Tuesday, November 30, 2010

Here are some videos of a few of my processes of creating robots.

The natural tension of the wire in combination with the conical shape of the pliers being used is what causes the spiraling effect in these little tendon pieces.

Same as the tendons, but only done on a single pincer on the pliers.

Attaching the fingers

How to make muscles the easy way.

Andy Goldsworthy

Artist/Naturalist
 Icicle Star
 Dandelions & Hole
 Iris Leaves with Rowan Berries
 Rowan Leaves & Hole
 Snow Circles
Ice spiral: Treesoul
Andy Goldsworthy is a brilliant British artist who collaborates with nature to make his creations. Besides England and Scotland, his work has been created at the North Pole, in Japan, the Australian Outback, in the U.S. and many others
Goldsworthy regards his creations as transient, or ephemeral. He photographs each piece once right after he makes it. His goal is to understand nature by directly participating in nature as intimately as he can. He generally works with whatever comes to hand: twigs, leaves, stones, snow and ice, reeds and thorns. 
"I enjoy the freedom of just using my hands and "found" tools--a sharp stone, the quill of a feather, thorns. I take the opportunities each day offers: if it is snowing, I work with snow, at leaf-fall it will be with leaves; a blown-over tree becomes a source of twigs and branches. I stop at a place or pick up a material because I feel that there is something to be discovered. Here is where I can learn. " 
"Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there." Image credit Daryl Bush
"I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue."  
"Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature."

"The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below."

The fact that Andy Goldsworthy creates transient sculptures makes them all the more interesting. His minimalistic approach and use of natural materials not only helps to showcase nature, but also emphasizes his work. Simple and beautiful. His work has a
zen- like appeal. When I look at these pictures I am reminded of an unbridled imagination, sense of wonder, and a reverence for nature. He is a co-creator of his environment. I have a sense that Andy Goldsworthy makes this look easy, and if I tried to use this approach I don't think I would be as successful. It would be fun to try though.

Progress photos - last assignment

Found Object Assignment


Cutting out ceiling tin for a skirt








Working on the face
Hello there


Hopefully it will end up being a person





auto part sculpture
























Well stage one is complete, I got it to stand! This will eventualy be some kind of abstract bug/insect/arachnid. Right now I'm just going with the flow. Its damn cold btw

Barbara Hepworth-Sculptor

Barbara Hepworth was born in the North of England in  1903. She went to school with Henry Moore from 1920-24 at both the Leeds School and the Royal College of Art. She traveled among many artists who became very well known including Picasso and Brancusi. Her iconic sculptural style of organic shapes with holes was first accomplished in 1932 with Pierced Form aka Abstraction which was destroyed in 1940 in the London bombings of WWII. Her showings include galleries and exhibitions all over Great Britain, Europe, and the United States. She died in an accidental fire at her studio at age 72.























Big' ens



Finals Schedule

Sculpture II
Final Critique Thursday Dec. 2nd @ 1:30ish down in the old place
Then studio clean-up and return all tools back to new place

Sculpture I and Sculpture II
Slide ID exam - 3:00 Thursday @ 3:00 in digital lab (bring a pen or pencil)

Sculpture I
studio clean up immediately following the slide ID exam
Then Final Critique


Monday, November 29, 2010

The man

Ladies and gentleman, here he is.

The one, the only, Richard @#$%ing Serra!!!








Do not be alarmed by this introduction, as it is rather appropriate. Very few artists ever truly come close to deserving a graphic expletive inserted into their name, and Richard Serra almost deserves two. Richard Serra is most known for his monolithic "torqued ellipses," a.k.a. big effin' sheets of metal, bent and warped to truly show the process of the work as well as the intent.










But what makes Richard Serra so amazing? Yes he uses steel in a larger way than most, but this could be achieved by anyone with the appropriate level engineering skill. His personality is almost as large and, can be, harsh as his works, but as artists we all share a common ego-ground in this respect. No, Serra is Serra because of the shear magnitude of the work. When inside any of the ellipses, or towers as some of them can be, the unadulterated smallness one can feel is unimaginable anywhere else, save the deeper parts of the universe.







Richard Serra has successfully captured the pure soul of metal, and all that it may encompass. The raw, elemental power of his pieces, executed to a degree of perfection that would make a 25 pound super model weep, shows the strong yet malleable nature of the material so central in all of our lives. Harsh in its make-up, stark in its appearance, how else could one truly describe man's true place in existence than these grand flowing, yet unmoving forms. It is to this end that Richard Serra should be exalted from the highest points on the planet as "Ricahrd @#$%ing Serra, lord of all steel.

Awesome wood sculptures