I spent a lot of time smoothing out the contours of my apple today. I had to add some clay on some spots in order to then scrape it off. It’s frustrating because the top half is still collapsing inwards a bit just because it isn’t dry enough. I also rounded out the bottom part, which caused it to smoosh downwards and inwards, so I cut away excess clay from the inside. I reshaped the part from which the stem will protrude. This art class was very much so focused on envisioning what I want my final sculpture to look like. The practice of envisioning my artwork allowed me to realize that I will have to exhibit it in a way so that the viewer will only see it from a specific angle because the sculpture, holistically, is lopsided. I am frustrated, but I also understand that the imperfections were a risk I took when deciding to hand - sculpture a relatively large piece. I hope to finish forming the shape of the sculpture next class and then begin working on making the stem from wire. Also, an idea I came up with was cutting the top off of the apple so that I will have easy access to the inside when anchoring the wire inside, then replacing the top once I have finished. I will have to talk to Mrs. Mosley about it and take her opinion into consideration as well.
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I am very pleased with where I left off at the end of class today. I finally was able to assemble the two separate parts of my sculpture, which I did using slip and smaller bits of clay. The bottom part was larger in circumference than the upper part, but i just used some moistened clay to combine the halves. I spent a lot of time with one hand on the outside of the apple - for stability - while I firmly pressed outward with a hand on the inside of the apple. This helped me to deepen the curve around the middle of the sculpture, as I have previously mentioned I wanted to focus on. I also created an indentation in the top for where the stem will go. After discussing it with Mrs. Mosley, I have decided that I will actually shape the stem and leaf out of wire, which I will paint to be the same color as the apple itself (gold) so that it doesn’t detract from the focal point as being the hole. I wasn’t sure if I was going to make the hole jagged or smooth, but once I began to cut I liked the aesthetic of the smooth line much better. I was worried about the top half collapsing inwards little bit just from being moist and a lack of support, so I fashioned some newspaper to both ends of a wooden dowel and wedged it snugly across the diameter of the apple. I placed another dowel perpendicular to the horizontal one. My hope is that it will dry out a bit more by Friday so that I can smooth out the rough patches and fine - tune the overall appley shape (Wednesday, April 17th): I was able to get just over half - way through with the full form of the apple today. I have been purposely making the coils thick so that I won’t have to worry about it becoming too thin and collapsing once I start to smooth out the rough patches. In addition to this part of the sculpture, I used an appendage made from two bowls taped together to make the shape of the upper half. I rolled out a slab of clay about half an inch thick and laid it on top. I wasn’t able to take a picture of this step because I ran out of time, but I am hopeful to be able to assemble my apple in full during the next class period. The biggest challenge that I currently face is figuring out how I can manipulate the clay to maintain a prominent curve around the middle of the sculpture indicative of an apple.
I am still focusing on sculpting the bottom half of the apple. I think I have about two more layers of coils before I can start narrowing the form. For the top portion, I will likely continue with my plan of sculpting it separately and then slip / score the two halves together. I am super excited for the finished product. However, I have been rethinking what I will actually put on the inside of the apple because I do not know how realistic the concept of getting school - wide participation is. After the Try - Me gallery field trip, I am also drawn to creating a sort of web within the apple out of string, cross - crossing and zig - zagging the strands. Theoretically, I would anchor the string with glue to the sides of the apple as it crosses within itself. The “web,” for lack of a better word, would spill out of the hole in the apple (the bite - like chunk out of the apple is something I have kept in my plans since the beginning). I will have to discuss it with Mrs. Mosley and think it over, especially how my content fits in with the string vs slips of paper with phrases.
Kyle Bean is a freelance illustrator, director, and set designer based out of Brighton, England. Even as a child, Bean enjoyed the artistic process of using critical thinking and tactile skills to creatively solve problems, noting that he also likes adding a whimsical element. He attended the University of Portsmouth from 2005 to 2006, earning a Foundation degree in Art and Design. Shortly thereafter, in 2009, Bean graduated from the University of Brighton with a bachelor's in illustration. He then began a career in exploring the boundaries of tactile media and animation. From April to June of 2015, Bean mentored Fashion students at the London College of Fashion during their work for a project concerning ""live visual merchandising for a well - known Fashion Brand." He provided both creative and practical support, even hosting workshops "to aid in a more hands - on approach." His projects have thus far consisted of editorial and commercial pieces, plus installations for fashion brands and events. Clients include: Wallpaper, Financial Times, Vogue, Diesel, Wired, New York Times, Selfridges, Hermes, Liberty, Rimmel, BBC, GQ Magazine, Rizzoli/Universe, Rubbish Magazine, HOW, Viewpoint Magazine, Casio, VMAN, Louis Vuitton, Scientific American, Intersection, Design Museum, CUT Magazine, Computer Arts, Peugeot, Time, Lloyds Bank, Men’s Health, Gucci, Nature, Fast Company, Eureka, AMV BBDO, Droga5, JWT, Havas Worldwide, The Guardian, Whole Living, The Atlantic, Seven, Matthew Williamson, BA Business Life Magazine, ICON, Intercontinental Hotels, MODUS, Mr Porter, EasyJet, Google, Prudential, Esquire, The Gourmand, Greensource, Moo, Rede, Emirates, Verizon, The Wellcome Trust, Wieden and Kennedy, Bloomberg, Kinfolk Bean's studio is based out of his home, but he regularly collaborates with other artists for big - name pieces, especially photographers. The conceptual imagery of his work, paired with appropriated everyday objects is both humorous and impactful to the viewer. Because he works for companies and businesses mostly, he has a keen awareness of the setting in which the artwork will be placed and its interaction with the audience and environment. Communication, in his opinion, is crucial, especially through images. Bean identifies his largest source of inspiration as the law of conservation of mass; how he can "[pair] down objects to that of a single desire." A collection of Bean's that relates specifically to my sculpture is his 2014 Forbidden Fruit collection. Forbidden Fruit was a collaboration with photographer Aaron Tilley and commissioned for The Gourmand. The works can be characterized as possessing a slightly sinister and mischievous tone; the fruits are embedded with - or, to some, protected by - devices for self - defense. This is a visualization of the widely overlooked 'dark side' of fruit. The collection explores the notion that even fruits can be harmful, therefore exaggerating even minor health risks. Furthermore, another collaboration with Tilley that I found to be particularly interesting was a collection called In Anxious Anticipation for Kinfolk magazine. This series of works is a commentary on trivially uncomfortable circumstances that, even though we conceptually understand them to be simply renditions, still make our hearts race with anxiety. I was in awe of how distressing it was for me to observe the artwork; I was entranced, frozen by my conflicting feelings of appreciation for the craftsmanship and content and of uneasiness because of what the artworks symbolize. It is a truly powerful body of art. Press and Publications: • Thread, The Station, Bristol, 22nd March 2018 • Papercraft Workshop, Haus of Victorinox, Wilderness Festival, August 2017 • London College of Fashion, London, Various Lectures, 2015-16 • The Story, Conference, Conway Hall, London, 21st February 2014 • Beacons Festival, Wood Carving Portraits Workshop, 17-18th August 2013 • BLAB, Band on the Wall, Manchester, 25th June 2013 • Meal Ticket, KK Outlet, London, 8th May 2013 • Skillswap ‘Does’, Lighthouse, Brighton, 17th April 2013 • Speaker at Design Brighton, The Old Market, Hove, 15th January 2013 • Nova Festival, Festival of Arts and Music, Craft Workshop, 6th July 2012 • Apple Store Talk, 235 Regent Street, London, 20th February 2012 • ADC Young Gun 9, Art Directors Club, New York, October 2011 • Glug Brighton, Brighton Pavillion, June 2011 • Work showcased at the BFI as part of the onedotzero festival, Sept 2009 • Shortlisted for the 2009 Penguin Design Awards for a book jacket design, June 2009 Exhibitions: • ‘Hamster - Hipster - Handy. Spellbound by the Mobile Phone. Museum Angewandte Kunst, Frankfurt April-July 2015 • ‘Save the Bees’, Forge and Co Gallery, London, September 18th-24th 2014 • ‘Paper Cut’, The Proud Archivist, London, September 2014 • ‘Motion Factory’ Curated by Yves Geleyn, La Gaîté Lyrique, Paris, April - August 2014 • ‘Materials & Messages’ An exhibition of work by Kyle Bean, Colette, Paris, July 15 - Aug 31 2013 • ‘Misuse: Creating Alternatives’, Cass Bank Gallery, London, March 2013 • ‘Then, Now, After’, University of Brighton, Brighton, Jan – Feb 2013 • dConstruct, Brighton Dome, Brighton, September 2012 • ADC Young Guns 9, ADC Gallery, New York, October 2011 • ‘Now we do Shellac’, Sassoon Gallery, London, August 2011 • THREEDEE, Jaguar Shoes, London, April 2011 • R.S.V.P.H.R.H – Exhibition of alternative royal wedding invites, The Rag Factory, London, April 2011 • International Design Biennial, St Etienne, France, Nov – Dec 2010 • ‘All connected’ Grenoble, France, Oct 2010 • Mobile Evolution project on public display, Young Creative Network, London, July 2009 • Graphic Design & Illustration Show, The Rag Factory, Brick Lane, London, July 2009 • University of Brighton Undergraduate Degree Show, Brighton, June 2009 Sources (can also be used for additional information, but you are not required to visit every website to answer the questions):
Brief biographical summary: https://www.hornetinc.com/kyle-bean.html, https://www.ba-reps.com/illustrators/kyle-bean Summation of Bean's artistic style and key works: https://popuppainting.com/2017/09/kyle-bean/ Personal website: https://kylebean.co.uk/about A delineation of Forbidden Fruit: https://www.designboom.com/art/kyle-bean-forbidden-fruit-self-defense-devices-07-02-2014/ More about Forbidden Fruit: https://www.trendhunter.com/trends/forbidden-fruit A reflective interview of Bean regarding his inspirations and aspirations: https://lectureinprogress.com/journal/kyle-bean Questions for consideration: 1. For your thumbnail, explore Bean's collection and sketch the work to which you feel the strongest instantaneous connection (no need to over - analyze!). 2. Much of Bean's work is aesthetically simplistic yet carries dense content. What about his style do you think is most effective in connecting to the viewer? How do you think this has helped him in creating commercial pieces? 3. Bean had not initially planned on making a living of creating art for companies and businesses. Would you consider being a freelance designer yourself? 4. After reflecting on Bean's oeuvre, what inspirations do you have regarding your own sculpture? Are there any aspects of his art / process that could be applied to your own? Why or why not? Whoa. I was in awe of this collection. I actually just voice - recorded everything that we discussed so that I could give the artwork my undivided attention. Later, I listened to the audio recording and took notes in my sketchbook. This definitely wouldn't be an option I would have to complete all of the Experience assignments we have because I do not often have the free - time to essentially re - experience a whole field trip. However, I was able to do so for the Try - Me Gallery, and it worked wonderfully. While on the field trip, I felt totally present in the impact of the artwork and what we were learning about it all. I could listen to the information we were being given and take it for its holistic value. On my own, though, I could pause the recording and jot down my observations and personal reactions to what I saw and heard. I had control over the organization of what I was writing, such as how I formatted my documentation of the artists we discussed and analyses of their works. To bolster my comprehension, I revisited www.try-me.org/ to find artists with whom I felt a strong connection. It was truly an immersive and awe - inspiring experience. The field trip itself was fascinating. It was difficult for me to grasp the fact that the Try - Me gallery is actually Pam and Bill Royall's (that is SUCH a cool last name) private collection. The infrastructure was beautiful and obviously very modern and up - to - date. The similar content of the pieces created a subtle flow, which I found to be truly beautiful; for example, the analogous commentary of Kehinde Wiley and Amy Sherald about African American culture forces the viewer to consider their meanings. I understand that pieces are similarly arranged in curated galleries and museums, but I think it's different when the pieces have been purchased simply for the pleasure of the owner. The Royalls have specifically chosen to permanently own these artworks because of the profound impact they have had, and that is wild to me. Like, just knowing that there was something so special about the monoliths by Mariko Mori or busts by Elizabeth King to these two individuals that they wanted to cherish them for the rest of their lives... it changed the way I looked at the art. It made Michelle Florence's iguana self - portrait / household object, or David Schnell's "Moment" seem more accessible; I wasn't as intimidated by them as I would have been in a more formal setting, I think. I don't quite understand it myself, in all honesty. Nearly everything about the Try - Me Gallery just felt right. For my work in the future, I am interested in exploring Titus Kaphar's shredding technique. I have always been drawn to textured works, and the physicality of the mass of butchered canvas contrasting with the well - crafted portrait excites me. I also noticed that it looked like hot glue held the shreds together, which for some reason amused me. Furthermore, I am encouraged to exploring all - over compositions and trying to keep the balance within this kind of work so that I do not subconsciously create a focal point. This is something I struggled with a bit during my AbEx piece, so it's just a challenge I'd like to work through in experimental pieces. Finally, I have been inspired to consider using wire or string inside of my apple sculpture. I like the idea of criss - crossing string so that it resembles a kind of web inside of the apple, spilling out of the hole and onto whatever baseboard / pedestal I decide to use. I will definitely have to more carefully consider these options, a task which feels both daunting and exciting. Artists / Works I felt drawn to:
Additional Resources: kapharstudio.com/ thesizesofthings.com/ richmondmagazine.com/topics/try-me-gallery/ www.styleweekly.com/richmond/power-arts-and-culture/Content?oid=11066500 |
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