Degree Show Planning

Degree Show Planning

DRAFT PROPOSAL – 18TH APRIL DEADLINE: R.DCLARK – DRAFT V1 – UNIT 10 -S316:17 – DEGREE PROPOSAL FORM

I am considering presenting a multi-layered (max 30.) encasing on a hyper-realist mid-torso silicone casting. It will be a free-standing, life-sized object and will throughout display the various piece elements of the casting, held together as a single object pinned at its corners. This MAY be accompanied with a sound/video piece to simulate breathing/movement.

Overall I want to create an object that fully occupies the exhibition space as I feel that this has been a weakness of my work up until this point. Going back to initial ideas of 3D layering, I want to fully realise my initial ambitions  not only working on a large scale, but by creating 3D works that can be navigated the viewer. The introduction of projections is a more recent development, and I feel that really come from my need to blur the boundaries between reality and simulation. This notion sprung from a article I read recently which discussed a space:

where the borders if reality itself are [increasingly] porous

How too can I adopt a similar stance in my work, working with disembodiment and distancing from the human form, whilst revelling and glorifying it. I feel that key to the success f this work is its size, allowing the audiences to be pulled into/attracted to the work ad the uncanny nature of figurative representation. To realise this piece I need large shards of glass, silicone and silicone pigment, paint (oil paint and acrylic) which will be acquired in the coming weeks and a more detailed plan set up in order to start my casting process.

Below are some images that have inspired this move within my work. However, adding to this I want to apply the VFX and casting skills in order to make the works more interactive, allowing the audience to be able to feel, even smell the disembodied parts of the model. I over everything else want this work to be a mixed-media piece that consolidates all of the skills that I have learnt over the past 3 years.

Similarly, the work of Dustin Yellin has also been a source of inspiration for my degree show ideas. Often working with the intricacies of glass and encasing, his work expresses a lot of the interactive tones I want to achieve in my worn work.

Almost like  specimen jar, the introspection employed while looking at specimen I believe will  work well with the detailed nature of my casts. Of course in this instance, the specimen will be life-sized and empty a number of techniques to realise the FINAL OBJECT.

INTERVIEW – WILD Magazine

Psychogeography Study

Psychogeography Study, #89

Psychogeography Study, #79

Untitled Landscape, 2016

Untitled Landscape, 2016

Psychogeographies: 3D Collages Encased in Layers of Glass by Dustin Yellin

Psychogeography 42 – *details

Psychogeography 45 (2014) – *detail

Psychogeography 45 (2014) – *detail

Psychogeography 43 (2014)

 

Untitled Small Figure #07

Psychogeography 41 (2013)

Psychogeography is the act of exploring an urban environment with an emphasis on curiosity and drifting. Or, more colloquially put, a “toy box full of playful, inventive strategies for exploring cities.” For the Brooklyn-based artist Dustin Yellin, his toy box is full of everything he finds on the street—flowers, leaves, bugs, and even dead rats, which are then composed into three-dimensional collages and sealed behind resin.

In his most recent series “Psychogeographies,” Yellin uses multiple layers of glass, each covered in detailed imagery, to create a single intricate, three-dimensional collage with a mix of magazine cut-outs and acrylic paint. When pressed to describe what he does, Yellin struggles, but not with a lack of words. Here is an excerpt from a mini-essay “concerning the difficulty of saying something about what I do.”

“Is it a copout to say “the work speaks for itself”?
I feel like it is
But I’m also awful talking about what the work is.
So sometimes I say “it speaks for itself”
But what does that even mean?

However, he does offer some advice:

First and foremost, they’re massive see-through blocks
And that’s one way to read them, listen to them “speaking”
As massive see through blocks.
Another is to listen to what’s inside them
The forms, the clippings, the dead things, the painted things,
Frozen between the layers of glass, what I’ve called
The captured and frozen “dynamism” of culture.