Sculpture- Materials & Methods: Phase One

After my experimentation process I decided I want to start to work with fabric since is the material I knew from before, not specific as textile but I had work with felt and yarn so I don't feel lost working with something completely new.  I do not want to use fabric in a conventional way so I want to stay away from sewing and work with new techniques to improve my artist skills!

These are my first 3 approaches to fabric to increase my material knowledge: 

Materials and Methods: Experimentation Process

I wasn't sure how to approach and start the manipulation of my materials, I had some ideas in mind so I decide to start working with them to find out if they were tangible and make sense in the making. 

The further research of my materials to organize my thoughts:

After this I start to realize about different ways I might want to combine the materials:

I pass from the idea to the making, testing and experimenting! 

The results of the experimentation:

After this process I felt more confident with my materials because I start to understand how to use these materials in different ways and find out how a gauge, texture, quantity affect the final result of the project!

Research: Path of Inquiry

I divided this assignment in the 3 materials I am planning to use this semester:

1. Fabric

2. Wire

3. Wax

1. Fabric

2. Wire

3. Wax

Also I am adding the Path of Inquiry "Google Worksheet"

1. List your three specific materials to study. * 1. Fabric 2. Wire 3. Wax 2. Material A- List at least three specific sources to begin your research. Note: follow the guidelines on the blog regarding the specifications for your sources. * 1.Fabric: Where it comes from? (New York Fashion Center) 2. How to manipulate fabric? (www.mypatchwork.wordpress.com) (The Art of Manipulating Fabric by Colette Wolf) 3. Out relationship to fabric (Social Fabric) 3. Material B- List at least three specific sources to begin your research. Note: follow the guidelines on the blog regarding the specifications for your sources. * 1.Wire: Where it Comes from? (Premier Handling) (Wire Rope... Past, Present and Future by H.M Worcester JR) 2. How to manipulate wire? (HSN) (Edison Tech Center) 3. Our relationship to wire (www.thisiscolossal.com) 4. Material C- List at least three specific sources to begin your research. Note: follow the guidelines on the blog regarding the specifications for your sources. * 1. Wax: Where it come from? (Britannica Encyclopedia) (IgiWax) 2. How to manipulate wax? (Sculpture as experience by Judith Peck) (Encaustic Art: The Complete guide to creating fine art with wax by: Lisa Rankim) 3. Our relationship to wax (Boundless Biology) 5. Artist List- Choose at least 6 individual artists who's practice includes an investigation of the materials you have decided to focus on. You will research their approach towards these materials in their own art practice. Choose at least two artists for each material. The artists can overlap across material lists, but you have to end up with six artists total. Lastly, at least two of them need to be living, working artists. * 1. Mister Finch (Fabric) 2. Steven and William Ladd (Fabric) 3. Ruth Asawa (Wire) 4. Anne Mondro (Wire) 5.Gavin Worth (Wire) 6.Rebecca Stevenson (Wax) 7. Hoang Tran (Wax) 6. Technical List- List two local places you can research to find more ways of working with your materials. These can be businesses, manufacturers, craftspeople, etc. * 1. Yomairi Silva 2. Books and Books/ Barnes and Nobles/ Public Library 3. MDC Museum of Art and Design 4. History Miami 7. One paragraph for your technical goals. * My technical goal is to learn how to manipulate these materials. I want to be creative,conscious and apply these material successfully to photography to evolve my art from 2-d to 3-d. I want to learn new techniques and improve my craftsmanship to become a complete Visual Artist. Also, I want to experiment and mix between these materials to learn more about them. 8. One paragraph for your communicative goals. * My communicative goals is to learn how to communicate my feelings, ideas and intention successfully thru these materials. I want to use these materials as a voice and I want to learn how to combine this materials so they do not lose their communicative powers. Also, I want to give texture and Personality to my artwork using the materials as a tool.

Sculpture: Show and Tell

Sculpture: Show & Tell

1. The most successful aspect of this work is the use of recycled materials and that I made it personal using my first test strips from black and white film photography.

2. Sculpture is not my strength basically because I am new to the 3-D world, I need to improve my skills and craftsmanship. I want to use sculpture as a tool to improve my photography and my knowledge as a visual artist.

3. I consider the most successful aspect of my current practice is the way I can explain my artworks and how I can make my viewer interested explaining my reasons or intention in a honest and humble way. I have tons of opportunities of growth, everyday I learn something new in this journey call art school and my goals is everyday to improve, learn something new and become a complete visual artist.

The Process of the Show & Tell

Painted Foam Board ( Mustard yellow to resemble success)

Tampons arrange with gold symbols to resemble femininity

The vine yarn represents the stigma of been a women ( still in a cage in the 21th century)

The red bows = Embrace Womanhood

The mustard yellow yarn represents my success as a photographer even if is still consider a manly career and I decided to make it personal by attaching the first test strips I did on a dark room

Reading: Sculpture in the Expanded Field By Rosalind Krauss

1. What would have been so problematic about the classification of these artists works at the time they were made?

The  classification of these works was complicated because sculpture was something new, it was basically in an evolution process and no rules were set. Anything can be consider or perceive  as sculpture and the intentionality of a piece was not define the way we know it today. There was a issue in the different concepts of these objects depending on their  historical background: monument (tribute) versus sculpture (piece of art/instrument for decoration). Also; the pieces had to fulfill certain rules to be consider as sculpture like the not-landscape/not-architecture rule. 

2.This text was written in the late 1970's. How may we find ourselves in a similar situation today written regards to identifying/cataloging and understanding current creative practice? 

The understanding of my creative practice is similar to the one explain on this text written on 1970's because I perceived sculpture as something new, I am not sure of what sculpture is even if  I admire pieces in museums and art fairs. My artistic vision moves forward 2-D artwork but  I decide to explore techniques or mediums I am not used like sculpture to improve my visual artist skills. Also; for me is hard to see a meaning, a function or both of them as a whole being those characteristic of modern sculpture. My inspiration comes from creating something new that speaks for myself. 

3.Of the object-oriented "sculptural" work being made today, what type of work do you find most challenging to accept or understand?

From the "sculptural" work made today I am challenge to understand conceptual sculpture, sometimes I perceived  these pieces as decorative objects rather than art. It is hard to get the meaning or the message the artist wants to send with his/her artwork and even if they are visually appealing I do not understand the concept behind the pieces unless I have an opportunity of speaking with the artist to learn his/her intentions. Some examples from the reading are Carl Andre "Cuts" and Alice Aycock "Maze" which I feel are interactive pieces to improve certain space.