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Juvenile Corruptions Part 2

(Juvenile Corruptions Collection, Paper-cut, Aileen Heal, 2018)

Featuring:

(Macerated Male, Juvenile Corruptions Collection)

(Fur Coat, Juvenile Corruptions Collection)

For this experiment I wanted to explore the meaning generated by the material rather than its physical qualities.

Continuing with my theme of focusing on the six facets of dominion I wanted to see if it was possible to create artworks on the products that we make from animals, or a material that represents their body (e.g. leather for cows, fur for animals used for fur (e.g. foxes, rabbits, minks), feathers for birds, etc.)

The six facets of human dominion over animals include:

Companion animals

Wildlife

Scientific research

Entertainment

Clothing

Food

For this experiment I decided to work on fake fur and feathers I had picked up off the ground, as they were materials that I already owned. I also believe my previous assessment, involving the use of needle-felting on pleather, is also a suitable representation of this idea.

Experiment 3(a): Feathers

Picture 1: blank feathers

My first round of experimentation involved some white feathers that I had collected recently. I decided to use Posca markers as they seemed the simplest way to achieve an opaque application of colour. I created a basic gradient using the limited range of markers I currently have.

Picture 2: gradient feather

I noticed that after this process an interesting pattern formed on the paper I had underneath the feather. It was a very natural, flowing form and I found that it seemed like intricate brushstrokes. I could perhaps use this pattern in future work.

Picture 3: pattern

I also noticed that the paint could be seen from the other side as it “bleed through” the feather. However, it did seem to disappear, and become obscured by the normal white colour of the feather, at specific angles

Picture 4: opposite side of feather

In my first experiment for assessment 2 I decided to explore the effects drawing on layered plastic could make. 

I was inspired by artworks I’ve seen throughout the years that utilise layers of glass or perspex to create depth. These works are often created with a monochromatic or defined colour palette to create a minimalistic and dramatic look. 

The materials I used for this experiment included a plastic sheet (which I fished out of a bin), a few Posca markers and some clear tape. My process began with me forming a few random shapes on a piece of plastic with a black Posca marker. I didn’t have an exact idea of what I was going to draw, but was planning to go for an abstract, morphed shape. 

However, my drawing soon evolved into that of a fish. I found the use of layers, almost like those in drawing software but in reality, very useful. It allowed for me to create stacks of designs and allowed me to remove and replace slides without impacting the rest of the image. However, as the plastic was very thin, little depth was created with this technique. I also noticed that the plastic became more transparent when covered with tape, so I decided to layer the front of the piece with tape. In future I’d like to experiment with tape and resin on plastic to see the different effects that can be achieved.

I decided to continue experimenting with layering plastic and decided to draw on the shiny side instead of the dull side to see if it changed the effect. Doing this definitely made deeper layers more cloudy and “softer”. I decided to experiment with the separation of the layers and created this piece in a “flip book” style. I found it interesting to be able to open up the layers and to inspect how each layer contributes to the whole picture. I may explore this technique further in future. 

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Question 1:

Art and design often explore relationships between humans and non-humans, the environment and ecology. How can contemporary art and design propose new possibilities for imagining the ‘human’ and the environment? 

“Juvenile Corruptions” is a collection of works that highlights the current relationship between humans and the environment, more specifically, animals. This work brings to question the way our future generations are raised - with the unchallenged idea that humanity can reap from nature without guilt or consequence. It challenges the hypocrisy we teach our children, that might equals right and humans have authority to use animals as entertainment, food, clothing and subjects to research upon. This body of work outlines the six facets of human dominion over animals, including: companion animals, wildlife, scientific research, entertainment, clothing and food.

The normalisation of these processes inspired this body of artworks; which outline a multitude of ways we abuse animals displayed in a child-like format. The use of minimalistic paper-cutting, bright colours and simple shapes conveys a sense of childhood and evokes memories of crafting and creating. These pieces seem almost like a child’s project, or a toy, diminishing the graphic nature of the images they depict. This is a metaphor for the normalisation of animal abuse, which is often disguised in our media and entertainment, and how it’s considered suitable for our children. The small frames and size of the works further represents how the suffering of animals is diminished in our society.

Paper-cutting also possesses a personal connection to me, as my mother was practiced in traditional Chinese paper cutting. My appropriation of this technique is a metaphor for how the teaching from parent to child can infinitely evolve. This process parallels that of parents teaching their child that the abuse and exploitation of animals is the normal hierarchy of power, with that of parents passing on knowledge and techniques to their children. By my action of changing the technique to suit my needs it communicates the idea that our perceived norms in society can always evolve and be taught differently to future generations.

This collection is displayed hung against an expansive white wall. There is no apparent structure to their placement, conveying the abstract implications of normalising animal abuse.

The process of creating this collection relied heavily on practice-led research and critical reflection. I was initially inspired to represent these ideas using layers of plastic, as it was a tactile medium that would allow me to create depth with an interesting aesthetic quality. I then considered the use of materials to represent animals in my work, such as faux fur and feathers I’ve collected in parks. However, I found this idea problematic as I couldn’t communicate the exploitation of animals while using animals in my work.

One of the main issues I had to overcome in the process of creating this body of work was the method of display and curation. I decided to critically assess all of my options and ideas to find one that was able to holistically represent all of the facets I focused on as well as be a complete and refined artwork.

The class critique and suggestions from my peers allowed me to expand my concept, which had been too narrowly focused on simply representing dominion. I reflected on my previous experiments, which seemed too focused on the mere representation of my current idea, not the development of it. This led me to experiment with the idea of childhood and a child’s role in humanity’s impact on the world. I found this particularly interesting as it provided the foundation to juxtapose the innocence of childhood and the passing on of the normalisation of abuse from society to child to demonstrate the absurdity of this normalisation. Finally, I was introduced to the art of paper cutting by my mother, and, realising it both matches my vision of creating work with depth and also the idea of childhood innocence, I began experimenting with the technique.

This collection not only demonstrates humanity's current relationship with animals, one of abuse and exploitation, but also conveys an alternative. By challenging the viewer's perception of the normalisation of animal abuse, the teaching of future generations can be altered to one of further critical thinking and reflecting on one's actions. By challenging the normalisation of animal abuse I hope to incite a new reality for the interaction between humans and the environment.

Juvenile Corruptions Part 1

(Juvenile Corruptions Collection, Paper-cut, Aileen Heal, 2018)

Featuring:

(Dissected Rat, Juvenile Corruptions Collection)

(Albatross, Juvenile Corruptions Collection)

Part 1: Planning

Firstly, I gathered all the materials I expected to use, including:

Cutting mat

X-Acto Knife

Foam tape

Double-sided tape

Scissors

Pencil + paper

Various 180gsm paper

Deep frames

Other various decorations

For each of the pieces that form my body of work the process was relatively the same.

Firstly, I would brainstorm ideas for the composition and draw several thumbnails based on these ideas. Sometimes the first idea turns out to be the most effective composition, but other times I had to create at least half a dozen thumbnails before I was satisfied.

After deciding on a design I would create a life-size drawing of it to fit in the frame. I would create guidelines to show the size of the back piece as well as the inside perimeter of the frame, to ensure everything was well placed.

The final step in the planning phase is to assign the colours so it is well coordinated. I first chose Copic markers that represented the colours of paper I had effectively then I marked areas of the design depending on the colour.

Part 2: Cutting

After setting up the design I begin cutting the paper.

Firstly, I would cut the back piece where all the other elements would be fastened to. For this series I alternated between grey and black.

I would then cut out the pieces that would be closest to the back piece. I wouldn’t necessarily trace the lines of my design, for example, with my image of the dog, I used one large white piece to cover the entire silhouette of the dog and worked upwards from there.

I would then proceed to cut out the remaining elements, paying careful attention to how they would be layered and what sections would be visible or not.

Part 3: Assembling

After all the pieces had been cut I would begin to stick them to the back piece and layer them using both foam tape and double-sided tape.

As each design was different, the amount of layers of paper and tape varied, but generally I would use a similar format. First, the main sillhouette piece would be attached to the back piece using several layers of foam tape to give it some height.

Sometimes, to create dimension, I would put more layers of foam tape on one end of a paper piece so that it bends towards the viewer.

(Process of Puppy Mill Piece, GIF, Aileen Heal)

(Process of Albatross Piece, GIF, Aileen Heal)

It was somewhat difficult to use the foam tape as, whenever I cut it with scissors, it would stick to the scissors and lower their effectiveness. Most of the foam pieces weren’t cut as cleanly as I had hoped and small pieces often ripped and had a lowered adhesive quality. If I were to re-do this project I may experiment with different brands of foam tape to find something easier to use.

Part 4: Finalisation

For some of the pieces I added extra embellishments that I believe convey my message and theme.

For example, my circus elephant piece has clear thread tied onto its legs and trunk, symbolising a puppet on a string and its lack of autonomy. Also, my albatross piece has elements such as beads, paper stars, resin pieces, nail polish peels and off-cuts from laser-cut acrylic in its stomach cavity to represent plastic. I like the effect as these items contain lots of childhood memories and they also have symbolism pertaining to childhood, such as easy arts and crafts.

After everything is assembled I slip it into the frame without the glass panel so the depth is visible.

(Below: Sped-up process of start to finish of Circus Elephant piece)

Once I had the realisation that paper cutting would be a perfect medium to communicate my ideas, I decided to research both the technique and how other artist’s have used it to convey their message.

Diane Feng

I was originally inspired to experiment with paper-cutting because of my mother, who is the author of the book ‘Chinese Paper Cutting’. 

(Feng, D, Chinese Paper Cutting. in , Sydney, Kangaroo Press, 1996.)

Many of her works depict animals, and sometimes people interacting with the animals. As the majority of Chinese paper cutting depicts nature I think that it is the perfect medium to reflect humanity’s treatment of nature.

(Koala & Girl, Paper-cut, Diane Feng)

I also think that by having this personal relation between me and the craft there would be more significance present in my final work. 

I aim for this to symbolise the parallel nature between the passing on of techniques and trades from parents to children (such as cooking, crafting, fixing, etc.) to the unquestioned treatment of animals by humans, which is shown to our children in a normalised fashion.

Patrick Cabral 

Patrick is a freelance, multi-disciplinary artist who focuses on the technique of paper cutting in his artworks. Many of these paper-cuts depict endangered animals, such as Lynx, Panda, Honeybee in order to raise awareness of humanity’s impact on their survival. The use of delicate paper to present abstract fractal patterns on the face is a metaphor that communicates their fragility. This is a representation of how fragile their ecosystems are as their populations continue to decline.

(Lynx, Paper-cutting, Patrick Cabral)

In this session I would like to address two main aspects of my final work. I would like to brainstorm the format of composition of my six works and how they would be presented in a gallery setting. My current ideas for my final piece all rely on being mounted on a wall, so I have to now think of what pattern, where on the wall, etc.

My two main ideas for presenting my work include:

a) The Clock

Has the capability to represent a holistic perspective of humanity’s impact on the environment by assigning each hour to a certain number.

Will allow me to convey numerical statistics, such as the number of animals killed in an hour or day, which also links to the physical form of the artwork

b) The Windows

Represents viewing from an alternative perspective, or from an outsider’s perspective, as viewers will be looking through the framed “window”

I can create a layered effect to achieve depth through either layers of glass, plastic or paper

Based on the enlightening feedback from last week I’m deciding on my Windows idea. I believe I can convey more effectively the idea of a childish perspective on humanity’s dominion over nature with this format. To convey this childishness I aim to use bright, bold colours and simple, minimalistic shapes.