Overview
In this project we will be exploring how the exterior of an object, when observed in a sensory fashion, is informative of the origins, the interior and identity of an object.
Through this visual and tactile information, we are often able to ascertain the identity of an object, and if the object is foreign to us, we are able to give some context in which the object might exist.
This project aims to explore how we associate with an object, and then poses new parameters as to how that object might exist, studying the nuances of the connections between interior/surface/form/identity.
Methods
This is an observational project, and consists of three sequential steps to successful completion.
They are:
Step 1
Find an object that is organic in nature, and exhibits surface characteristics that are interesting to you.
It can be smooth, rough, shiny, scratchy, prickly, etc.
Bring that object with you and we will discuss aspects of them in class.
You will then be asked to DRAW this object from an analytical standpoint in your sketchbooks.
Your collection of sketchbook drawings will be the inspiration for your final analytical drawings that will be shown alongside of your object.
If you are unable to understand it's interior visually, you need to imagine why it might take on the form it does. i.e. the bumps, concavities, convexities, in other words - the surface qualities via its planar analysis
Be particular - it should be larger than life size.
You can explore this, if you wish, conceptually using mark to talk about the object and explore its surface.
Anaylitical Drawings to be completed on
18 x 24" paper including
Drawing paper from spiral pads
Reaves BFK
Arches
Strathmore #140 pound paper
Canson
* your selected paper can be white/cream or a color.
Anaylitical Drawings to be completed on
18 x 24" paper including
Drawing paper from spiral pads
Reaves BFK
Arches
Strathmore #140 pound paper
Canson
* your selected paper can be white/cream or a color.
Your project must contain these parts:
1. 4 (minimum) thorough 2D sketches in your sketch book
illustrating 2 different points of view of exterior
illustrating interior point of view, minimum
illustrating addition of your interuptive contrasting surface
Your 3D object needs to exhibit a portion of the interior
Your 3D object needs to show one exterior membrane
Your 3D object needs to show a contrasting exterior membrane
Your object needs to be 3x the size of the original form
Your object must be presented along side of an analytical 2D drawing (re: Claus Oldenburg, Christo concept drawings) 10 x 14" minimum
You may make use of natural materials or multiples of a common manufactured object to produce the interior and the exterior. However, your interuptive contrasting surface needs to be something contrasting - polar opposite
Step 2
You need to develop the form from the inside out in wire. Note concavaties and convexities. Make sure that you understand the planar analysis of the entire form, prior to moving to Step 3.
You need to develop the form from the inside out in wire. Note concavaties and convexities. Make sure that you understand the planar analysis of the entire form, prior to moving to Step 3.
Step 3
Find a material that overlays a new layer of inorganic information to the surface.
This can be anything of your choosing, not limited to but including: Tissue paper, saran wrap, fabric, steel wool, panty hose, latex, glue, paint, cloth, etc.
When designing the work, you need to allow for the interior of the object to be shown partially to explain the possiblity of the exterior coming into play.
Your secondary membrane should be partially covering the object, however, not totally.
Allow for an area of the original object to remain in view, its interior as well as its exterior - think about this strategically; thinking about overall 3-d compositon!
This is experimental so feel free to explore, and edit in choosing your materials.
Once your object has been wrapped with what you have discerned as the correct material found, draw the covered object with its new skin.
Step 4
Leaving one area of the object to be covered from the last step, now find a new material containing new characteristics and complete the covering.
Remember to leave one area visible so viewers can understand the inside of the form.
Think about contrasting qualities, or how the materials may create tension or contrast in the final exploration.
i.e. Glass and satin
Reflect on the changes your object possess seeing the interior form, and the two exterior membranes.
Considerations
Consider your choices, the new vocabulary, and the overall feel of the object.
How far did you go to conceal the object?
Had its identity been obliterated?
Has the object become something new, or are there still connections to the uncovered version.
Have you produced a hybrid of sorts?
Have you produced a hybrid of sorts?
Artists to consider:
Gaudi
Frank Gehry
Anish Kapoor
Ernesto Neto
Christo
Heather Harvey
Rachel Harrison
Shari Mendelson
Tara Donovan
Innovative textile weavers +
Fiber Optic fabrics + specialty textiles (stainless steel, etc.)
Tara Donovan (plastic straws)
Tara Donovan (Mylar & hot glue)
Link to essay here: Hyperallergic: Donovan's Works will Give you the Chills
Anish Kapoor
Below Christo & Jeanne-Claude
Analytical drawing compositions on a 2D plane
