Pictures of the final show after the opening.
In the meantime:
Master of Fine Arts, Summer Show 2010
Here are some images from the summer show, thank you to everyone who went, and all comments are welcome. Pictures by Sherezade García Rangel
On doing something: The creative process
Post number 5. In the meantime.
Thats where my work is right now. I like it and the comments Ive had from the staff so far are good. But, in relation to the name of this chain of posts, people will see what its there, but no one sees the blunders, the turns, the changes of mind, the process..which I find the most important part of the work. I wonder if thats what you take, you put your work there, what you keep are the blunders.
Pictures of the final show after the opening.
In the meantime:
Master of Fine Arts, Summer Show 2010
Here are some images from the summer show, thank you to everyone who went, and all comments are welcome. Pictures by Sherezade García Rangel
Pictures of the final show after the opening.
In the meantime:
Master of Fine Arts, Summer Show 2010
Here are some images from the summer show, thank you to everyone who went, and all comments are welcome. Pictures by Sherezade García Rangel
Post number 4. Getting back at it and writting.
After that I went back to the room and kept working on the wall painting. Things still didn’t work... and that wasn’t really the problem, the problem was how to fix it. I had more tutorials, (again, one of the most important was with the head of school, I really like her, she doesn’t bs you, calls you on your own bs and then, helps you out) thought about more things and finally...I decided to move away from my usual painting methods. I made a plan, and experimented again, on how to make it work.
At the same time, we had to write an exhibition proposal, (basically how you were planning on showing your work in the space you had.) I had never done this, and this was what I wrote, I’m still not sure its what they asked for..but well, the examples we had were not really that good ..I think .
Here it is:
"EXHIBITION PROPOSAL SUMMER SHOW 2010. Diana Afanador.
At the beginning my work was bound by paper. I used its boundaries to give an idea of the lack of them. In my practice I use shapes and through an intuitive process they have become a reflection of living beings and human presences. As I started to work within the space in which I’m going to show the possibilities were broadened.
The shapes move outside the constringent of the paper. As a result of feedback I found that while at the beginning (on paper) I broke the borders of the shapes and created a coloured background, as I moved to the walls these borders had to become strong and definite once again and the walls remained white and clean.
At the same time, there was a need for the human presences to be stronger and I moved them outside the 2D boundaries into a sculptural proposal, which has become a key element in the exhibition as it encourages the viewer to circulate around it and it's shadow, to explore the space.
The work reflects a process related to the place where it’s shown. Consisting on wall and sculptural pieces it aims to create an environment that can be viewed as well as wandered in.
On the walls I use water-based materials to achieve movement, fluidity and transparency. I’m interested in layers, and so I work with overlapping found images with my own. These give me the balance between geometry in the shapes and an organic presence. It is achieved through mechanical and hand made processes like screen-printing and drawings on the wall surface.
The material used in the sculptural piece was selected both for its aesthetic qualities and direct relation with human disposed objects. Bin bags are made to contain things that are going to be left behind.
It is developed while having in mind work that interacts with the space and contemporary installation possibilities that foster a complete experience, an encounter with the work. I’m also interested in work that uses a motif or that creates the option of an imaginary, metaphorical, parallel reality or work that has a very distinctive relation to the life of the artist. I have been influenced by the work of artists like Olafur Eliasson, Charles Avery, Yayoi Kusama, Beatriz Gonzalez, Manuel Hernández and Ana Mendieta. "
At the same time, we had to write an exhibition proposal, (basically how you were planning on showing your work in the space you had.) I had never done this, and this was what I wrote, I’m still not sure its what they asked for..but well, the examples we had were not really that good ..I think .
Here it is:
"EXHIBITION PROPOSAL SUMMER SHOW 2010. Diana Afanador.
At the beginning my work was bound by paper. I used its boundaries to give an idea of the lack of them. In my practice I use shapes and through an intuitive process they have become a reflection of living beings and human presences. As I started to work within the space in which I’m going to show the possibilities were broadened.
The shapes move outside the constringent of the paper. As a result of feedback I found that while at the beginning (on paper) I broke the borders of the shapes and created a coloured background, as I moved to the walls these borders had to become strong and definite once again and the walls remained white and clean.
At the same time, there was a need for the human presences to be stronger and I moved them outside the 2D boundaries into a sculptural proposal, which has become a key element in the exhibition as it encourages the viewer to circulate around it and it's shadow, to explore the space.
The work reflects a process related to the place where it’s shown. Consisting on wall and sculptural pieces it aims to create an environment that can be viewed as well as wandered in.
On the walls I use water-based materials to achieve movement, fluidity and transparency. I’m interested in layers, and so I work with overlapping found images with my own. These give me the balance between geometry in the shapes and an organic presence. It is achieved through mechanical and hand made processes like screen-printing and drawings on the wall surface.
The material used in the sculptural piece was selected both for its aesthetic qualities and direct relation with human disposed objects. Bin bags are made to contain things that are going to be left behind.
It is developed while having in mind work that interacts with the space and contemporary installation possibilities that foster a complete experience, an encounter with the work. I’m also interested in work that uses a motif or that creates the option of an imaginary, metaphorical, parallel reality or work that has a very distinctive relation to the life of the artist. I have been influenced by the work of artists like Olafur Eliasson, Charles Avery, Yayoi Kusama, Beatriz Gonzalez, Manuel Hernández and Ana Mendieta. "
Post number 3. The monster
At the same time, the idea of making the monster in 3D still appealed to me. I asked one of the girls from my year (Maisie Henderson Ridley, great artist by the way), who mainly does installation and sculpture to help me out. The first idea was very simple. We were going to get some chicken wire, create some kind of frame and them, put something on it. What? I didn’t really know. With this in mind we went to the metal workshop, where the technician (who is just wonderful) "moulded" my idea into something much stronger. In the end I did (or rather he did and I gave ideas) a 3d image of my monster, a little bigger than me, (I’m 160 cm) I can fit inside.
When I looked at the structure, I was impressed and surprised. It’s a bit strange to see something that only existed in your mind as a mirror image. The monster had always been a metaphorical image of me in my dark times. To see it face to face was nice, scary, big, troublesome, liberating and many other things that I’m still working on.
After that I had a tutorial with the head of the school, who works with 3D (I’m not saying sculpture, installation or something like that because I’m not sure any more of the definition or limits of the words.)
I wanted to cover it, but I had a limited budget, and at the same time, limited time, plus no experience in doing 3d work. What she suggested, after thinking of various alternatives, was to tie pieces of bin bags, (black trash bags), which were cut in small rectangles to the structure, which was mainly chicken wire, and then melting them with a heat gun. (Which I will describe an industrial "hair dryer".)
It took a long time to make, and help, lots of help from my friends.
Now a space for personal insight, without a support group I doubt I would have gotten things done. Having people cheer for you, and help you, and be there unconditionally is a big help, it keeps you going, it helps you believe in yourself and in your work. I also appreciate how they don’t bullshit me.
During the time I spent doing the monster, I left the painting aside, this gave me the perfect opportunity to give myself a mental break. I moved to a different space, on the first floor of the building, to make the monster, and there with a kettle, tea and biscuits I worked on it. I found out that having nice things around you, like the tea, really help you move on. You want to move into the space because it’s nice to be there.
When I looked at the structure, I was impressed and surprised. It’s a bit strange to see something that only existed in your mind as a mirror image. The monster had always been a metaphorical image of me in my dark times. To see it face to face was nice, scary, big, troublesome, liberating and many other things that I’m still working on.
After that I had a tutorial with the head of the school, who works with 3D (I’m not saying sculpture, installation or something like that because I’m not sure any more of the definition or limits of the words.)
I wanted to cover it, but I had a limited budget, and at the same time, limited time, plus no experience in doing 3d work. What she suggested, after thinking of various alternatives, was to tie pieces of bin bags, (black trash bags), which were cut in small rectangles to the structure, which was mainly chicken wire, and then melting them with a heat gun. (Which I will describe an industrial "hair dryer".)
It took a long time to make, and help, lots of help from my friends.
Now a space for personal insight, without a support group I doubt I would have gotten things done. Having people cheer for you, and help you, and be there unconditionally is a big help, it keeps you going, it helps you believe in yourself and in your work. I also appreciate how they don’t bullshit me.
During the time I spent doing the monster, I left the painting aside, this gave me the perfect opportunity to give myself a mental break. I moved to a different space, on the first floor of the building, to make the monster, and there with a kettle, tea and biscuits I worked on it. I found out that having nice things around you, like the tea, really help you move on. You want to move into the space because it’s nice to be there.
Post number 2. Moving on.
After that, and I had a lot of tutorials, every person I had a tutorial with had a different perspective. I liked that; it’s like finding out a different thing about your work every time. I really appreciated the ones that were hard. The ones who were not about to say nice things so that you wont feel sad, or bad or whatever. The truth of the matter is, for me, that when people say things to you, things that aren’t working, then you can work on them. On the other hand, if everything is good, then, well, good, but I rather save the nice comments for the opening night.
What I did like though was that I was encouraged to work outside the paper, grow into the room. Now, for me, this is no easy thing to do. As I mentioned before, the space seemed huge to me, and I think that I really couldn’t get my head around it for a long time. I didn’t have a plan to start with and I just tried to manage it as a paper, a huge white paper. Now this has a lot of problems, first because a room is not a paper. It’s 3d and the paper is 2d. I know this sounds obvious, but really, it’s not. Creating a composition in a room is nowhere near the same as it is on paper.
The walls don’t work the same as paper when receiving colour. I know, again, it should be obvious, and I think it is, but at the same time I can say that my first attempt was to try to make them work as paper. (Because I was trying to use the room as I would my paper).
It was a good learning curve on many levels: composition, materials, time, etc. Needless to say it didn’t really work..though I really kept at it and tried many times. It seemed as if I hadn’t done it on purpose, but rather blundered into it. Which in retrospect, was what I was doing.
What I did like though was that I was encouraged to work outside the paper, grow into the room. Now, for me, this is no easy thing to do. As I mentioned before, the space seemed huge to me, and I think that I really couldn’t get my head around it for a long time. I didn’t have a plan to start with and I just tried to manage it as a paper, a huge white paper. Now this has a lot of problems, first because a room is not a paper. It’s 3d and the paper is 2d. I know this sounds obvious, but really, it’s not. Creating a composition in a room is nowhere near the same as it is on paper.
The walls don’t work the same as paper when receiving colour. I know, again, it should be obvious, and I think it is, but at the same time I can say that my first attempt was to try to make them work as paper. (Because I was trying to use the room as I would my paper).
It was a good learning curve on many levels: composition, materials, time, etc. Needless to say it didn’t really work..though I really kept at it and tried many times. It seemed as if I hadn’t done it on purpose, but rather blundered into it. Which in retrospect, was what I was doing.
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