Week 1- Made observational sketches of tribal masks in order to generate some ideas of how we could create our own, this made me aware that masks are frequently decorated with organic materials such as teeth and hair. They were also designed to attach to a headdress from holes cut along the edge of the mask.
Week 2 – A sample of the sketches I made in the Altes museum and Berlin Kulturforum of statues and objects that interested me and could be used as inspiration for masks. Some of the objects I copied because of there facial expressions, some for the stylisation.
Week 3 – Layered Mask
This mask was inspired by Marcel Janco’s work and is based on images of family relatives. As most tribal masks are made as a way of commemorating deceased family members I simply followed this idea.
Passport masks – The Dan people in particular used passport masks, which are too small to be worn and are intended to be carried by the owner as replicas of larger ceremonial masks. I made two passport masks, one inspired by an artefact seen in the Kulturforum which I chose because of the facial expression and a second one decorated with an embroidery pattern. I was initially going to discard the pink mask because I was not happy with the clay form, however I decided instead to paint an embroidery pattern across the top as a reference to female factory and textile work. This turned out to be the idea I liked most and I want to make a better passport mask which incorporates fabric into the clay and different patterns.
Grayson Perry’s Tomb of the Unknown Craftsman, a cast iron reliquary case in the shape of a boat which houses a prehistoric axe inspired me to make a magical object devoted to work.
Week 4 – Magic soap
Here are some examples of Magic Soap, the origins of the soap are believed to relate to the mix of religions in Latin America. Many of these religions involve ritual washing; foot washing in Catholicism, Ibeji figures from Africa. Soaps are designed to bring you luck when washed with and some contain more specific instructions. As I was going home that week i designed a soap box which would hopefully make the trains run smoothly.
The results of my final etching are the ones I am most happy with. When I began making the plate I initially thought it would be unsuccessful as the acid had not bit the metal for a long enough time, and the etching was only partial. I added dry point to the metal plate and used sandpaper in the foreground.
It is easy to point to something beautiful but impossible to say what it consists of. Artists are weary of the concept of beauty because it alludes to superficiality and kitsch. Beauty in art is often used to create a tension with the concept behind the work.
Damien Hirst, Beautiful, Leeds United 3-0, Jeff Koons, large vase of flowers
Beauty = seduction
Beauty = cover for political manipulation
Making George Bush look as good as possible.
Is beauty objective or subjective?
If beauty is objective we ought to be able to isolate the beautiful element. But if beauty is subjective then the object means nothing at all as the concept of beauty becomes based on personal feelings.
Types of liking
the agreeable: governed by desire, subjective, private
The good: governed by reason, universal, public e.g giving blood
The beautiful: not governed by either desire or reason, universally subjective
We do not look at art in the same way as we look at the world. Poussin, The Martydom of St. Erasmus; scene would horrify us in real life but because it is an art work we view it in terms of the beauty of the painting. When we look at art disinterestedly it becomes formalisation OR Kant: we don’t disregard the content of the artwork, but we are not limited by it either.
Kant: If we call something beautiful, we expect others to agree with us even if they don’t.
What is the difference between natural beauty and beauty in art?
Van Gogh’s Irises versus real flowers: we don’t judge beauty on the basis of function. e.g we don’t judge the beauty of flowers on how well they grow or attract bees.
the physical world starts at the end of the body, therefore an object is something that resists my will. An object is something beyond my control.
David Nash, Cracking box; the wood cracks and changes, the art work is not fully within the artists’ control.An object offers relief from the turmoils of desire; Salvador Dali
– An object is unknowable
Perception is always partial; Paolo Uccello, Chalice
Renoir and Monet both painted the same scene but the results are totally different. We never see the same object as somebody else sees it and we never fully know the object.
Vija Celmins, To fix the image in memory; 2 rocks, one is real and one is a plaster cast remake, but it is difficult to tell which is the original.
– Phenomenon and Noumenon
How this appears Vs. How a thing is in itself
– I am an object (in a world of objects)
Caspar David Friedrich, Wanderer; I am the subject of my own experience
as oppose to Friedrich, Chasseur lost in the forest; French cavalryman lost in the German woods with no horse, feeling of threat emanated from the trees, when we stray from the street lit path we become the object. Complete opposite of Wanderer.
– Critique of the object d’art
Art dominated by upper middle classes who wanted art that would beautify there homes. Bourgeois and a separation of art and life e.g Objects had no impact on wider life outside the home. Leads tot an interest in disagreeable objects and an interest in objects that cant be viewed as neutral. Hans Bellmer The Doll
– Critique of easel painting as illusionistic
Leads to creation of objects that are neither painting or sculpture. e.g Tatlin Counter relief 1916, critique of easel painting leads to conceptualism.
– Leads to an interest in environmental works
Lissitzky Proun Room, take art out of the canvas and put it straight onto the wall- then you can walk inside the art.
These are some of the 100 drawings made on the Pwll Deri trip. The majority of my drawings featured some sort of man made object, even though as I was drawing I thought I was focusing on the natural environment. I became interested in the line where the sea meets the land and capturing this.