Documentation 03/03/2016

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I have been trying out a new way of ‘binding’ and ‘crystallising’ the branches to better suit the newer concept of the ‘lightning bolt’ as a symbol of transcendence and re-animation within the context of ‘Frankenstein’. Within the text, Frankenstein realises the true ferocity of nature, as well as it’s sheer power by witnessing a tree get destroyed by a lightning bolt. through this, he also learns the way to create ‘life’; relating to ideas about galvanism and electro-stimulation of the muscles. Electricity is often utlised to restart hearts, as well as provide a ‘boost’ to both man and machines, in the sense of an engine requiring a jump start to get going at times. This is interesting, as it relates once more to the machines that i was so interested in at the beginning of this year, and how they are ‘beings’, but they rely on electricity instead of blood to move. The binding process is somewhat ritualistic, and provides me the ability to work on single pieces of work for an extended period of time; allowing me to really understand what it is I am trying to achieve with the sculpture that I am planning to make.

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The idea for the final piece is as follows, as outlined within my proposal;

‘I intend to create an installation of a large 2.5 – 3 x 1 x 1 metre steel frame with a series of crystallised branches within the frame. There is a possibility of creating a sculpture that hangs in between the space within the floors. ‘

This sculpture will consist of a large Steel frame, symbolising the human desire to understand and ‘control’ natural phenomena, as well as attempting to mimic the work of the creator. Through this, I am channeling Frankenstein, by re-animating a dying object, transmuting it into a ‘host’ for my crystals. I am mimicking a trinity of natural phenomena in my piece;

  • Decomposition; and the eternal cycle of Life death and Rebirth within Nature and the wider cosmos.
  • The Lightning bolt; a symbol of the Gods and Natures destructive force
  • Re-animation; a corruption of the aforementioned cycle, as I am playing God, which follows the human desire to transcend from our mortal coil and become that which we worship.

The interesting thing about the piece is that I want it to be a fallacy; it is about the human desire to transcend and become like the God that we had ‘killed’ due to our desire to find purpose within the universe and our lives, and failing. These ‘miracles’ that I am creating are anything but, and this follows the fallacy of humanity. If one cannot find meaning in their life, they should enjoy the desire to find something; to find purpose. The lightning bolt is so effective, it looks so much better than I initially thought. The inherent symbolism does come through in the work; and for this, I am incredibly pleased.

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I have also succeeded in creating a new formula for my crystal solution; resulting in more prominent and pronounced crystalline growths on my objects. This is due to a different variety of Pva utilised which already has urea within it and is clear; resulting in a longer crystal that better absorbs the colouration of the host that it is growing on. These elongated crystals also resemble crystals more than the last batch of solution, which resembled mold far more than the beautiful and fragile crystals that I am currently using. Although this resemblance was not detrimental to the work, I think that now there is time for growth; in the sense that the current crystals better resemble an electrical ‘current’, referencing the symbolism of the Lightning bolt, and the inherent energy within an object being harnessed for the work.

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This piece was an experiment into a possible ‘side piece’ for the sculpture; which would consist of a table/mat that holds a series of symbols and informative objects towards the context and concept behind the work. This would allow the viewer to decide and discover their own unique experience within the work, and hopefully, see what the work holds inside of it contextually, without me being there. This is important, as Davida once noted that there is the possibility that the work I create doesn’t really ‘exist’ or ‘work’ if i’m not there to explain it. This prompted me to step back and really think about how my work interacts with people, and how it can bleed it’s secrets out into the viewer without me being there to tell them what is actually held within. The image of a trinity of crystals in petri dishes relates back to the common image of the trinity that I utilise within my work, as well as showcasing the growth and different variations that can be found in the crystal masses. The object within the tank is also an experiment into creating abject, beautiful forms from dead materials that hold a certain revulsion when viewed by certain people. The subject for the growths in this instance is a series of bones, and at first; one cannot notice the shape or the form of the objects; as they are instead drawn to the beauty of the crystals and yet intrigued by the host of these delicate growths. The crystals also take on the colouration of the bones, despite the bones not being wet or rotting; and yet, shows the power of the crystal’s ability to absorb and take on the colouration and appearance of the Host’s body. This is certainly an interesting avenue of exploration; and one that I do feel a bit sad about leaving behind. Nevertheless, I will continue with the Branches and possibly utilise the bones in some other way; if I do not use them for my final piece on the ‘table’.

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