Victor WWH: Difference between revisions
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what | what | ||
It is a site specific project that, starting from the existing structural relationship between the entoptiscope and the camera lucida, attempts to propose an analogy between the perception of floaters –a kind of wormshape thing floating inside our eyes- and the exercise of drawing. This line it is extruded with the intention of allowing this two-dimensional drawing to be projected back to the third dimension making a relation also with the drawing practice that move objects from three dimensional form to a two-dimensional image. | It is a site specific project that, starting from the existing structural relationship between the entoptiscope and the camera lucida, attempts to propose an analogy between the perception of floaters –a kind of wormshape thing floating inside our eyes- and the exercise of drawing. This line it is extruded with the intention of allowing this two-dimensional drawing to be projected back to the third dimension making a relation also with the drawing practice that move objects from three dimensional form to a two-dimensional image. | ||
how | how | ||
It is an installative proposal that takes places in a glassbox room. The pieces are plaster casts of a same shape disposed around the space from the bottom to the celling and from one wall to another. The sculptures size around 30 cm and are made with plaster so they are white, and are combine between each other and with some intervened glassses trying to recreate the mirror’s game from the machines before mentioned. The final result is a sort of closed space where some white sculptures and glasses are floating and camouflaging (appearing and dissapearing) in the space. | It is an installative proposal that takes places in a glassbox room. The pieces are plaster casts of a same shape disposed around the space from the bottom to the celling and from one wall to another. The sculptures size around 30 cm and are made with plaster so they are white, and are combine between each other and with some intervened glassses trying to recreate the mirror’s game from the machines before mentioned. The final result is a sort of closed space where some white sculptures and glasses are floating and camouflaging (appearing and dissapearing) in the space. | ||
why | why | ||
Because I found it interesting and also because it allows me to exercise this ideas in a practical and plastic way. And I found it interesting because it made me think about the relation between the art practice and the scientific and theorical methods to understand and to have relation with the reality. | Because I found it interesting and also because it allows me to exercise this ideas in a practical and plastic way. And I found it interesting because it made me think about the relation between the art practice and the scientific and theorical methods to understand and to have relation with the reality. | ||
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what | what | ||
It is a sculpture project that revolves around the place of the representation process through construction of the aesthetics and model canons in the western art history. It takes as starting point a Rubens ft Brughel’s painting where a kind of artist studio is represented with some paintings, and also some plaster copies from ancient sculptures supposedly used as models for future paintings. What I did was take the shape of a brushstroke from the painting and make plaster copies of that in order to be able to make compositions and sorts of “still lifes” with them with the idea of be potentially represented. | It is a sculpture project that revolves around the place of the representation process through construction of the aesthetics and model canons in the western art history. It takes as starting point a Rubens ft Brughel’s painting where a kind of artist studio is represented with some paintings, and also some plaster copies from ancient sculptures supposedly used as models for future paintings. What I did was take the shape of a brushstroke from the painting and make plaster copies of that in order to be able to make compositions and sorts of “still lifes” with them with the idea of be potentially represented. | ||
how | how | ||
There are some white sculptures spread around the room. The most of them in the floor but there it is also one in the wall. They are clearly divided in groups creating composed units. The pieces that form this compositions are made with plaster and if I have to be straight describing them I should say that they look like “churros” in some way but in a bigger and white version. Their shape and the marks of the process are clearly visible and that helps to recognize that they are all the same piece but copied one time and another. All of them are broken, they are fragments. | There are some white sculptures spread around the room. The most of them in the floor but there it is also one in the wall. They are clearly divided in groups creating composed units. The pieces that form this compositions are made with plaster and if I have to be straight describing them I should say that they look like “churros” in some way but in a bigger and white version. Their shape and the marks of the process are clearly visible and that helps to recognize that they are all the same piece but copied one time and another. All of them are broken, they are fragments. | ||
why | why | ||
Because it allows me to deepen in the process of the representation and the art practice as a process or a tool that allow us to aprehend the reality from a poetic and metaphorical reading. And in relation with that how the representation change the meaning of the thing that it is being represented. How does it work in the case of an artworks that are represented? It used to be the representation of something but when we use an artwork (an ancient sculpture for example) as a model suddenly it became an object to be represented. | Because it allows me to deepen in the process of the representation and the art practice as a process or a tool that allow us to aprehend the reality from a poetic and metaphorical reading. And in relation with that how the representation change the meaning of the thing that it is being represented. How does it work in the case of an artworks that are represented? It used to be the representation of something but when we use an artwork (an ancient sculpture for example) as a model suddenly it became an object to be represented. | ||
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what | what | ||
PIM | |||
how | how | ||
PAM | |||
why | why | ||
PUM | |||
==Second Draft (after group feedback)== | ==Second Draft (after group feedback)== | ||
work one-Floating Extrusions | |||
what | |||
It is a site specific project that takes places in a glassbox room. The project consist in an installation made by the dispose of some pieces (30 x 8 x 8cm ) that are the plaster casts of a same shape. This pieces are disposed around the space from the bottom to the celling and from one wall to another. The form of the casts is related with the shape of a visual phenomena called "floater" –a kind of wormshape thing floating inside our eyes. The shape of the floater draws a curvy line that is extruded to achieve the final appearance of the pieces. This pieces are combined between them and with some intervened glasses recreating a sort of mirror's game. | |||
how | |||
Starting from the existing structural relationship between the entoptiscope (a simple tool that allows people to easily draw the floaters they see inside their eye) and the camera lucida, the idea is to propose an analogy between the perception of floaters and the exercise of drawing. To achieve that I take as a starting point a floater that I used to have inside my eye and make a hand draw of it.Then I applied a sculptoric extrusion process to this draw with the intention of allowing this two-dimensional drawing to be projected back to the third dimension making a relation also with the drawing practice that move objects from three dimensional form to a two-dimensional image. | |||
why | |||
What moves me to do this project was the interest on the relation and the differences between the art practice and the scientific and theoretical methods, mostly focused in the way that each one has to apprehend and interact with the reality. The establishment of dogmas, the categoric knowledge, and the mechanical description against the poetic relation, the hand-eye connection and the metaphorical language. | |||
works two-MODI | |||
what | |||
There are some white sculptures spread around the room. The most of them in the floor but there it is also one in the wall. They are clearly divided in groups creating composed units. The pieces that form this compositions are made with plaster and represents brushstrokes in a bigger and white version. Their shape and the marks of the process are clearly visible and that helps to recognize that they are all the same piece but copied one time and another. All of them are broken, they are fragments. | |||
how | |||
The project revolves around the place of the representation process in the western art history. It is focused in the construction of the aesthetics through the re-using of the forms, artworks and the models taken as reference the greek-latin culture. In this case I take as starting point a Rubens ft Brughel’s painting where a kind of artist studio is represented with some paintings, and also some plaster copies from ancient sculptures supposedly used as models for future paintings. What I did was take the shape of a brushstroke from the painting and make plaster copies of that in order to be able to make compositions and “still lifes” with them with the idea of be potentially represented. | |||
why | |||
Because it allows me to deepen in the process of the representation and the art practice as a process or a tool that allow us to apprehend the reality from a poetic and metaphorical reading. I am keen on how the representation change the meaning of the things when they are represented. How does it work in the case of an artworks that are represented? An ancient sculpture used to be the representation of something but when we use it as a model suddenly it became an object to be represented, placing it in the same field than a tree or a jug. | |||
Latest revision as of 15:53, 27 October 2016
First draft here:[edit]
work one-Floating Extrusions
what
It is a site specific project that, starting from the existing structural relationship between the entoptiscope and the camera lucida, attempts to propose an analogy between the perception of floaters –a kind of wormshape thing floating inside our eyes- and the exercise of drawing. This line it is extruded with the intention of allowing this two-dimensional drawing to be projected back to the third dimension making a relation also with the drawing practice that move objects from three dimensional form to a two-dimensional image.
how
It is an installative proposal that takes places in a glassbox room. The pieces are plaster casts of a same shape disposed around the space from the bottom to the celling and from one wall to another. The sculptures size around 30 cm and are made with plaster so they are white, and are combine between each other and with some intervened glassses trying to recreate the mirror’s game from the machines before mentioned. The final result is a sort of closed space where some white sculptures and glasses are floating and camouflaging (appearing and dissapearing) in the space.
why
Because I found it interesting and also because it allows me to exercise this ideas in a practical and plastic way. And I found it interesting because it made me think about the relation between the art practice and the scientific and theorical methods to understand and to have relation with the reality.
works two-MODI
what
It is a sculpture project that revolves around the place of the representation process through construction of the aesthetics and model canons in the western art history. It takes as starting point a Rubens ft Brughel’s painting where a kind of artist studio is represented with some paintings, and also some plaster copies from ancient sculptures supposedly used as models for future paintings. What I did was take the shape of a brushstroke from the painting and make plaster copies of that in order to be able to make compositions and sorts of “still lifes” with them with the idea of be potentially represented.
how
There are some white sculptures spread around the room. The most of them in the floor but there it is also one in the wall. They are clearly divided in groups creating composed units. The pieces that form this compositions are made with plaster and if I have to be straight describing them I should say that they look like “churros” in some way but in a bigger and white version. Their shape and the marks of the process are clearly visible and that helps to recognize that they are all the same piece but copied one time and another. All of them are broken, they are fragments.
why
Because it allows me to deepen in the process of the representation and the art practice as a process or a tool that allow us to aprehend the reality from a poetic and metaphorical reading. And in relation with that how the representation change the meaning of the thing that it is being represented. How does it work in the case of an artworks that are represented? It used to be the representation of something but when we use an artwork (an ancient sculpture for example) as a model suddenly it became an object to be represented.
work three
what PIM
how PAM
why PUM
Second Draft (after group feedback)
work one-Floating Extrusions
what It is a site specific project that takes places in a glassbox room. The project consist in an installation made by the dispose of some pieces (30 x 8 x 8cm ) that are the plaster casts of a same shape. This pieces are disposed around the space from the bottom to the celling and from one wall to another. The form of the casts is related with the shape of a visual phenomena called "floater" –a kind of wormshape thing floating inside our eyes. The shape of the floater draws a curvy line that is extruded to achieve the final appearance of the pieces. This pieces are combined between them and with some intervened glasses recreating a sort of mirror's game.
how Starting from the existing structural relationship between the entoptiscope (a simple tool that allows people to easily draw the floaters they see inside their eye) and the camera lucida, the idea is to propose an analogy between the perception of floaters and the exercise of drawing. To achieve that I take as a starting point a floater that I used to have inside my eye and make a hand draw of it.Then I applied a sculptoric extrusion process to this draw with the intention of allowing this two-dimensional drawing to be projected back to the third dimension making a relation also with the drawing practice that move objects from three dimensional form to a two-dimensional image.
why
What moves me to do this project was the interest on the relation and the differences between the art practice and the scientific and theoretical methods, mostly focused in the way that each one has to apprehend and interact with the reality. The establishment of dogmas, the categoric knowledge, and the mechanical description against the poetic relation, the hand-eye connection and the metaphorical language.
works two-MODI
what
There are some white sculptures spread around the room. The most of them in the floor but there it is also one in the wall. They are clearly divided in groups creating composed units. The pieces that form this compositions are made with plaster and represents brushstrokes in a bigger and white version. Their shape and the marks of the process are clearly visible and that helps to recognize that they are all the same piece but copied one time and another. All of them are broken, they are fragments.
how
The project revolves around the place of the representation process in the western art history. It is focused in the construction of the aesthetics through the re-using of the forms, artworks and the models taken as reference the greek-latin culture. In this case I take as starting point a Rubens ft Brughel’s painting where a kind of artist studio is represented with some paintings, and also some plaster copies from ancient sculptures supposedly used as models for future paintings. What I did was take the shape of a brushstroke from the painting and make plaster copies of that in order to be able to make compositions and “still lifes” with them with the idea of be potentially represented.
why
Because it allows me to deepen in the process of the representation and the art practice as a process or a tool that allow us to apprehend the reality from a poetic and metaphorical reading. I am keen on how the representation change the meaning of the things when they are represented. How does it work in the case of an artworks that are represented? An ancient sculpture used to be the representation of something but when we use it as a model suddenly it became an object to be represented, placing it in the same field than a tree or a jug.