$250 for a photo with a naked man?

a stark naked man has attracted attention from hundreds of people at the Art Stage Singapore exhibition, held at Marina Bay Sands. The man is seated in a booth in front of Mexican artist Frida Kahlo's "The Two Fridas", devoid of any article of clothing. Visitors to the exhibition can choose to join him in the room, hold his hand (mimicing the painting behind), and get a photograph taken for a price of $250.

the man, T. Venkanna, is an artist from Hyderabad, India and is posing naked as part of his art installation about "removing the trappings of identity".

I feel that art comes in many forms, be it a renaissance romanticist painting by theodore gericault, or a ready-made my marcel duchamp. and although i concede that what T. Venkanna is doing is indeed art (performance art), i decline to agree that it was well done.

through the process of coursework, my (vague-ish) principles of art have become relatively more concrete. but i realised that a key aspect of art that i feel is important and necessary is that throughout the process of doing the art, there must be some visible effort or growth on the part of the artist - like the evident patience and skill needed to paint "A Sunday on the island of La Grande Jatte", or the hours' effort needed to throw a simple vase. i personally feel that, more than the symbolism of the work, the process and sense of achievement after a period of hard work is what makes art. However in the case of T. Venkanna, I feel that he has put in little or no effort into this work as all he needs to do is sit there and take pictures. There is no necessary artistic skills involved, or creative idea behind it. Moreover, i find this installation rather "cheat" (for lack of a better word), as not only does he need to put in little effort on his part, the painting that he is basing his entire installation on isn't even painted by him. thus in my opinion, i find this installation a very poorly executed example of performance art.

also, "The Two Fridas" was painted by Frida Kahlo at a time of her divorce with her ex-husband, Diego Rivera. The painting thus serves to depict Kahlo's emotions, inner turmoil and the great pain she was suffering at the time. There is no direct (or indirect) link between the painting and T. Venkenna's concept of "removing the trappings of identity". It seems as though the only similarities between what he is doing and the painting is the pose of the two fridas and the pose of T. Venkenna and the visitor. In anycase, even if T. Venkenna did intend to portray "removing the trappings of identity" as perhaps, removing the trappings of sorrow and pain as in "The Two Fridas", I still feel that he should not have mimicked another artist's work, as this causes him to lose his originality as an artist, which contradicts his prominent and outstanding actions.

another reason that i do not like this work is the way the message was portrayed. removing clothes and accessories does not necessarily equate to "removing the trappings of identity", or is a vague and superficial representation of it. I also think that T. Venkenna has failed to properly convey his message to his viewers, as most people view his nudity not as an image conveying the message of "removing the trappings of identity", but more as something that attracts attention because of the outrageous nature of the installation. Also, the fact that 70% of the visitors who have taken a photo with him are women, and that most of them did not dare to look him in the eye, were shy and did not speak to him may suggest that they are simply there because of a certain morbid curiousity, instead of a desire to appreciate art. Also, the extra measures taken to screen the exhibit from the public area to avoid visitors from stumbling upon it by accident is, albeit a thoughtful precaution, but it also suggests that the main aspect of the installation that people pay attention to is the nudity of the man, instead of the message he is trying to convey. As such, I think that T. Venkenna has mostly failed to convey his message through his actions.

footnote: while my comments on this installation have been sardonic and cynical, i do applaud the artist's courage to display himself to the public, and that all of these comments are my own personal views which may differ from others. ^^

nightlife-

this is my painting for sec 3 eoy practical :D i sort of forgot the theme but i think its nightlife.

the painting depicts a city at night, where the clubs are open and DJs start rocking and concerts and starting and children are avoiding bed time and reading. to the right of the painting, the sky starts to lighten and day comes and cars are seen streaming into the city as people go to school and work and start another day.

my concept for this picture is "the city that never sleeps". because night time is traditionally the time where people go to sleep and cease activity for the day, i hoped to show a sense of irony in this picture that although it is night time, no one is asleep. quite the contrary actually, people are just as active at night as in day, and the addition of day coming and cars coming in and out of the city adds to the effect that the life in a city is just as active at night as in the day.

and if you look close enough,

you'll see a city that never sleeps;;

where the process matters so much more;; part 2

continuation of my previous post ^^

out of the two branches of pottery, the branch of hand-building still appeals more to me. for throwing, all you do is bend over the wheel trying to steady your hands to shape the spinning clay. but the works are (usually) always just round, smooth and symmetrical. there is not much feeling in the process, its more of the work that perfectionists do. (to put it bluntly) although it is true that through throwing, people are able to create works that are of a more sophisticated, elegant and classy, i don't think that that is the main point of pottery.

as i have said in the previous post, the main point of attraction pottery holds for me is the process of creating a piece. it is the experience of molding and shaping the clay with your own hands to create a piece of art. i feel that throwing does not offer me the full experience of clay, but hand building does. in hand building, you are not restricted by the wobbling clay or the turns of a wheel. in hand building, you just have the lump of clay in front of you, and some tools and your two hands. to me, hand building offers so many more possibilities and opens up so much more potential in clay.

in hand building, you can physically shaped the clay, twist the clay and bend the clay however you like. and since it is "hand-made", there is little or no chance of replication, making each piece unique. and because of the high level of interaction between maker and clay, each piece is thus more personal and holds more sentimental value. there is also more opportunity for texture and designs in hand building, creating even more possibilities for the average lump of clay.

these are a few of my favourite hand-building works ;D the first two photos are different angles of a bull sculpture i made last year. it was made out of a picture in one of the books my teachers had lying around their studio and is one of the most realistic figurines i've ever made ;D just so you know it's made out of a single huge lump of clay that i shaped and carved out :D i emphasised more on the muscles and form of the bull as it crouches because i wanted to try and capture the power and strength the bull represents.

the next one is a basket i made by weaving clay coils together. the idea is simple but the effect is (in my opinion) really good, mostly because of the design and the colour combination. the glaze i used was so cool - brown when painted in less layers and blue in thicker layers. the effect with ultramarine was a lot more than i bargained for ^^

the last one is actually a candle holder. i posted it here not only because i liked it but because i thought it related to my coursework a lot :D there's a hole at the top of the owl's head where you put the candle in and there are rows of tiny holes in the belly for the light to shine out. owls are nocturnal creatures which always fascinated me because they live in a world that is mostly devoid of light. when i was young, i used to think that nocturnal animals had the ability to produce light or glow, which is how they live in such darkness. so i used that memory and made this candle holder - an owl that can glow :D

comments!

http://eevcee.blogspot.com/2011/09/life-at-glance.html?showComment=1316960789471#c5692247974185090789 - valerie's blog :)

http://esoile.blogspot.com/2011/09/pottery.html#comments - xindi's blog :)

http://iloveaep.blogspot.com/2011/09/aep-coursework-2011-dream.html#comments - zhiping's blog :)

http://i-have-sung-it-over-the-way.blogspot.com/2011/09/art-work-lord-shen.html - heyao's blog :)

http://thecloudsinthesquare.blogspot.com/2011/09/its-very-handy.html?showComment=1317025856676#c187389198060523163 - liyi's blog :)

where the process matters so much more;; part 1

oh well in case you didn't know i've been taking pottery for about 7 years on and off but i only started throwing last year. here are a few pictures of my works ^^

for me, pottery has been a way to get away from the stress of everyday life. there is just something very therapeutic about sitting on a chair for hours on end watching a lump of clay shape itself into an artwork. in order to make pottery, you have to have the "work with whatever you've got" mindset, especially for throwing. Unless you're an experienced potter who can make exact replicas of vases or bowls, there is no way for you to predict what a little nudge will do to your work. neither is there a way to predict how the glaze will look, whether it will spread evenly, or it will flow down the sides. It is this level of unpredictability that I really like about pottery. That, and the fact that the process is always more important than the final.
For paintings, you look at the composition, the subject matter, the forms, the brushwork - in other words, you look at the final and how it looks, because that is the point of painting. but it is a different case for pottery. when you view a pottery piece, the main point is not the form, nor the colour. it is imagining how the potter made the work, how he made a sculpture like that, or how he made the vase curve that way. pottery is also a very personal thing, because only you know how the entire process from wedging to glazing goes about. only you can look at one of your works, and recall the memories of shaping and trimming, of colouring and polishing. it is this aspect of clay - that the process matters so much more - that holds the attraction for me.
these two bowls hold a special significance for me because they were the first ever pieces i made when i first started throwing. i especially like the one on the left, because of the colour combination i chose - stormy grey outside, and mother of pearl inside with shino beige for the rim. the grey flows down the side like rain and clouds, as though its really stormy grey and the whole feeling is just very subtley complementary C: you might guess from the pictures that i like to paint my pieces in glazes that flow, and you'd be right. i especially love the glaze mother of pearl - a runny glaze that appears transparent in less layers, and white in thicker ones. a good example of a use of this glaze would be the second picture. it's a pot painted in cobalt blue for the bottom half and liberal amounts of mother of pearl at the top. The result is that the mother of pearl flowed down the sides of the vase during firing, mixing attractively with the blue ^^ ever since then i have always liked the combination of white on dark blue. the third picture is a work that was more experimentative. i was actually inspired to try it when i saw one of my teacher's work - a slim vase with thin layers of colour running down on each other. so i decided to try it out by adding mother of pearl in between layers of colours to make them run and it worked! (sort of) :D the first picture is one of the few i have that doesn't have runny glazes. its the combination of a matt beige with a glossy clear brown. the effect is very simplistic and elegant in its simplicity c:

final. (FINALLY.)

finally! after one year, this is my final :D 4 trees, 4 candles, 4 choices. which is yours?

as far as all my trees go this has to be my favourite. its the spring tree, with new leaves just sprouting out, symbolising hope of new life, and hope for change, as the tree will not stop here but continue to grow leaves till it has a full crown. spring is a very hopeful season :) for farmers, it means the snow will melt and their plants will grow again, for people, it (usually) means a new year and new beginnings, for animals it means the coming of warmer weather. the birdhouse is the candle holder because spring is the time where birds return, after migrating before winter, symbolising the return of hope and life.

my comments: this tree was inspired by my spaghetti tree, except i blended the spaghetti together partially so that it looks a lot more realistic. the birdhouse was /supposed/ to be on the tree, but it fell off so i'm going to stick it back after everything is fired ^^ the red+grey oxide really came through when i was glazing the birdhouse. the brown that was created made the birdhouse look very woody and nice :D
summer. the hottest period of the year, but the favourite season of trees. in the summer, they are at their prime, with huge crowns of bright green leaves, soaking up the sun. the hot sun is the source of hope for the trees, as it promises food, light, warmth and life. also, for people seeking shade from the sweltering heat, the great crowns of the tree provide the perfect place to sit under and perhaps read a book, or swing from a branch.

my comments: don't look at it now, but the tree and all the rocks are actually not attached to each other. they (heh) sort of broke apart due to poor joining but its okay! it can be salvaged :D the thing i regret most about this sculpture is still not being able to shape the crown more realistically. (plus, i probably shouldn't have added so much oxide to it either ><)
autumn - the season of harvest. this is the season that farmers have been looking forward to all year, as it is finally the time they can reap the fruits of their harvest. not only do farmers hope for this season, trees do too. their fruits are finally grown and the seeds in them can be dispersed to grow into more trees. autumn is the season of hope of more food, harvest, and new life. so i thought it would be apt to let the object of all this hope - the fruit - be the main part of the sculpture, the place where the candle is placed. the apple symbolises fertility and new life. due to greek mythology, the apple is also associated with Aphrodite, and to throw an apple at someone was to symbolically declare one's love. not only so, the apple also plays a big part in the creation of life, as it was the forbidden fruit in the garden of eden.

my comments: the apple fell off again D:< but kay lah it was cause i hollowed the apple slantedly because the apple was going to lean on the tree so the "floor" that the candle is supposed to be on had to be parallel to the floor.. so as a result the c.g. went bazongkers and it couldn't stay on the tree >:
winter. the time of bitter cold and harsh snow. but even though times are bitter, hope is burning bright in everyone's hearts, providing them with the warmth and strength to survive the winter. a den is used as the place to hold the candle to emphasise on this point. animals like bears and foxes seek refuge from the cold in their warm dens, and hibernate throughout the winter, in hope of waking up to a warmer, greener place. by placing a candle in the den, i hoped to symbolise the hope that the animals and people hold in their hearts and minds, the hope that gives them the power and will to survive through winter.

my comments: haha i don't know why but this sculpture looked alot better when it wasn't painted >: but even though winter is supposed to be cold and harsh, its my favourite season (competing with autumn). there is just something so attractive about a scenery with the ground covered in sheets of white, and fluffy white flakes drifting down.. (kay fine i probably like winter because i'm been living in summer my whole life) but still ^^ I really like my den by the way. from behind it looks just like a big rock, which suits the natural feel of the sculpture ^^

tree try-outs! (real ones.)

this is my next trial after that failed one that broke. i realised that not only was that one too weak, it did not look realistic enough for my liking. so i tried using the spaghetti thing again and stuck them on layer by layer to slowly build the tree you see above :) its not very big.. probably just 15 cm at most.. but the tree looks //a lot// more realistic. but looking back, i realised that the knobbles in a tree aren't actually so prominent and... individually formed? its more of one shape made of different shapes. so i suppose i should have like took some slip and blended round the edges so the coils look more natural instead of.... a heap of spaghetti.
oh this is the crown of leaves for the summer tree! its hollow on the inside so a candle can go in and shine through the holes (: but i could have made the form more realistic i suppose but i forgot and left so it became dry and hard.. >:
this is the winter tree! see the big boulder-ey thing there its a cave where animals hibernate in the winter :) and its also where the candle goes ^^ i took this picture because i thought the tree looked really cute as though it was asking for a hug :D
this is the autumn tree! the apple is hollow (the hole's on the other side) to put the candle in. i'm so proud of the apple :D originally i just made the apple without the stalk or leaf and went around asking people what they though it was. all said it was an apple ^^ -happy- but the apple looked so nice i was quite sad to have to hollow it out >:

darkness is simply the absence of light;;

credits to xuedi for the title :D koped it off her blog~

anyway I made a mini version of my final sculpture! :D But it's not big.. Probably a few cm higher than a hand? It was basically just to let me get a feel of making trees out of clay and how I would make the trunk, the branches or the leaves. It was then that I decided on making the base out of rocks to add to the earthly naturalistic effect :) Through this sculpture I also intended to experiment with how I was going to integrate the candle holder into the tree. I tried my idea of putting it on the top of the tree here! I didn't know what to do with the branches so I just improvised with the spaghetti making tool.. sort of reminds me of avatar now.. The general effect was quite nice :D Like a nest built on a tree top ^^ very.... hopeful. Unfortunately.................
..................this happened. The coils for the trunk were too weak to support the candle holder and the spaghetti were unbelievably fragile (even more so after they dried). I suppose this could have been better thought out as to how the trunk should have been thicker, or how i should have hollowed more out of the candle holder to make it lighter, or how the candle holder could have been of a different shape to minimise clay usage and weight. But oh well~ it will be remembered~~ and plus it gave me new ideas as to the composition of the final sculptures ^^

oils!

oil painting assignment in sec 3! ^^ seeing this just reminds me of the europe trip since we were doing this before and after it :D we were asked to pick an art movement and use techniques from that movement to paint something related to nanyang. i chose post-impressionism, and was inspired by georges seurat's painting style of pointillism to complete this painting ^^

If you can tell, I painted a scene that you would see if you stood at the midpoint of the 2nd floor classroom block corridor, looking out past the flags, to the admin block. i think the thing that stood out the most for me was the presence of the flags. The combination of a school flag and a national flag is like a trigger that immediately tells you its a school. Also, the first thing that has always caught my eye about ny's appearance was the light red bricks that make it. Also, this is a view from the classroom block, a view that most students will see of nanyang. I wanted to show that this scene was from a student's point of view instead of just another glamourous shot to advertise nanyang or something. Another thing I added to reinforce this point was a girl sitting on the floor, sketching. Since sketching or observational drawing usually requires some form of peacefulness, I added her in to create a sense of tranquility in the picture, and to show how she feels right at home in nanyang, as it would not have been possible to be so peaceful in uncomfortable surroundings. A human presence also seems to make the picture seem more "real", as opposed to just a shot of a building. It humanises the picture and shows that nanyang is not just a building, it is a home with living breathing people inside it.

For me, this work is important because I have never really been confident in my artistic skills and this assignment showed me that if i put my mind to it, something like an oil on canvas painting is actually possible of me. Through this painting, I realised that i really like painting, or more precisely, the tranquil feeling you get just sitting there and dabbing blots of paint on a canvas. As far as this painting is concerned I feel that I could have done a lot better with regards to the painting technique. Pointillism was supposed to be dots of pure colour placed next to each other such that the eye blends them together from afar. But i sort of mushed up the colours together instead of neatly dotting them next to each other thus not really capturing the point of pointillism.

dreams. what will we do with(out) them?

credits! this is valerie's coursework but i thought it was really cool and so i'm going to try and interpret it. (SORRY VAL IF I MISINTERPRETED SOME STUFF OR LEFT OUT SOME THINGS!)

the story starts when we're little. when we are small, and asked the question: "what are your dreams?", a thousand ideas burst into our heads. Although answers may vary with each ask of the question, we never fail to provide an answer. Practicalities or societal norms or economical problems don't plague our heads as we dream our dreams at that age. We are secure in our innocence, and peaceful in oblivion to the harsh realities of the world - as is clearly shown in the young girl's peaceful expression as she draws. This is the age where you don't think too much into things, and its okay to be different. The bright pink of her shirt shows her uniqueness and the brightness of her dreams, unclouded by fear or reality. The amount of colours in the colour pencils she securely holds show the vibrancy and diversity of her dreams. Her cup is upright, secure, and packed full of colour pencils - essentuating how secure she is at this age. The positioning of her in the smack center of the painting adds to the feeling of security in the painting. The blank paper shows her potential for dreaming. She is a blank slate, capable of being anything she wants to be. She is (for lack of a better phrase,) in her own world; a world full of bright colours, and innocent ideals, where black is black, white is white. The chair in front of the painting is carefully tailored to ensure the chair will not wobble, further emphasising her security in her world. It also has a drawer under the seat, which i feel is a nice touch because it adds to the air of innocence since little kids often have a secret compartment (like a drawer) where they stash their most precious things (or dreams). However, it is not painted; which could symbolise how incomplete her view of the world is, or the amount of life she has experienced thus far, or her state as a blank slate, her potential to dream and develop.

The cup is whole, and full.

the story continues as the girl grows up to become a teenager. we enter the stage of adolescence, a stage of maturity, a stage of growing up. this is the most unstable part of life, as we are exposed to the true face of the world with all its problems, norms and realities. as we go through this period of rapid growth and exposure, we face the struggle of finding ourselves, our insecurities, and continuing to hold on to our dreams. The girl is positioned at the side of the painting showing a rather unstable view of the painting. We see the vast difference between this picture and the previous picture, evident in the girl's expression and the colour of her shirt. In the first picture, her expression was one of peaceful security; now, she hosts a face of shock as she is faced with the world she is expected to accept and conform to. In the first picture, her shirt was a bright pink that contrasted starkly with the white background, showing her uniqueness and brightness of her world; now, the tones have cooled to blue with a white collar, as though showing how she is turning into the white background bit by bit, losing her some of her uniqueness and brightness. But the colour of her shirt is still a bright, vivid blue, showing the "bit by bit" part of growing up, instead of turning dull all of a sudden, thus giving the sense of transition into the paintings. In actual fact, the most eye-catching bit of this painting, is that everything is partial: The shirt is partially coloured (collar white), the cups are partially coloured cups, the chair in front in partially painted, and it has a partial leg, making the chair very unstable. All this serves to emphasise the girl being "neither here nor there", as she is in a stage of transition - neither a young naive girl, nor a mature adult woman. She struggles to keep hold of her dreams, and finds it very much harder than before due to the fact that she has left her sanctuary of innocence.

The cup stumbles, and falls.

this one is a bit harder to explain. so you've lived your share of life, seen lots of things, experienced lots of things - good, or bad. your dream cup is battered and cracked despite many attempts to repair it. The woman's expression is blank, her eyes staring, unfocused, into the distance as though reminiscing about her past, be it her successes, or her failures. Her shirt is now completely white, just a shade brighter than the background. The painting is rather devoid of colour, as the woman has now lost most of her innocence. Her dream cup seems to symbolise her state as of now - battered, but still able to hold some water. It seems to say that although she is not the blank slate she was years ago, she still has a chance to fulfill her dreams - if she takes the chance. Will she just abandon her cup because it leaks? Or still try to mend it and make it usable? This is further emphasized by the chair in front of the painting, which is narrow and with a low back rest. As you sit on it, you feel a sense of discomfort at the narrow seat, and if you lean back, you feel insecure immediately, not knowing if you will be supported by a back rest, or just tumble backwards to the ground. It symbolises that there is always a dream out there, even for this woman. All that is needed is a little faith, and a willingness to take the risk and try.

The cup is cracked. Not broken.

labyrinth-

"Labyrinth", (1987-8), Dede Eri Supria

I really like the amount of symbolism and meaning, as well as the significance of the message this painting conveys. The first thing that would strike people is the sheer size of the painting. At 200x250cm, this painting can dominate an entire wall, forcefully and deliberately attracting the attention of any who pass it. In addition to size, the artist has used bright colours to further enhance the eye-catching effect, as though to say "hey look here! the message i want to tell you can't wait any longer!"

Next to draw the eye would be the vast labyrinth of cardboard boxes, decorated with an array of well-known brands that we probably encounter in our everyday lives. The labyrinth stretches to the top of the painting, becoming increasingly packed and complicated as it goes up to create a sense of depth and perspective, making viewers wonder if there is even an end to this maze. The cardboard boxes seems almost sinister in this painting because of the way they are portrayed as the walls of this never-ending maze. They serve as the evidence of the rapid consumerism that has steadily increased throughout the passing years. On top of that, metal bars (not unlike those frequently seen in construction sites) weave through the cardboard boxes, strengthening their structure. The appearance of construction bars seems to draw a connection to the industrial revolution, as metal is mostly seen as an unnatural, man-made, industrial material. Viewers may also feel a twinge of unease at how familiar all the brands are to them, reminding them that they too are culprits, and the builders of this labyrinth. As if to make the picture even worse, right at the top of the painting is a cramped array of new cardboard boxes, impatiently wanting to squeeze themselves into the picture. It seems to spell the ominous question - Does the world know when to stop?

Also, this painting is almost devoid of life, except for two boys, lying in a loose fetal position, weak and helpless. The way in which they are arranged - limbs and all - practically scream out their helplessness, faced with the impossible task of getting out of this maze. As the only human figures in the painting, and in their weak state, they naturally evoke a feeling of sympathy in the viewers. In this aspect, the never-ending cardboard boxes seem even more sinister, as they are the cause of the childrens' suffering.

I think that the main point of the painting is how it portrays the relationship between poverty and industrialization. While there have been countless representations and documentaries and what not on poverty, this painting is a still a stand-out among the billions of other representations. This is primarily due to the fact that most of the other representations only show a picture of say a factory spewing smoke next to a village, or children walking barefooted to work in sweatshops etc. Only showing singular cases and examples. However, "Labyrinth" stands out due to its attempt to portray the entire situation of poverty and consumerism in its magnitude in one picture. Just using one picture to show this huge problem clearly reinforces the message and makes sure to deliver it with a huge impact. He also cleverly makes the boxes seem to carry on even off the canvas to show that this is still not the full picture.

the metamorphosis of stone.

it's fired! hurrah~ see the difference between painted and unpainted ^^ the painted one seriously look like rocks - therefore i am HAPPY. :D i haven't really touched oxides at all since the box thing in sec 1, and before that i've never ever used oxides before so using them now felt like trying to rediscover old territory ehehe. I'm really proud of this picture ^^ though the significance is actually in the memories that it bring up~ Glazing my finals gave me a totally new look on oxides since my impression of them in sec 1 was just that they were really monotonous and didn't give me many colours to play with - which is probably true if you used them on smooth pieces with not much texture.. But the oxides really impressed me with the way they just neatly flowed into all the nooks and crannies of the clay, darkening some areas and lightening in others. it's ability to be sponged off also helped greatly in adding tonal value to my sculptures :D

Below is a picture of how i turn a white, fired, irregular lump of clay (bottom left) into a rock :D adding grey oxide first (top left) gets the glaze into all the little cracks and dents in the clay while it just slops thinly over smoother surfaces, and this effect works even better if you just slop the oxide on with the brush and let it kinda roll down the sides. oxide = tonal magic<3 i originally had all my rocks look like just step 2, but i decided to try and experiment on a rock and slop some diluted red+grey oxide (top right) and the effect was so good. red+grey somehow equals a really nice rustic brown that made the rocks look more organic and natural, as though the rock had been sitting in soil for years and the colour of the earth sort of diffused into it :D but then it became a bit too dark and there was not enough contrast between the lighter and darker parts for my liking so i sponged it, letting the sponge just clean away any part of the rock it could reach, getting a nice natural highlight for the final rock (bottom right) ^^ the lighter parts of the rock became a light red cause of the oxide but its fine. it adds to the rustic feel ^^

@hope_neverends

title inspired by my mortal's twitter dn c:

Anyway this post is about how i got inspired to have my central idea as hope owo

BIRDS. <3 i love birds :D so chirpy and chipper and full of life ^^ i love watching sparrows and mynahs hop around in my garden pecking around at the ground. the same way a scenic painting of grasslands and trees or a park is never complete without some birds in the background. they just add so much liveliness to everything :D they also aptly symbolise hope, a concept i have always loved due to the pure, positive nature of it ^^
the moment i got inspired by birds, i started thinking of how to integrate them in and the first thing i thought of was a bird house :D it's relatively easy to make and it can house a candle AND has holes for the light to shine through! (fine there's only one hole but i can carve more :D) my concept for the bird house is that since "home is where the heart always is", and birds symbolise hope, the home of birds would symbolise that "where there is hope, there will your heart be, also". (partially koped from harry potter ^^)
this is a snowdrop flower (: i stumbled upon it when researching on what flowers symbolise hope, and found this - a small pure white flower with three petals and a heart shaped center. i drew this out of a picture on google where it was night time and the whiteness of the snowdrop shone in the darkness like a bright light, similar to a candle in the darkness. at first i wanted to make a snowdrop shaped candle holder, but i scrapped the idea in the end :/
and now, *drumroll* the central (ish) object in my sculptures! the candle. i drew this from a picture from google and in the picture the candle was in complete darkness so the candle was the only source of light in the entire picture. candles generally symbolise hope. people light them in sky lanterns, people light them and set them to float on rivers, people light them to illuminate their surroundings, and people light them for warmth in the cold. And where in other places, fire is a dangerous, unstoppable, life-destroying force, when lighted on a candle, it transforms into a source of light, warmth, and hope.

TREES.

A tree of life :) I really liked how knobbly everything looked. it gave the feeling that this tree is very old, wise, and all-knowing~~ plus the apple is so cute :D Anyway, this work was more of helping me explore with the texture and form of a tree, the bumps and knobbles and twists and turns. Sketching (and shading) this tree helped me better understand the natural form of a tree, and thus helped me get closer to my goal of making a realistic looking tree. ^^
This tree was more of prep for my summer tree. Although the drawing looks rather simple, it was of great significance to me, as it was after i finished it and looked at it that i realised that the best way to capture the essence of summer was to make a tree with a thick crown full of leaves. Summer is the only time trees are at their prime of leaves and this thus led to the design of my summer tree, to make the candle holder out of the crown of leaves (it being the main representational point of summer) C:

this winter tree serves the same purpose as the summer tree above, providing me with inspiration for my winter tree. The whole image of a tree like that sprouting out of snow also got me imagining a forest of leafless trees, perched on fluffy white snow, and got me thinking - what else is there in winter?
this is a composition for a sculpture i originally planned to make before the seasons idea popped into my head. I was playing around with the idea of life without hope and faced a problem of how best to depict a dead tree. I could simply make the tree leafless, with its branches dry and devoid of life, but it seemed too similar to winter trees. So I decided on fallen logs.
oh this has to be one of my favourite and most successful sketches ever :D I used an eraser (heh.) for the hanging leaves (?) to try and mimic the glowing effect and it worked quite well ^^ It's the tree of souls from avatar, and I found it fitting for my coursework as the movie depicts it as the closest thing to a tree of life. But more than its use in my coursework, this drawing is significant to me because I have never really drawn something so realistic before. It gave me confidence and showed me that I can draw well if I set my mind to it ^^

AEP Lucia Hartini assignment!

1. (a) Describe the use of space, colour and brushwork.

In this painting, “Srikandi”, Lucia Hartini separates the painting into foreground, middle ground and background. In the foreground, we see a huge woman who bears great likeness to the artist herself, taking up more than half of the canvas, standing in a warrior stance and draped with blue cloth. This central positioning of the woman emphasizes that she is the main subject matter and makes her the first thing viewers will see as they view the painting. In the middle ground, are zigzagging walls that lead into the distance, providing depth to the painting and leading the viewer’s eyes to the background. In it, are turbulent clouds and a bright moon, creating a sort of contradiction as the clouds seem very violent as compared to the calmness the moon provides. This highlights that unsettling tone of the painting as possibly intended by Lucia Hartini. Another use of space in this painting is how Lucia Hartini splits her painting into two parts: the sky and the straight wall, and the eyes and the zigzagged wall, with herself in the middle separating the two. Previously in “Spying Eyes” (1989), we see that both walls are zigzagged and the composition is rather haphazard with the eyes all over the place, the artist shrunk and cuddled up in a fetal position and the sky shrouded with dark turbulent clouds. It is safe to assume that the brick walls are symbolic of the odds in Lucia Hartini’s life and in “Srikandi”, we see that one of the walls (the wall behind her) is straight, as though she has already straightened out half of the odds in her life, and is now facing the rest. This is highlighted by the sky as instead of being shrouded with dark turbulent clouds as in “Spying Eyes”, there is now a bright moon rising out of it, lighting the sky up with hope. Lucia Hartini wished to depict herself as a brave, strong warrior woman which she did so by painting herself facing her adversities (the eyes and the remaining zigzagged wall) with determination.

In “Srikandi”, Lucia Hartini uses earthly tones for the skin of the woman, possibly to contrast the woman as natural as compared to the unnatural setting she is in. She also primarily uses only blues and oranges in the painting – complementary colours. Her use of complementary colours to contrast the earthly toned walls and skin with the rich blue cloth and clouds boldens and brightens the entire painting and makes the warrior woman stand out even more, as well as making the painting one that exudes confidence and has a bold story to tell.

As for brushwork, Lucia Hartini has executed her brushstrokes carefully and smoothly, making them nearly invisible to the human eye. This makes the work extremely realistic, despite its unrealistic composition and subject matter. The seemingly absent brushstrokes also lets the viewers subconsciously forget this aspect of painting and concentrate on the symbolic subject matter and composition instead.

1. (b) Comment on the influences behind this work.

Firstly, the unrealistic composition and subject matter show influences from Surrealism. Surrealism is based on the irrational combination of unrelated objects and contrasting forms derived from the depths of imagination or the dream world, or a fusing of the dream world with reality to bewilder the viewer. Lucia Hartini lived in a culture where a straightforward, critical or confessional discourse is not acceptable and thus turned to Surrealism to encase symbolic messages within.

Secondly, she was possibly most influenced by Srikandi, the archetypical “Warrior Woman” of South East Asian legends for this painting. She depicted herself as Srikandi, dressed in the blue cloth worn by members of the women’s armies who historically protected the Sultans of feudal Java. Lucia Hartini painted herself as Srikandi, repelling the critical and doubting eyes of society which had rendered many of its women prisoners of tradition.

Thirdly, would be the culture are lived in. In the Indonesia that she lived in, the status of a woman always depends on the male and she is always regarded inferior to the man, an object of the man’s orders and admonition. Because of this, Indonesian women and prisoners of tradition, having to inherit society’s expectations of them to play the role of a mother, caring for children and not having the rights to express themselves freely, always fearing society’s critical and doubtful eyes. This could arguably have influenced Lucia Hartini’s obsession with spying eyes, and subsequently, her wish to have the power to stare back at the eyes and defy them, symbolic of her having enough confidence to stand up for her own rights against societal norms.

A valid interpretation of an artwork is dependent on an understanding of the artist’s intent and the context in which it was created.

Interpreting artwork is not only the livelihood of art critiques but also an unavoidable process which happens every time anyone sees an artwork. A person need not be an art critique to interpret a work, thus the nature of interpretations taking on many forms. Although everyone believes that their interpretation is correct, I personally believe that a valid interpretation of an artwork is dependent on an understanding of the artist’s intent and the context in which it was created.

The artist’s intent is, possibly, the most important aspect to take into consideration in order to make a valid interpretation of his or her work. In order to even create a work, an artist will almost always have a purpose in making the work. Be it as a response to an issue or as an avenue of expression, understanding the purpose of the work is possibly the most important step one needs to take in order to make a valid interpretation. An example would be Olympia by Manet. When it was exhibited in the Paris Salon of 1865, it caused an uproar. Critiques all over deemed it as “vulgar” and “immoral”, even going to the extent of saying that if the painting were not destroyed, it is only because it is well-protected. I feel that these interpretations, although made with good basis, were not valid interpretations. Manet meant for this painting to simply show the truth. This work, known to some as Manet’s “masterpiece”, was so violently slammed in its time due to the simple reason of interpreters not understanding the artist’s intent.

Context is also extremely important in interpreting a work, such as in the case of Lucia Hartini. Her painting of “Srikandi”, is full of symbols which any art critique can easily link with courage, barricades, freedom and defiance, but without truly understanding the context in which the painting was painted, the interpretation of “a courageous woman breaking out of barricades and seeking freedom” will never be complete. This painting was painted by Lucia Hartini in her Indonesian society which was extremely male-dominant. Female artists such as her suffer in both art school and society as they are looked upon with a critical eye and their works are not recognized. Her influences for this work were not only the society she lived in, but also of her longing to break free of societal norms and in the process, discover herself. Understanding her context to paint this painting, we can then form a valid interpretation that she is depicting herself as Srikandi, fighting back against the critical judgement and norms of society.

Therefore it can be said that understanding the intent and context of an artist is crucial in forming a valid interpretation of the artwork.

sculptures~~

Looking for possible inspiration for a tree sculpture :D

THIS ONE IS SO FREAKING CUTE. and its so easy to make too! but it looks so classy~ like you could put it on one of the side tables in a posh hotel's reception lobby or something :D kay back to topic back to topic~ this sculpture is interesting cuz because it looks like a tree in shape [or at least a bush.. thing] but in colours and way it is glazed, it looks sort of like a flower :D but it strikes me as a sort of mutilated flower D: like the brown bits are where its injured and bleeding and the green is the life/flesh in it O:

verdict: interesting to make as a side thing when i'm bored ^^
ooh thisthisthis. its like made out of windchimes but i think its all glued and fixed together. which is sad D: cuz windchimes are like supposed to be free to swing and knock into each other as the wind blows to make pretty chimes<3>

verdict: interesting ideas given~
oh this one has an apple!! like the tree of knowledge and wisdom in the garden of eden. i sort of want my tree to be like the TOKW so i wanted an apple there too but didn't really know how to attach it on.. this one is like attached to this small stalk which will DEFINITELY be too weak to support a clay apple if the clay is still wet. hum. maybe hollow the apple out to make it lighter? or like wait for it to be fired separately then super glue it on?

verdict: food for thought ^^
oh i put this here cuz it like completely ties in with what i wanted my tree to portray. see my idea is to like have a hugeee tree of life supporting a pandora's box similar to how atlas is supporting the world.

verdict: nice hands, but DEFINITELY not making a human figure.
ahhh this one. i put it here cuz of the outlines of the world that atlas is holding up. it makes me want to put the box inside ^^ also, i like the angle the photographer took of this statue, looking at it from a bottom up view making it seem more gigantic and towering and like majestic. he also captured the entire length of the building from this angle which increases the level of... majesticity and makes it have a "infinite potential~" feeling ^^

verdict: angle!!! i love what photography can do to a sculpture :D

from whence we came~

the greatest evil.

"Hope. Pandora brought the jar with the evils and opened it. It was the gods' gift to man, on the outside a beautiful, enticing gift, called the 'lucky jar.' Then all the evils, those lively, winged beings, flew out of it. Since that time, they roam around and do harm to men by day and night. One single evil had not yet slipped out of the jar. As Zeus had wished, Pandora slammed the top down and it remained inside. So now man has the lucky jar in his house forever and thinks the world of the treasure. It is at his service; he reaches for it when he fancies it. For he does not know that the jar which Pandora brought was the jar of evils, and he takes the remaining evil for the greatest worldly good—it is hope, for Zeus did not want man to throw his life away, no matter how much the other evils might torment him, but rather to go on letting himself be tormented anew. To that end, he gives man hope. In truth, it is the most evil of evils because it prolongs man's torment."

day 3! ^^

ITS ALIVEEEEEEE. teehee.
green beans grow awesomely fast :D red beans are so slow D<

tree of life

hum. i wonder why all the images that i got for 'tree of life' were leafless trees with curling branches.. hmm.. for people who have experience drawing swirley patterns, you would know that out of each swirl, grows another. And another, and another. The swirls maybe big, or maybe small, but they all add to the graceful effect. This picture really is quite nice :D with the nice scenery of the sky and all.. but why are there people chopping it down? It sort of reminds me of Avatar where the humans were going to chop down the tree of souls.
This is alot more peaceful and gives the sense of hope. Like in the movie the Prince of Egypt, talking about Moses and his stories of helping his people and parting the red sea, when God first approached Moses, He came in the form of a glowing white light, much like the light shining out of this tree. Everyone always thinks that God lives up in the sky. Maybe He lives in the ground, giving small seeds the power to produce huge trees. This picture /sort of/ supports my theory, having a tree that looks like it could give hope. :D

the [possible] meaning of life!

seeds!! ^^

growing a red bean and a green bean for coursework :D see my beloved water babies ^^ hope they grow okay :D

the seed of life

"The seed of life", Ermis



It gives a really surrealist feel.. whether is it the brushstrokes, form, or subject matter. The head of the mother reminds me of the head of Dali's Narcissus. Thats probably where the artist got the inspiration from too. I like how the artist blended the mother's womb with a seed and made the mother's face have a very plant-ish feel with the leaves as hair and the sprout as her fringe. Notice that there are only females in this picture. Whether the baby in the womb, or the two spectators. The artist is probably feminist and wants to show that females are the ones that carry life on and on and should be given their credit, not the males. The whole painting is really tranquil and gives the warmth of a prospective new life and a mother's anticipation. The mother also appears to be growing out of the ground. Could this be a hint towards mother nature? Hmm.. makes me think of Gaia, mother of the earth :D