow-orange. I drew connections to the common use of this color in road markings and public utilities. Check it out.

A Few Inspirational (color) Artists

Takun Williams - http://technodrome1.tumblr.com/archive

Really cool digital artist I found one day. Works almost exclusively with pop culture references and ties to movies. I particularly love his use of bright neon colors in images that may usually be dull and boring.
















Gunta Stoölzl - http://www.guntastolzl.org/Works

Don't know very much about Gunta besides the fact that she is a German Bauhaus textile artist. Awesome use of color in her wall hangings, seems oddly unusual for the time period. Regardless, Super bright and fun stuff.

Keith Negley Response

Wednesday night was graced with the presence of renowned editorial illustrator Keith Negley. From his works with New York Times, Business week and many others Negley has come to be known a one of the leading digital artists in his field.

            As Negley explained in his talk much of his inspiration comes from the articles he is commissioned to design for. Working almost exclusively in metaphorical images Negley pokes at issues of politics and economics. Though all of Negley’s work is digital he often draws inspiration from his roots as a screen printer, utilizing textures and effects in his work that form a more organic feel to the images. Rather than drawing from his environment or life experiences as with the artists in Art City Negley works predominantly from necessity and restrictions imposed by his clients. Keith works in a field that is less about self-expression and more about communicating an idea successfully and in a creative way.

            Often forced to work in a limited color pallet Negley explained that he thrived off of muted colors as well as tints and shades that reflected on his love of vintage posters. His color palate also drew from his interest in pushing his own limits of creativity, by using only two or three colors he told us, he was able to force his designs to work through unique avenues: utilizing form, line and negative space in non-traditional ways.

            All in all Negley’s presentation was highly inspiration, lending advise to aspiring artists and showing us a glimpse into an elite field of artists who have to push the boundaries of creativity every day they work. 

Art City Response

A recent showing of the film Art City examined the life and works of a handful of artists from across the country. The Film discussed ideas like controversy in art, community, inspiration and struggle.

One of the themes from the movie that each artist expressed was that art should be a reflection of the person making it. The artists felt as though art was a selfish process that served only the artist’s ideas and intentions. It was discussed that true art should reveal something about the person making it, allowing the viewer to get an understanding of the artists by looking solely at their work.

Yet another theme that was expressed in the film is that art is representative of life experience and fears from the artist. Whether it be the beach, racial issue, dreams or a fear of not have a Coca-Cola, art is nearly always manifested through an experience of the being. Art does not simply come about from nowhere; it comes from life. Art can be social or antisocial, created from the fear of being apart or from the joys of being with ones you love. Ultimately art is a product of existence and therefore it is the goal of an artist to best communicate that existence with others through visual means. The purpose of is to make people think.

            

Old Man Time

Here is my final get-up for the Foundations line to mass sculpture project. For the assignment I decided to be father time - check it out. 

Concept & Research Paragraphs [Final Draft]

            Concept 

Inspired by the humorously unrealistic Santa Claus beards seen across malls and shopping centers around Christmas time I have decided to take on the task of creating a beard prosthetic for the foundations line to mass sculpture project. The reason I chose the beard for this project is because of its connotations with knowledge and its relationship with social class and stereotypes. The beard is a symbol of age and maturity and becomes a ruler for measuring the passage of time. People with beards are often placed into certain categories and societal groups and for this reason I believe the beard prosthesis will offer a unique opportunity to comment on the way facial hair changes the way we look and interact with people. From the rich and powerful to the unconventional and homeless the beard is a powerful symbol of life and time showing that we truly can’t read a book by its cover.

Comprising of metal wire, twine and string I will be putting together a scraggily and disheveled wearable beard reminiscent of a homeless person or crazed mathematician. The beard will begin with a main armature wrapped around the ears flowing towards the front of the jaw, with branching sections of smaller wire to support the layering and integrity of the beard. Draping down and to the side of these wires will be numerous strands of twine, wire and yarn following no particular style or cut, which will make up the mass of the beard. Each strand will be attached using a generic knot and should require no glue of external fastening. The final product should result in a realistic 12-inch long beard that you can run your hands through.

Research

Growing a beard has meant many different things over the ages, from showing religious respect for the gods to protest the beard is a symbol of all walks of life and all philosophical ideals. Those who study beards and their history are called pogonologists from “pogon” the Greek word for beard. In modern day Christianity as with numerous other religions almost all of the holy figures are adorned with beards and in fact eight of the figures in Leonardo da Vinci’s Last Supper are sporting full-grown beards. The beard symbolized a strong relationship with god and subsequently a strong religiosity. In the Muslim faith large unkempt beards are commonplace and show others that one has a determined relationship with Allah. The beard over different times and cultures has also been seen as a sign of virility, dignity and wisdom; Spartan warriors would even punish cowards by shaving off parts of their beards as a form of humiliation.

            In modern day society all of these beliefs about the beard still stand true but there are also several new ones that western culture has adopted into everyday life. From the 1920’s through the 60’s beards in America were considered fairly taboo and instead gained popularity as symbols of the counterculture and homeless life. Beards took a sharp increase in popularity in the 1980’s when businessmen and beatniks would share facial hair all the same. Today the beard has stabilized in popularity and represents all walks of life. Ultimately it is clear that the beard is here to stay, from religious devotion to celebrity stardom to the homeless the beard is a symbol of the diversity of male life and doesn’t appear to be getting shaved off any time soon.

Sources

1. Greg, Brian. "Growing a Beard: The History and Philosophies Behind the Current Trend." Associated Content from Yahoo! - Associatedcontent.com. Web. 01 Dec. 2010. <http://www.associatedcontent.com/article/527083/growing_a_beard_the_history_and_philosophies.html?cat=69>.

2. Daoud, Abu. "The Beard Divide." Islam and Christianity. Web. 01 Dec. 2010. <http://islamdom.blogspot.com/2007/08/beard-divide.html>.

3. "Beard." Wikipedia, the Free Encyclopedia. Web. 01 Dec. 2010. <http://en.wikipedia.org/wiki/Beard>.

4. "Beard: Encyclopedia II - Beard - History." Enlightenment - The Experience Festival. Web. 01 Dec. 2010. <http://www.experiencefestival.com/a/Beard_-_History/id/1286219>

Digital Imaging Final

 

Here is the final project I have been working on for my Digital Imaging class. The design above is from a drawing I did back in my sophomore year of high school. I scanned it into Illustrator and traced all the lines, I then proceeded to take it into Photoshop and color each of the shapes by hand. The final product will be a roughly 20x30 poster.