I’m not very bright. It takes a long time for me to figure out even obvious things. Like, a strategy for surface finish and adornment of this sculpture.
I had been settled on a base of color, layered with patterns, textures, and ornament, and more colors of Gold and Rose. But now I know I will create these qualities out of real objects, flowers, fabrics, beads, jewels, and stars; real things, as befits sculpture. Resist pictorial illusion.
Here’s revealed the atmosphere vibe of the completion of this.
Ornament: Flowers, beads, jewels, fabric, crystal, gold leaf
Pattern: geometric, Joseon textiles, paisley
Texture: shiny, soft, clear, glassy, fuzzy, velvet
Color: Turquoise Blue, Gold, and Rose
I made a lotus flower base for the Blue Pearl Bodhisattva (Horse Buddha) to sit upon. Details take a lot of work, although they aren’t significant, it still matters to do them. Bases are important of course. So is time-consuming to video like this. Also showing some techniques of working with foam and papier-mâché.
… social media, designed to draw off our surplus creativity in the same fashion as capitalism draws off our surplus labor’s value.
… every image and post, while promoting ourselves and creative products, also enriches the media platform where they are seen.
… we lose our hours and uniqueness, to be seen, at the price of commission paid to the media companies; our creative value-product itself.
A new title occurs for this sculpture. The Blue Pearl Bodhisattva.
This Horse isn’t a Deity or a Buddha, but remains mortal on Earth to give help to all who suffer.
Meanwhile, I’m heavily influenced by some Chinese rural handicraft and cooking videos… technique of paper mache.
Covering the whole surface with colored construction-paper papermaché. The use of children’s art materials doesn’t only open memories of child-like processes; Children’s art supplies are extremely easy to use, give good results, are forgiving, dry quickly, and are non-toxic. Really, they are advanced. The various colors remind how many layers of paper have gone on too. The surface finish on this is very solid now; I’m both please with the design and the manufacture of it. I like the texture the squares of paper make; its very textile I think. Ultimately I ought to paint it over one color to make it waterproof; perhaps a light light blue, over a pale rose…. with some gold dust highlights… meanwhile it is really nice to be working in all this color!
Much of the sculpture I’m seeing on social media depends on the impact of the juxtapositions of some kind of physical property and/or conceptual context.
Scale, material, art history, and pop culture, collide in a mashup of vision, experience and meaning. Think of a monumental replica bust of Caesar, made of chocolate, upon a column draped with Confederate flags… that sort of thing.
My reactions to these is sometimes “what a lot of work” for so simple an effect. I think that much of this is built by fabricators or makers, and what are now lately described as “art workers”. It more frequently makes good use of digital tools like 3D scanners and printers, especially in the use of the large scale. This is enabling for three dimensional work, the same cut-and-paste mentality which has done so much to energize the 2D works of the multimedia, but especially photography, or more accurately, digital images. See my post, machine-made-art
I see a time may come soon where large sculptures are no longer shipped worldwide for display, but reproductions, “editions” if you will, are quickly fabricated locally for show, using digitally controlled machinery.
The “Artists” of these works perform as directors or executives, and never emerge from the conceptual realm. Thereafter, the work appears imaginary and insubstantial, and can convey most of what can be know about it in a simple photograph. These images travel well over the internet by delivering their easy visual gags to the many undiscriminating online awaiting entertainment.
I want to “like” a lot of this work, for its design element, but it is rather simple and jokey. I am still surprised (and jealous) about the amount of resources often going into making it.
Meanwhile, the individual object of art is almost unaffected by this change. It will continue to be created, mostly by one person, by hand, with simple tools, or un-specialized machines, individually. There is little distribution because the market is small and the object is unique and physical, limited in movement. The personal expression of the artist is unique in it’s source: the inner life of the person, it’s creation: the specific manual skill and sensibility of the artist, and it’s meaning: sensuality or spirit, Dionysian or Apollonian, and more.