Week Ten

 

This week I began looking at creating a visual narrative within my sculptures in order to have a more coherent and more developed concept. Above are extracts from my sketchpad showing some of the designs I was working on. I then built a series of sculptures based off my designs. The design is based on the silhouette of a box, the hexagon shape is slowly being removed from each sculpture. The design is focused around the central box as that has the full silhouette removed from the sculpture. I am looking at the space around an object, the contrast of positive and negative space, how we perceive space and the illusion of space.  Above is also a ceramics piece that I made that will be fired and coloured.

 



Week Nine

Last week I again took photographs of my cardboard sculptures, this time however I used a DSLR so the photographs are of a higher quality. I also began making sculptures out of wood. I have painted them white so that they are presented in a very clean and precise style. I also have to develop a visual narrative in the sculptures to give the work more depth. I have to design what will reside in the boxes and make sure that there is a level of continuity and narrative in the design. I have been looking at the basic forms and the theory behind form as context for my designs. I have also been looking at colour theory in relation to my sculptures. I will use my ceramic pieces to explore colour in the sculptures.   

Week Eight

 

 

Last week I began to layout my sculptures and record them by photographing it. The cardboard I am using is not visually strong enough so I am going to start creating the sculptures from stronger, more defined materials such as wood. Also the most effective sculptures were the series I attached to the wall so I will now begin to concentrate on developing my sculptures with this in mind. The reason they were effective was because I could more easily control how the viewer looked at the sculptures. I limited the area that the viewer could view the piece from and it is also a subconscious habit to look at a piece of art on a wall by facing directly towards it and not from either side. Next week I will take higher quality photographs of cardboard sculptures with and SLR and I will begin making more finer, precise sculptures in ceramics and wood.



Week Seven

 

Last week I further developed my ceramic work. I made a larger sculpture from clay slabs based on a design I had previously created in cardboard. Like my other ceramic pieces I plan on exploring colour with this piece when it is fired. Above are also excerpts from my sketchbook of observational drawings of my sculptures. From these drawings I might make abstract prints based off the geometric shapes made when you look at the sculpture from different angles. I may also make prints of and use them alongside my sculptures so that there is a translation between a 2D image and 3D a sculpture.   



Ken Eastman



Below are some examples from the artist Ken Eastman. Eastman works in ceramics and while his pieces explore form and texture he also places a very strong emphasis on colour. As indicated by the image below he uses colour in a very painterly, free manner blending colours and tones together almost as if he is using the clay as a canvas. Rather than just using colour to accentuate the form Eastman uses colour combined with form to create a piece of art.  

 

 

This next image is an example of how colour and texture can be combined. Eastman has given the illusion that this sculpture is metallic in nature. He has either textured the clay himself or used a glaze that has altered the surface of the piece to make it look weathered and rusted. He combines colour with texture to complete the illusion as his use of earth tones makes the piece appear like it is made out of metal. I find it interesting that there is such a strong contrast between the cold, smooth sections of the piece and the textured areas and yet the colour used is the same in both sections.    

The image below is very interesting in that he uses colour to draw attention to the inner space within the sculpture. We are now more aware of the negative space held within the object rather than just looking at the form itself.