Proposal: Colours and Textures

For my proposal for Ambika P3 Ive been logically calculating the ins and outs of my sculpture assemblage - the now decided 3 small sculptures and one main sculpture (the adapted pedestrian railing).

Included here is an investigation into visualising different textures and colors on the surface of my sculptures, to that of the 'Unhinged Consciousness (2020)'. (The black undercoat and flip paint surface).

ORIGINAL COLOUR/TEXTURE IDEA (BASED ON LAST SCULPTURES)

Expanding foam, resin, tarmac, BLACK BASE LAYER, CHROMACOAT VOODOO (flip paint).

'NOT MUSHROOMS' COLOUR/TEXTURE IDEA (BASED ON PREPARATORY WORK)

Expanding foam, resin, tarmac, NEON GREEN & PINK BASE LAYER, CHROMACOAT VOODOO (flip paint).

As opposed to the darker original idea, in this diagram I experimented with neon green and pink as the base layer instead of black, then applied Chromacoat Voodoo on top.

This process is more time consuming as I have to carefully mask areas with tape to achieve the desired paint separation. If I had a really long time to this series I would create this colour for the sculptures as it is different and interesting. However I will prioritise the first idea, as the aim of the piece is to create an unsettling, uncomfortable and forceful presence as the viewer that this colour emits. In feedback from ‘Unhinged Conciousness’ (2020), it was clear that the colour and texture combination I utilised presented the negative feelings that I sought.

Eugenie Scrase: Trunkated Trunk & My work!

Eugenie Scrase, 'Trunkated Trunk' (2009) at the Saatchi Gallery

Then young artist Eugenie Scrase appeared on the show 'School of Saatchi' BBC2 back in the early 2000s, show casing this beloved piece as her final work to show Charles Saatchi and potentially win a studio for three years and the piece moved to The Hermitage in Russia for exhibition. Reading and watching into School of Saatchi and this ambitious work by Eugenie has given me a lot of inspiration. Firstly I begin with the work itself, much like my fence, she has captured a moment, a situation. When removed and placed into the gallery it opens up question- how did the log get there? how is it that heavy to have forced the fence to bend like that? what were the artists intensions, is she implying something greater than just the material depictions that one stands before? When really, its not as complex as one would think but thats the beauty of it because it can lean both ways, dependant on how the viewer takes it. Im not just going to talk about her work because she used a fence and I used a fence, it is the capturing a moment within or using found objects.

Secondly, there is somewhat 'luck' in having found it on a whim so close to the final but having that eye to be doing another piece of work but being perceptive to your surroundings and ultimately being ambitious and bold and determined to obtain it. Much like what I have done in my previous work and what I plan to do for P3, the whole thing of my idea is just centred around this fence, this moment. However I always seem like I want to expand it further, im never just done with it. For this series looking at the form of the railing and artificially mimicking the form, distorting it further in smaller sculptures. Adapting and confusing the already powerful object with huge bulbous, organic and oozing forms that constrict and seem to pull the fence itself.

Going back to Eugenie before I get sidetracked, its given me a bit of hope that maybe I can make it as an artist, our thought process and ambition id like to think is on a similar wavelength- she was 20 and got selected BY SAATCHI HIMSELF out of 5 other brilliant artists, some with outstanding sculpture work just from finding that fence...I wonder what he would have to say about my next show. Although that was the early 2000s and hes seen a fence now and probably 5 others in that time.

Not 'Mushrooms' Makeover

Trying to grasp being creative in lockdown !

Last time I featured my 'not mushrooms' on my online journal, they were neon pink and green, the second phase of getting to this desired colour as shown below. The piece in the first image is the largest of the 5 that I have fully finished (without tarmac and resin, which I still want to add in some areas). Sprayed with the same flip-colour paint used in my last sculpture series 'Unhinged Consciousness' (2020), I really like how it creates a more complex object when there are different base layers underneath. Again, the colours shift and change dependant on the light, so these pieces I quite like bright sunlight as shown in the images.

The not-mushroom below features just a small amount of the flip paint on it, as I have now run out and am unable to get some from the same supplier due to Covid, I'm going to try to look for the same paint asap to finish them and take photographs of all the works together. For these photos I created a small makeshift studio with paper placed on my table in the flat. I still need to edit some so you cant see the paper lines but I am struggling to obtain photoshop for free. The not shrooms were placed on an old work of mine made out of tarmac and resin. I really want to photograph them in interesting places, perhaps a car park or road, urban setting vibe? I want them to appear huge too as scale and weight with this material is something I am loving to play with in the work.