Sunday, March 29, 2015

Soap Carving - Additive/Subtractive Process

Start of the Process


1. Subtractive - First off, I cut off all four corners of the sculpture with a butter knife.



2. Subtractive - I blew the carving with a blow torch, it created bubbles on the surface, and left a brown, hazy color on it.


3. Subtractive - I ran it under cold water directly after the blow torch, hoping for some sort of reaction. It really just smoothed out the surface.


4. Subtractive - I drilled a hole through the carving, using a drill gun.



5. Subtractive - Next, I ran the carving under boiling water for 3 minutes. I didn't want to lose the complete form of the sculpture, and wanted to keep it all in one piece.


The boiling took away some aspects that I liked, mostly the blow torch effect. So I decided to roast it for one more time before doing any additive processes. I thought how the blow torch effected the soap looked better than a smoother style.


6. Additive - The first additive method that I did was pour blue drawing ink over the sculpture, and spattered green ink with a paint brush.


7. Additive - From there, I stuck small pins used in the Architecture Relief project into the carvings face and head.


8. Additive - The next additive process that i did to my sculpture was spray painting only one side of it, with black paint.


9. Additive - After the paint dried, I cut a long piece of orange yarn, and used the push pins in the head, as well as the rest of the body to wrap it up and tie it off.


10. Additive - Lastly, I took a long green paper clip, bent it into a zig zag, and stuck it into the sculpture.












Soap Carving




Written Response: Janine Antoni's work inspired me, by her immediate approach to projects. She incorporates herself, her body, and other possessions in her artwork. Its a tangible way of reflecting yourself in your artwork.

Architecture Relief








This assignment was to combine two different time periods of architecture, into one three dimensioal structure, using a variety of materials, mostly foam board. I chose the Pre-Colombian period, (Myan/Aztec style) and the Early Modern time (Birth of tall skyscrapers). The bottom part is completely pre-colombian, seen in the temple and aztec patterns, while the top resembles a simplified version of the empire state building. This project taught me the creative process in architecture, as well as how to stabilize a 3-D piece on a wall. The dimensions are 10 x 10 x 25 inches.



Architecture Relief In Process Photos






Sunday, March 8, 2015

Paper City Finals














As you can see, the sculptures differ in their method of movements. The first is a replica of a draw bridge, where the two middle points can be raised so larger objects can move underneath it. I used metal wire for the arms which lift the ends up. This maximizes stability, which the wood base does as well. For the second sculpture, I used more of an abstract approach. Just by a simple dowel through two symmetrical pieces of wood, this wheel can keep spinning and spinning. I really didn't want it to be or look like anything particular, which led to my decision of putting a question box trapped inside. This bounces around as the wheel revolves.

Paper City First Drafts/In Process Photos