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girl final portrait sketch by me ( anant mohan sharma)
see the previous sketch by me and enojy it. thanks
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#Drinny 2019 🤓 aunque he perdido un poco la práctica y tiene detalles estéticos 🥰 this is my #ship 🙃 and i will sink with it! 🚢 🤓
¡Qué el Drinny no muera! ❤️ ¡Qué no muera nunca!
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FINAL WORK ‘Frank O-Xian’
Final Major Work ~
assessment 2
ASSESSMENT 3:
PLOT
Repetition is so pervasive in contemporary culture, examples of it can be found in just about everything we experience. It has been described as “the power of beginning and beginning again” [Deleuze, 1994]. It can be used as a tool to strengthen memory, a method of production and reproduction, an aesthetic device, or a mechanism for communication. I have found myself continually fascinated with the concept of repetition and its many functions in art making, especially using it as a “boring” process that leads to surprising results.
Often the more I think about something, the more I repeat the same thought patterns, the more those thoughts shift out of focus and slide into something else. Whilst undertaking the experiments that lead to this final piece, the word “repetition” itself got stuck on loop running through my head, and eventually became so blurred that new patterns started to emerge. Plot is my attempt at communicating an experience of this cycle. It started with drawing lines on a page, that lead to a study of the relationship between paper and what we put onto it; as the lines became unfocused, different waveforms surfaced and sparked a new line of inquiry into natural resonance of materials. In repeating those waves as both literal plots and the formulas that describe them, I was finally able to create these textural, visual responses to what I saw as the interaction between the surface and the subject.
Deleuze, Gilles. Difference and Repetition. Trans. by Paul Patton. London : Athlone Press 1994.
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FINAL WORK - CONCEPT STATEMENT
My final work showcases an organisation of the square shapes that form movement along a path outside the main frame. These shapes follow the concept of ‘thinking outside the box’ and how our imagination needs to be explored deeply in creative ways.
In my first experiment, the ‘motion’ of the 2D box and particular geometric shapes it created, really inspired the way the boxes in my final work are arranged. A box shape was first cut out from a cardboard box, 14x14cm. Each shape was reduced by 1cm to maintain consistency and uniformity. From there, the idea of ‘vagueness’ in experiment three, further conveys how my final work looks minimal and simple. I avoided overdoing my work as I feel it would have moved away from my concept and main purpose. Finally, experiment four and five had many overlapping 2D square shapes, forming optical illusions. This inspired the overlapping and see-through effect in my final work. This ‘see-through’ effect, emphasises ideas of ‘thinking deeper’ or ‘seeing beyond the surface’.
From this assessment, I have been able to understand the benefits of experimentation and reflection, which allow one to gain better insight into what they are creating.
FINAL WORK - STATEMENT
This work evolved slowly through a process of layering, transforming, projecting and editing. It started with a mundane stack of plastic food containers and some perceptions of what a ‘box’ can be; as the physical aspects of those boxes were stripped away and redefined, so were the ideas that contained them. Working with an inquiry-led practice separate from any effort to conceptualise or define an artwork felt unfamiliar, so this process began with some hesitation. However, as each new layer was created and manipulated into something unrecognisable, that caution faded and became excitement to just play, experience and reflect. After playing with some of the ways through which line and colour found in the everyday (plastic food containers) could be manipulated digitally, printing the altered images onto acetate sheets forced them back into physical ‘reality’. Natural light projected the transparent prints onto a crumpled bed-sheet, finally creating these ethereal dreamscapes. This process has generated a new, practice-based approach to art making that pushed me into a world of technology in art that feels uncomfortable and unfamiliar. Only through the continued experimentation with this tension was I able to produce these surreal, abstracted scenes of colour, built from boxes.
Resolved Final: 'Silent Dialogue'
