Technical Process: In Process Work

Research:

     At the Malton Gallery I observed the work of a former peer at DAAP, Emily Sites. Her work inspired a lot of things for me involving my sculptural work. She explores metal forging and welding along with the sewing of stretched fabric to her work. 

     Ernesto Neto, an artist I previously did a blog on created a piece which seems to have striking similarities to what I am attempting to create.

How To:

     As I have posted in an earlier blog regarding my forging and welding processes I explained how I created my sculpture representing both a the form of a chandelier and jelly fish. 

    In sewing fabric to metal, first choose a fabric which reflects your intentions and begin stretching and sewing. I have begun attaching fabric to my metal sculpture by using a needle and thread. It is a rather difficult process, the fabric must be stretched very tight or it will cause rippling in the fabric. Around the curves of the metal rods, it is very complicated to prevent such rippling. 

     Furthermore, hemming the edges of the fabric is a very interesting process. The fabric was rolled tightly to cause tension throughout the medium. I stitched with cross hatching creating the hem to form a border.

Behind the Scenes: Research Activities

     In researching new inspirations, I am often found searching out images online of artists which I am already prompted by. By looking at their images online I am able to stumble across more of their work, in turn finding more and more art that I am fascinated with as well as new artists who are similar in style. I have folders upon folders saved on my desktop that hold hundreds of images I have not want to lose.

     Furthermore, another type of research I take part in is that where I physically go out on adventures. These adventures encourage creative thinking to occur. I am able to become one with my surroundings by letting myself become absorbed in my environment. In doing this I am able to appreciate and truly understand my surrounding inspirations.

     Another way I research is by looking at my friends and peers artwork whether it be at school or online web pages as Facebook or blog sites. When at school, I find much enjoyment in walking through the studio spaces of both sculptural and 2D artists on the 3rd and 5th floors of DAAP. When walking through the spaces every several months I am able to see a whole new production of current work. This way of researching art is similar to the way I partake in adventures through a town, city, abandoned building or woods.

Artwork for Sale

Here are several of my finished pieces which are for sale. As you can see, my use of media varies widely.

 Dysfunctional Wardrobe: 2010

Plywood and found objects

4 x 2 x 1 ft.

$350

Gargoyle Wings: 2011

Wrought iron, sheet metal, leather and fabric

3 x 4 x 2 ft.

$300

Distressed Door: 2011

Antique door and digital painting

2 x 8 ft.

$200

Sodden Figure: 2010

Acrylic, India ink and graphite

6 x 12 in.

$70 

Bespattering Slumber: 2010

Acrylic, India ink and graphite

6 x 12 in.

$70

Self Portrait: 2010

Charcoal, pastel, India ink and coffee stain

18 x 12 in.

Commission Only

Out of Eden: 2010

Marker, India ink, graphite and cardboard

12 x 6 in.

$80

Beads I: 2010

Digital photography

$60

Beads II: 2010

Digital photography

$60

Paws I: 2010

Digital photography

$60

Paws II: 2010

Digital photography

$60

Paws III: 2010

Digital photography

$60

Jamaican Evening: 2008

Digital photography

$60

Jamaican Waters: 2008

Digital photography

$60

Audrey Kawasaki: My Creative Inspiration

Audrey Kawasaki: Biography

The themes in Audrey Kawasaki's work are contradictions within themselves. Her work is both innocent and erotic. Each subject is attractive yet disturbing. Audrey's precise technical style is at once influenced by both manga comics and Art Nouveau. Her sharp graphic imagery is combined with the natural grain of the wood panels she paints on, bringing an unexpected warmth to enigmatic subject matter.

The figures she paints are seductive and contain an air of melancholy. They exist in their own sensually esoteric realm, yet at the same time present a sense of accessibility that draws the observer to them. These mysterious young women captivate with the direct stare of their bedroom eyes.

Kawasaki studied fine art painting for two years at the Pratt Institute in New York City, but left after two years without completing her degree. She cites the emphasis in the New York art scene on conceptual art, an approach at odds with her figurative, illustrative style, as among the reasons she left. As of 2006, Kawasaki is considered a rising star in the Los Angeles art scene. In 2005 Kawasaki designed the cover art for Alice Smith's For Lovers, Dreamers & Me. In 2011, singer Christina Perri was tattooed with Kawasaki's painting, "My Dishonest Heart."

Alone
oil and graphite on wood 6.5″x29″
Space Yui in Tokyo
2009

Daydream
oil and graphite on wood 9.5″x28
Space Yui in Tokyo
2009

"Blue" ブルー
oil and graphite on wood 8.5"x11"
"Hajimari"@Jonathan Levine Gallery in NY
2009

Oyasumi
Oil on wood 10x19
Chubby Bunny - Gallery Nucleus
2006

I'll Stay Here
mixed media on wood 9.25"x11.25"
Art Basel Fair with Thinkspace Gallery
2008

Lili and her Ghosts
oil and graphite on wood panel 24"x24"
Merry Karnowski Gallery "Restlessly Still"
2011

Mayakashi
oil and graphite on wood panel 12"x12"
"The Next Generation" group show @ London Miles Gallery curated by Thinkspace Gallery
2010

Overlap
oil and graphite on wood 28"x14"
Outre Gallery
2009

Saying Goodbye
oil and graphite on wood 26"x21"
Space Yui in Tokyo
2009

My Little Secrets
oil and graphite on wood panel 24"x24"
Thinkspace Gallery 5 year Anniversary Group Show
2010

She Entwined
oil and graphite on wood panel 16”x20”
Outre Gallery. Australia.
2010

Superstition
oil and graphite on wood 16″x16″
Space Yui in Tokyo
2009

The Way She Likes
oil and graphite on wood 10.5″x28″
Space Yui in Tokyo
2009

"Warabeuta" わらべ歌 a child's song
oil and graphite on wood 21"x32"
"Hajimari"@Jonathan Levine Gallery in NY
2009

"Yuuwaku" 誘惑 allure
oil and graphite on wood 20"x26"
"Hajimari"@Jonathan Levine Gallery in NY
2009





My Similarities to Audrey Kawasaki:

Similar to Kawasaki's artistic preferences, I myself find that I am very discouraged and uninterested in the pressure from both professors and peers attending DAAP, attempting to persuade me that art must be conceptual. I am disgusted by the pressure they force upon me. Allow me to create because I enjoy my innovative inventions which do not have a conceptual background.

Silence thy knave mouths and allow me to proceed upon my own merry way.

Furthermore, I do have a passion for combining both innocent appearing fingers while also adding a twist of disturbing imagery.



How My Art Differs from Audrey Kawasaki:

My art differs from Kawasaki's work in the way I approach my medium. Like herself, I use planks of wood but rather than using oil paints, I explore digital media along with some multimedia two dimensional surfaces, acrylic and watercolor paints. After scanning the physical piece of wood with all of its two dimensional mediums, I bring the image into Photoshop and digitally paint directly upon the scanned surface.

Kawasaki places her figure on the wood surfaces and often times they are unrelated to the wood grain. I myself prefer to to enhance the wood grain by submerging the figure within the grain of the wood. Which causes the figure to be both engraved and protruding from the surface.

In my first image, I created the collage and scanned the image into Photoshop. The square surface seemed to be non-reflective of the organic and natural form and twisting wood grain. My teacher Daniel Leonard encouraged me to push my passion for the organic further and use an actual plank from a tree limb. I find this method of working to be more aesthetically pleasing to my passions and interests.



In Progress Project I and II:

Project I

Step 1

Step 2

Untitled
Beads, lace, fringe, paint, wood and digital painting
2012




Project II

Step 1

Step 2

Step 3

Untitled
Wood and digital painting
2012

Technical Process of Forging Metal

In forging wrought iron metal, the artist must first saw the rods to the correct sizes. Most wrought iron initially comes as extremely long poles which are approximately ten feet tall. After preparing the metal to the accurate sizes, the metal must be inserted into the already lit and burning forge. The wrought iron must stay in the forge for several minutes until the metal is red hot. Once red hot, the metal can be carefully removed when the artist is properly wearing the correct protection (i.e. protective jacket, safety glasses, pants and heat resistant gloves). The wrought iron can be bent on the anvil but either monotonous hammering or bending on the slots available of the anvil. After the metal is formed in the desired shape, cool water must contact the metal until it has stopped steaming. Then the artist is capable of handling the now cooled metal while still wearing protective gloves.

Here are several images of my latest wrought iron creation. This piece will be covered in a stretchy mesh fabric, illuminated from within and suspended at eye level. This work in progress in far from completion, the end product will be a piece with derived inspiration from by Ernesto Neto, Lee Bontecou and the form of a jellyfish and chandelier.

Here are some rough in progress photographs to give you further understand of the design. Current size: 3 x 2 x 2 ft

Here is one final image to give you a visual of the size.

Artist Statement

Ever since before I was born my mother has had an unwavering passion and natural talent in the arts. I have inherited her artistic gene and begun my travels down the same path. I have always created art, so much that when I was just a little girl my mom gave me the nickname “The Maker of Things.” I have upheld this name to this very day.

During the past two years of attending the College of Design, Architecture, Art and Planning at the University of Cincinnati I have become exceedingly fascinated with the natural and organic, creating mixed media art consisting of a minimal amount of color. Much of my work is created in high contrast with sinuous lines and clean sharp edges. I am transfixed with incorporating natural objects in my art, such as wood grain, Zen Gardens, feathers, wings, moths and mythological creatures; but I also have an interest in readymade creations such as antiques, gears, light bulbs, miscellaneous found objects and mythological creatures.

Throughout my teenage years I became attracted to the darker side of life and the art I created followed. Due to my struggle with depression during high school, I have often included odd subject matter in my artwork such as twisted or manipulated human figures often influenced by the work of H. R. Giger.

The techniques of art-making I am most recently involved with are metal forging and digital painting. To me, fabricating art should be an escape from the stresses and trials of life, a kind of meditation connecting myself to my surroundings. With this in mind, I realize everything on this planet can be cherished if one simply decides to revel in the beauty set before them rather than passing it by.

My Master Pieces

Gargoyle Forged and welded rod iron, sewn mesh fabric, leather belts and sheet metal. (3x4x2)

I created these wings for my Intro Sculpture class in my Junior Year.