Parts of me, MF003
(Unselected material)
(Unselected material)
See also 28.8.20 Why cast feet? and Mould making
For my reflections on MF003, see 4. Proposal
9.9.20 More trial installations in the studio
After the crit on Monday, I decided to try out some other installation ideas. Andrea had challenged me to be more transgressive and playful, and I liked the sound of that! Scroll down to see photos of each stage.
Hanging:
The metal sculpture that I suspended on Monday was still hanging and I decided it works well, so I set it up more permanently with more steel wire. I prefer steel wire to monofilament; neither is actually invisible and it feels more in tune with the steel frame to use steel rather than plastic. One interesting aspect of hanging it of course was that it moved spontaneously! I have written about the significance of hanging here. Although I think it works very well, I had been trying not to hang my work as I usually do, so it interests me that I have ended up hanging 2 of these assemblages.
Hanging:
The metal sculpture that I suspended on Monday was still hanging and I decided it works well, so I set it up more permanently with more steel wire. I prefer steel wire to monofilament; neither is actually invisible and it feels more in tune with the steel frame to use steel rather than plastic. One interesting aspect of hanging it of course was that it moved spontaneously! I have written about the significance of hanging here. Although I think it works very well, I had been trying not to hang my work as I usually do, so it interests me that I have ended up hanging 2 of these assemblages.
Part of me 2, moving spontaneously
Next I tried out various ways to drape the black knitting over the steel sculpture, until I found a form that I was happy with. Knitting is so flexible, it is perfect for site responsiveness. Here, obviously, the 'site' is each steel outline.
Selecting a form for the black knitting
Shoes:
Before the casts of my feet were made I had used some of my shoes to stand the metal frames in. I felt that it was very effective. I've reflected on the use of shoes in art here and deliberated about whether to use shoes instead of the cast feet. During the crit someone suggested putting shoes on the Jesmonite feet so I selected a few to bring in to try. It feels appropriate as well because shoes have always been really important to me. They are part of my identity, as are my clothes.
I wasn't sure though whether my shoes would fit so the first pair I tried was my favourite pair of flatform sandals. They are black and strappy, with Velcro fastenings. They are perfect for my very wide, very large deformed feet. I tried them on the feet beneath the black knitting. They just fit and they look perfect. I think they add playfulness and people will find it funny to see just one pair of feet wearing shoes. It's also surreal and has aspects of the uncanny about it. I'm always pleased when my work provokes a range of conflicting responses, and I hope this will - hilarity and discomfort, maybe? I also think that this sculpture looks so much like me. My feet, my shoes, a steel drawing of my outline and I always wear black sack-like clothing. It is a deconstructed, uncanny self portrait!
I did try adding other shoes in other parts of the installation, but decided against the others. None of the other shoes I'd brought fit and piles of shoes or neatly paired shoes didn't work as I'd hoped.
Before the casts of my feet were made I had used some of my shoes to stand the metal frames in. I felt that it was very effective. I've reflected on the use of shoes in art here and deliberated about whether to use shoes instead of the cast feet. During the crit someone suggested putting shoes on the Jesmonite feet so I selected a few to bring in to try. It feels appropriate as well because shoes have always been really important to me. They are part of my identity, as are my clothes.
I wasn't sure though whether my shoes would fit so the first pair I tried was my favourite pair of flatform sandals. They are black and strappy, with Velcro fastenings. They are perfect for my very wide, very large deformed feet. I tried them on the feet beneath the black knitting. They just fit and they look perfect. I think they add playfulness and people will find it funny to see just one pair of feet wearing shoes. It's also surreal and has aspects of the uncanny about it. I'm always pleased when my work provokes a range of conflicting responses, and I hope this will - hilarity and discomfort, maybe? I also think that this sculpture looks so much like me. My feet, my shoes, a steel drawing of my outline and I always wear black sack-like clothing. It is a deconstructed, uncanny self portrait!
I did try adding other shoes in other parts of the installation, but decided against the others. None of the other shoes I'd brought fit and piles of shoes or neatly paired shoes didn't work as I'd hoped.
Adding shoes to the installation
Three sculptures or four?
If I'm making multiples, I normally choose to make or show an odd number, but I actually made 4 of the steel forms. For the crit I had decided to just show 3 of them as I had 3 finished knitted pieces and three pairs of perfect grey cast feet. I also am not so keen on the form of the first metal sculpture I made. She's too Barbie-like and, obviously, not so much like me. After the crit, though, I began to wonder whether to include her as an assemblage with missing feet maybe, or with shoes? I am also knitting my fourth Body cocoon, as a pillar of fire, in yellows and oranges so far.I'm planning more orange and a few shades of red too. It's unfinished, probably about 1/3 of the size of the others and still has knitting needles and yarn attached.
Why did I want to add this fourth assemblage? I liked the idea of one form standing in one of the corners, maybe facing the wall. so I brought it all with me and tried a number of options. In the end I have suspended her beside the yellow pillar, partly concealed. The colour works so well together! I didn't have another pair of Jesmonite feet for her so I eventually used one of the trial casts, which is plaster. I tried out various other options with shoes, but thought this was the best solution. The plaster feet have no holes to stand the metal frame in, so instead I hung it from the yellow beam so that it hangs about 6 inches above the plaster. It makes the assemblage taller than me and, I think, makes it look as if it too is hovering, not quite connected, about to fly upwards. It's an effective illusion. Although the plaster feet are white, and the Jesmonite ones are grey, they are the same form and I think adding them works well. I think they bring another level of meaning. Being a different colour highlights that they are made of a different material. They look like plaster, or maybe porcelain, and they are much more fragile than the other ones. In fact, one of the toes is broken, which again, I think is very poignant, suggesting mortality.
I especially like the idea that this assemblage is hidden, almost camouflaged by the pillar. I did try one of the other forms there too, but I decided to use this one in the end because I find the shape less interesting than the others. It's less abstract. It's less visible where it is, and is partly covered by the knitting anyway.
If I'm making multiples, I normally choose to make or show an odd number, but I actually made 4 of the steel forms. For the crit I had decided to just show 3 of them as I had 3 finished knitted pieces and three pairs of perfect grey cast feet. I also am not so keen on the form of the first metal sculpture I made. She's too Barbie-like and, obviously, not so much like me. After the crit, though, I began to wonder whether to include her as an assemblage with missing feet maybe, or with shoes? I am also knitting my fourth Body cocoon, as a pillar of fire, in yellows and oranges so far.I'm planning more orange and a few shades of red too. It's unfinished, probably about 1/3 of the size of the others and still has knitting needles and yarn attached.
Why did I want to add this fourth assemblage? I liked the idea of one form standing in one of the corners, maybe facing the wall. so I brought it all with me and tried a number of options. In the end I have suspended her beside the yellow pillar, partly concealed. The colour works so well together! I didn't have another pair of Jesmonite feet for her so I eventually used one of the trial casts, which is plaster. I tried out various other options with shoes, but thought this was the best solution. The plaster feet have no holes to stand the metal frame in, so instead I hung it from the yellow beam so that it hangs about 6 inches above the plaster. It makes the assemblage taller than me and, I think, makes it look as if it too is hovering, not quite connected, about to fly upwards. It's an effective illusion. Although the plaster feet are white, and the Jesmonite ones are grey, they are the same form and I think adding them works well. I think they bring another level of meaning. Being a different colour highlights that they are made of a different material. They look like plaster, or maybe porcelain, and they are much more fragile than the other ones. In fact, one of the toes is broken, which again, I think is very poignant, suggesting mortality.
I especially like the idea that this assemblage is hidden, almost camouflaged by the pillar. I did try one of the other forms there too, but I decided to use this one in the end because I find the shape less interesting than the others. It's less abstract. It's less visible where it is, and is partly covered by the knitting anyway.
Exploring ideas for a fourth assemblage
A question of balance
I think the draped pink knitting works very well. Being able to see the inside through the steel frame is beautiful. However, I was not happy with where it was and I thought it would might work well to stand it facing the window. Another factor is its instability. I only discovered last week that the metal structures wouldn't stand independently in the cast feet. They fell over backwards. It's a design fault but rather an unfortunate one for a series of sculptures that I'd intended to stand! For my first trial installations, I'd used industrial Velcro to stick the feet to the floor. This was awkward as it meant I couldn't move them around at all once they were fixed, but , more worryingly, this one fell over after a few days. I also found that using Velcro felt wrong for some reason. I could see traces of white around the instep and it annoyed me.
I have side stepped the issue of balance in different ways now, by hanging two of the sculptures, but I wanted this one to stand. Initially one of the other solutions I had discussed was using steel wire to balance the standing sculptures, but had decided against it at that point as , I thought it might look odd. Now though, I had already used steel wire to hang two of the sculptures, so I decided that one more length of wire would be fine. I did try setting it up so that it was leaning, but that made it much too precarious, so instead its balancing. It's effective and I also feel that using steel wire is much more sympathetic to the materials of the sculpture than Velcro. It's steel and the metal is steel. It does amuse me how much this matters to me and how attuned i am to this sort of thing.
I like the fact that this form is now partly hidden as well, as when you enter the room, it's behind Alyson's white cube. As you move into the space it reveals itself, and actually it is the most public of all of them, as it can be seen from outside. Public yet private. Standing as it is, it faces away from the room and from the other forms. It looks as if its distanced itself from the others, looking out of the window.
I think the draped pink knitting works very well. Being able to see the inside through the steel frame is beautiful. However, I was not happy with where it was and I thought it would might work well to stand it facing the window. Another factor is its instability. I only discovered last week that the metal structures wouldn't stand independently in the cast feet. They fell over backwards. It's a design fault but rather an unfortunate one for a series of sculptures that I'd intended to stand! For my first trial installations, I'd used industrial Velcro to stick the feet to the floor. This was awkward as it meant I couldn't move them around at all once they were fixed, but , more worryingly, this one fell over after a few days. I also found that using Velcro felt wrong for some reason. I could see traces of white around the instep and it annoyed me.
I have side stepped the issue of balance in different ways now, by hanging two of the sculptures, but I wanted this one to stand. Initially one of the other solutions I had discussed was using steel wire to balance the standing sculptures, but had decided against it at that point as , I thought it might look odd. Now though, I had already used steel wire to hang two of the sculptures, so I decided that one more length of wire would be fine. I did try setting it up so that it was leaning, but that made it much too precarious, so instead its balancing. It's effective and I also feel that using steel wire is much more sympathetic to the materials of the sculpture than Velcro. It's steel and the metal is steel. It does amuse me how much this matters to me and how attuned i am to this sort of thing.
I like the fact that this form is now partly hidden as well, as when you enter the room, it's behind Alyson's white cube. As you move into the space it reveals itself, and actually it is the most public of all of them, as it can be seen from outside. Public yet private. Standing as it is, it faces away from the room and from the other forms. It looks as if its distanced itself from the others, looking out of the window.
Centre stage
Once I had decided to add the fourth assemblage I had more flexibility to change the spacing of others. I think probably the most powerful sculpture is the one that is prone. There's something about the posture, the position of the feet, the contrasts between the red tentacles of knitting, the floor, the metal and the position of the feet. Also, being able to see inside the knitting draped torso is intriguing. So i decided I wanted it to be more central.
I have essentially kept it as it was but I think it's position is much better and the contrast with the black one next to it is stunning.
I have essentially kept it as it was but I think it's position is much better and the contrast with the black one next to it is stunning.
7.9.20 PM Making changes
As a result of the crit, I thought I'd try hanging the first sculpture. I used monofilament and suspended it from one of the yellow beams initially. That was quite effective.Then I tried using steel wire attached to a staple plate on the wall. I think that works better. Both are visible, but I like the steel wire better. Unfortunately, the building was closing so I couldn't replace the monofilament with another length of steel wire, so I'll do that in the next couple of days. I wonder what else I could use? Black wool, maybe? I'll think about it. It'll also be useful to see whether its still hanging when I come back again. Another example of its precarious nature, and balance?
I'm very pleased with sculptures with the pink and red knittings. I will probably tweak them a bit before the deadline, but maybe not. It'll be interesting to see whether the pink one is still standing in a couple of days as I left the knitting on the metal sculpture this time!
I'm very pleased with sculptures with the pink and red knittings. I will probably tweak them a bit before the deadline, but maybe not. It'll be interesting to see whether the pink one is still standing in a couple of days as I left the knitting on the metal sculpture this time!
7.9.20 AM Setting up for the crit.
When I arrived in the studio, two sculptures were on the floor! One had apparently fallen over the weekend. It had hit the wall, marking it, but fortunately not breaking the feet. I had decided over the weekend that I wanted to move the sculptures around so I quickly set this one up again, but this time, I turned the feet so that that sculpture could face the wall. I also decide to leave the sculpture by the window just lying there, draping the red knitted Body cocoon over it. I then arranged the other two knitted pieces. balancing them carefully on each metal form. Now to wait and see whether they stayed standing,and also to see what the group made of them.
4.9.20 Trial set up in the studio
It was exciting to finally have the cast feet ready to set up the sculptures, but I discovered as soon as I put the first metal sculpture into the first set of feet that the two together wouldn't stand up independently. With each sculpture, the centre of gravity is out of alignment so the metal form, and consequently the whole structure topples backwards!
I was obviously upset by this and annoyed with myself for not anticipating it in the design. It's a steep learning curve, when your work won't stand 3 days before a deadline.
I consulted with a couple of the other students and talked through options. In the end I decided to try industrial Velcro to stick the feet to the floor. It meant that I also had to consider carefully how I drape the Body cocoons over each sculpture, as the metal frames and feet are still not all that secure. I was able to set up two sculptures and tried a number of ways to add the knitted pieces. I tried draping them over the front of each piece to help with balance. It seemed to work as they both stayed upright while I was there. I then took the knitted sculptures away as I planned to work with them over the weekend. I placed the third sculpture by the window, but couldn't set it up as I ran out of Velcro, but was also waiting to hear whether Amelia wanted any space to set up in the studio. I like the idea of it standing and looking out onto the street.
Apart from this rather major set back, I am pleased with the combination of parts - metal, knitting and casts. They provide interesting contrasts. Having to drape the knitting to help with balance is a constraint that I hadn't expected, obviously, but actually I think that it's quiet interesting that they are so precarious. If they fall over the next couple of days, will the feet break? I feel fairly stoical about it actually, fortunately. If it happens, I'll deal with it. Like the broken toes of the plaster cast I made, broken statues are common in the history of art!
I had intended to try different set ups with each of the knitted pieces on all the metal frames, but having to sort out how to make them stand took time and also, once they were stuck to the floor, I was reluctant to move them.
I decided to wait till I was next in on Monday and see whether they were still standing. I will also buy some more Velcro and lead fishing weights.
I was obviously upset by this and annoyed with myself for not anticipating it in the design. It's a steep learning curve, when your work won't stand 3 days before a deadline.
I consulted with a couple of the other students and talked through options. In the end I decided to try industrial Velcro to stick the feet to the floor. It meant that I also had to consider carefully how I drape the Body cocoons over each sculpture, as the metal frames and feet are still not all that secure. I was able to set up two sculptures and tried a number of ways to add the knitted pieces. I tried draping them over the front of each piece to help with balance. It seemed to work as they both stayed upright while I was there. I then took the knitted sculptures away as I planned to work with them over the weekend. I placed the third sculpture by the window, but couldn't set it up as I ran out of Velcro, but was also waiting to hear whether Amelia wanted any space to set up in the studio. I like the idea of it standing and looking out onto the street.
Apart from this rather major set back, I am pleased with the combination of parts - metal, knitting and casts. They provide interesting contrasts. Having to drape the knitting to help with balance is a constraint that I hadn't expected, obviously, but actually I think that it's quiet interesting that they are so precarious. If they fall over the next couple of days, will the feet break? I feel fairly stoical about it actually, fortunately. If it happens, I'll deal with it. Like the broken toes of the plaster cast I made, broken statues are common in the history of art!
I had intended to try different set ups with each of the knitted pieces on all the metal frames, but having to sort out how to make them stand took time and also, once they were stuck to the floor, I was reluctant to move them.
I decided to wait till I was next in on Monday and see whether they were still standing. I will also buy some more Velcro and lead fishing weights.
