Wednesday, March 28, 2012

Paper Mache figure due April 11th

I expect your solution to take up a similar space as a small person even if the components are massed together (many and small). Be as interpretive about the figure as you like. Think about how it might aesthetically reflect your artist statement and go alongside work you do in other mediums, so that it reflects you.

Cardboard maks a good armature medium, but wide masking tape will really be valuable weather working with wire or cardboard. Bring your own pair of pliers for bending wire and take them with you when you are not in the studio.

Paper mache paste can be as simple as wood glue and water, do some research on formulas.

Look to the links here for paper mache tips and techniques.

Rachel asked if she could get started before Monday... Of course... whatever you need to do to make the end of the semester wind down efficiently. You all should have some skill in armature making from Design 2 projects with wire and paper and gel medium, so by all means start anytime.

See you Monday. Have a productive weekend.

Wednesday, March 7, 2012

Narrative Project


You may want to watch the Art 21 episode featuring narrative art and the artists speaking about it, The link is to the right, at the top of the section marked "narrative"

For Monday,
1)Read the article about Tom Sachs located on LMS in the handout section. Write a paragraph (40 words or more) as a synopsis of what you read and comments. You may be positive or negative toward the work of Tom Sachs, but have an opinion and convince me you read the article.
2)"shop" for 5-12 items that have some personality or subject that when grouped together can form a story. These items can relate or not. Pick things that you find interesting in their own right. For instance, a toy horse and a silver spoon and a race car don't relate immediately, but if you play with them enough some story forms.
3)Play with the items by rearranging them and photographing them interacting with each other until some story forms. Move them around, put them in different environs to help you imagine what you would do with these objects to make a sculpture that has a narrative core.
4)Come up with a concept of what you would do to this group of objects to tell the story. Remember, you can alter the objects in any way, and use any supporting physical materials to build your sculpture.

Of importance to your grade on the Narrative project:
You should be prepared to "sell" this concept to the class. In other words, you should be able to convince us why your treatment of the objects and their presentation contributes to the narrative (or story). If you are in Portfolio or BA think about how you could use this project to supplement the works you are making for that class. Work in content that relates to your artist statement.
Craft is important.

You may want to watch the Art 21 episode featuring narrative art and the artists speaking about it, The link is to the right, at the top of the section marked "narrative"

Thursday, February 16, 2012


Many students were out sick, but several came in unprepared to work and assumed they could use the class time to "shop for supplies" I do realize only so many students can work in the woodshop at one time, but drawing, planning, and research are all operations that can be done in class. If a student shows up on Monday with no supplies and no idea "how big the box is going to be" or "what my concept is" they will be counted absent.
Flagler policy is 5 absences are max-- excused or otherwise, On the 6th you will be withdrawn by the registrar. Leaving you with a grade of W or WF depending on the timing of the 6th absence.

Tuesday, January 24, 2012

See you Wednesday: some thoughts

Dividing the labor is a good way to get started.

Wide masking tape  or duck tape is good for joining cardboard. Also consider bringing a stapler, and hot glue sticks (the small ones)

Weaving cardboard can get you a strong yet flexible form.

To get strips (like ribbons). Paper on the roll can be cut down  to sections on the band saw and unwound to
give you ribbons.

Saturday, January 14, 2012

A definition of sculpture for our time.Excerpt from the magazine Sculpture November1998 Vol.17 No. 9

by Donald Kuspit  
Sculpture, like art in general, has become an amorphous concept, ill-defined and perhaps undefinable—yet another case of art-as-epistemological-problem. Anything that occupies space, and doesn’t hang on a wall, is “sculpture” or “sculptural.” The days when, with the English critic Adrian Stokes, one could make a nice neat distinction between three-dimensional objects made by carving and those made by modeling are over. Now, any object that sprawls in space, has physical presence, and manages to hold its own against architecture is sculpture. And yet the root of sculpture since antiquity has been the body’s existence in space. To be emotionally credible, what we call sculpture must evoke or in some way engage the archaic presence of the body in space. It must suggest the primitive experience of being a body in space, and convey the vicissitudes of the body in time. It must suggest what it feels like to live one’s body and how one’s body lives its own space and the space in which
it moves.

Read full article here:

Saturday, August 13, 2011

Welcome to Sculpture I

Welcome to Sculpture I
Enjoy the links. This research will help you understand more about your projects, and provide inspiration for pushing your ideas beyond the expected.

Often after class I will have some ideas to help solve a challenge, or I will post some pertinent research.

I use this blog to post observations and direction, so check it on Tuesday and Thursday mornings.

very good examples of opening lines for artist's statements

To read the full artist statement go to the Alchemy on-line exhibition of sculptue and click on the pictures.

My practice is characterized by the Industrial Revolution of the 18th and 19th century when major changes in agriculture, manufacturing, production, and transportation had a profound effect on the socioeconomic and cultural conditions.
Bruce Taylor
Canadian, b. 1958

My current work explores issues of individual identity in the sociopolitical context of the western society.
Ivan Albrecht
Serbian, b. 1970

There is a long tradition in art, literature, and film by which the act of war is venerated and integrated into the social fabric. Gore and terror of combat are transformed into a bittersweet adventure of shared courage, sacrifice and nobility.
Pavel Amromin
American, b. 1977 in Belarus

My artwork explores built space and the idea that manmade landscapes express a society’s material and political priorities.
Dylan Beck
American, b. 1980

My work focuses on simple abstract form. I am fascinated by the associations we make as we interpret the world around us, and it is my hope to create objects with a broad and ambiguous reference; forms that are perplexing due to their many allusions
Sally Brogden
American, b. 1963

I am particularly interested in the anatomical and botanical images rendered on the cusp of modern western history. Seventeenth century scientist/illustrators such as Marcello Malpighi and Jan Swammerdam were pioneers in using simple microscopes to explore below the surface of life forms.
Karen Gunderman
American, b. 1951

My sculptures combine Rococo decoration with icons from popular culture.
Beth Katleman
American, b. 1959

Storytelling connects us to one another and explains who we are. In an age in which the individual is often alienated, my work attempts to cut through the isolation by presenting common threads of the human experience
Kirsten Stingle
American, b. 1970

My ideas are a by-product of living. My work in ceramic sculpture has been consistently figurative, with an emphasis on the human condition and/or situation.
Verne Funk
American, b. 1932

I am persistently moved to find beauty in the ragged edges of humanity
Caitlin Applegate
American, b. 1978

I am interested in subtleties – the play of cast light and shadow, a lilting edge, a jewel-like pool of glaze collected in a shallow dip. Such treasures reside on the periphery of our attention.
Autumn Cipala
American, b. 1973

The lure of porcelain has always been powerful, sparking dreams in consumers and makers alike. Seventeenth century Europeans also developed "Chinoiserie," a sort of ersatz "Chinese-esque" set of motifs based more on what Europeans thought Chinese decoration should look like, rather than what it actually looked like. The Chinese responded in kind, creating their own "authentic" Chinoiserie geared for export rather than domestic consumption.
Garth Johnson
American, b. 1973
Ersatz is an artificial substitute differing in kind from and inferior in quality to what it replaces.