- So as said previously I’m now going to sculpt 2 figures and set them up at the same time and switch to each one as each part becomes leather hard so that it’s easier for me to work with and this also works better with my time management, in my log book I’ve done a quick time plan of when I can fire my pieces in the tester kiln for it to be ready in time.
- To begin with I thought I could only fire 1 figure at a time but now been told I can stack them on each other in the tester kiln so that’s allowed me more time so once these are done I then want to oxide them but before firing I’m going to experiment with the glaze ‘ 4 ‘ in stoneware which has a brownish/bronze appearance but when applied thickly shows a metallic gold which I thought could be interesting to apply small amounts to the eyes and around the cut stomach so that illuminates and brings it to focus and would also be more eye-catching if it was to have a light hit on it which I do plan for my exhibition to make my piece/s more dramatic and intense.
- Kept my first piece close by and my book to look at my references so that they all stay a similar height, especially if I do decide to have a more than one as I’m interested in the hanging one and feel the stand I have for it is just beautiful and I love how rusty it is and the moon shape it has making the figure hang central, really goes with the aesthetic.
- Though I do feel doing 2 at the same time made me feel quite under pressure and kept seeming to be making small mistakes, I feel for one I made the neck far too long which makes it appear too alien but at the same time I quite like the appearance of it but I did say previously I didn’t want to go too far with it, takes away the human aspect of it. Though I found some artists that within there art of the human form they especially elongate the neck and I feel it makes the figure appear more alien and grotesque.
- This time I thought I’d experiment abit more with texture and used my knife, fingers, mixture of carving tools and a squared hammer. My aim for my pieces is for it to have a rough texture and this suiting to my feedback on my survey and it’s also how I feel it would look and feel myself.
- I decided with these ones to do without limbs and use wire in replacement though I feel the first one with the arm placed on it’s head has the best appearance but it’s also makes my piece more vulnerable to breaking as it’ll be very fragile and this then stopping me from being able to fix the problem by adding wire as it won’t have a hole to fit into. I also feel having the wire adds to the aethetic and shows the skimpiness of the figure.
- Making sure to make the holes where it’ll be fitted slightly bigger as it’ll shrink in the kiln.
- Tried to keep the faces similar to each other but really loved the idea of the disorder appearing quite menacing so that that the eyes suggest danger and makes it appear more threatening.
- The one on the right I made the neck far too long and this was mostly because it broke off and tried working back into again, really not liking the appearance of it, I keep getting mixed feelings on it because when I’ve asked on feedback about it I’m getting mixed responses being ‘ it’s too alien for the disorder ‘ or ‘ I feel it suits perfectly to the disorder as it makes you feel alien ‘.
Now I have to wait until my pieces have fully dried out but need to be dried slowly and without the fan over it as it’s a fragile piece and usually once it’s fully dried out and hasn’t cracked/broke that it will fire in the kiln without it breaking. This will probably will take about a day to fully dry out going by my tester piece, then once fired I will apply the oxides but this time being more patient and apply it with layers to get the best result.
Overall happy that I now have 3 pieces as planned and will be wanting to break 1 in 3 separable pieces to hang and 2 others being placed on stand, though still not sure which or how I’m displaying fully yet. I feel breaking it in 3 pieces works best as it’s used often within work to display. (TRIPTYCH) is visually pleasing!
Theat the Cloisters in New York.
Max Beckmann works such asat MoMA in New York.