Ferocity Within UnknownMedium: Cardboard and Tape
Completion Date: March 2021 This sculpture depicts a defensive mechanism that keeps others away from knowing someone's true identity. Sculptor, Mark Hopkins is one of the inspirations with his work, "Cry of the Wolves." Norris Yim is the other with his, "Faceless Portrait." Both artists influence the cardboard sculpture in order to tell a facade of an everyday person. |
Artist Inspiration
Mark Hopkins is a well known sculptor who uses bronze for all of his pieces. His artistic style has been dubbed as the, "Bronze in Motion" as he expresses movement. This follows throughout his series as he sculpts multiple life forms, whether their human or animal, as well as items that intrigue him. His inspiration derives from his passion of life and nature, how they interact with each other. It was something he liked when he was younger. During that time his family was supportive of his career choice and artistic abilities. This helped the artist further his work in life and continue to create what he views as natural. During the process of his work, Hopkins watches his bronze casting very closely. It's his significant bond with the material and subject that allows him to create pieces that are presented in extravagant occasions. |
Norris Yim was born in 1989 in Hong Kong. He creates poetic art pieces by obscuring facial features. His message through this is meant to depict the integration of capitalism and hypocritical living. Yim pushes to discourage the "perfect" face and standards. He believes that people spend too much time on their appearance and it in turn affects their mental and physical health at times. His series is associated with self pity and the sadness of society. |
Planning
During the planning phase I listed ideas that I was interested in. All of these had a theme of being supernatural of sorts, though I hadn't realized until afterwards. This primarily is because of the intention of the piece, showing aggressiveness in the forefront. After I created a list I realized that most of them were dull and seemed too forthcoming. It was at this point that I started to combine ideas together in order to depict a more complex story. In order to capture the sketches I researched different artists that correlated with the ideas. These were as simple as horns, to animal forms and more. Eventually I came upon the conclusion of a wolf with an obscure face inside its open jaws. I felt that this was a good story to tell, of a defensive mechanism used by others in order to hide themselves. The plan originally derived from Mark Hopkins and Norris Yim. |
Norris Yim creates very obscure and vibrant faceless portraits. It was my intention to use different colored card boards in order to replicate that. However, I didn't know how I would combine the pieces. The first option was cutting a flat surface and gluing them atop. Option 2 was to simply put all the pieces together without a base. My next plan was to figure out how the mask would look inside the jaws and how to make sure the head piece is secure. The idea was to create a strip in the back in order to hold the mask in place. Referring back to the coloring, due to the mask being colorful, I planned on creating both exterior and interior of the wolf a neutral color. The color would simply by the original cardboard of brown. |
I wasn't quite sure which materials would work best when bonding the cardboard pieces together, so I gathered a variety. A glue gun isn't depicted here, but that's also another object that was thought to work. My plan was to use the tape for larger pieces that wouldn't be seen from the outside. It would act like a sturdy base as opposed to the gorilla glue that is used for smaller pieces. In addition, I would use the blade to cut the cardboard, big or small. I think it will especially help when it comes to fine details, especially within the wolf's face features. |
Experimentation and Process
As I started the project I began with the mask. This would help me determine my face dimension and would start as the base for the project. From there I experimented with layering cardboard pieces next to each other and atop. In the end I decided to layer them atop each other and trim the edges as I went. All the pieces were colored cardboard in order to connect with Yim's vibrant faceless figures. The mask was a little more 2D than I'd have liked, so I cut the back with a blade in order to bend it to my liking.
In order to create the base I drew an outline and connected the 2D forms in the middle to create a 3D form. This was also due to the middle pieces in between the two sheets to create the space. After I soaked cardboard and draped the piece over the whole form in order to further the dimensional view. For the teeth I cut circles and then in the middle to swirl it into a cone. Each piece was differing in length in order to present a more realistic feature. All pieces were forged together with either tape or hot glue, the teeth were all primarily hot glue. Using the glue I was also able to create a saliva effect by connecting the strands to each tooth.
To further the details within the sculpture, I added fur which was created with thin strips that I had put in the water previously. Each strand was layered atop each other to depict a seamless
Reflection
3D sculptures are unfamiliar to me and are my least favorite medium. It was why I struggled so much during this project. At first it was difficult to form the base as I am more comfortable with 2D things. Eventually it was figured out but a new problem arose, textures. I learned how to experiment with different shapes and sizes. Yet from there I couldn't comprehend how to shape the cardboard to my liking. Even now, with my newfound knowledge. This prompts me to want to challenge myself more if I were to do this project again. I'd like to continue to experiment and bend the cardboard to how I see fit.
Looking back on my project, I feel as though it may lack certain key features despite its abstract concept. The eyes are significant features of a wolf and I didn't do them. This was partly due to the base of the figure as it didn't allow me to place eyes in a realistic composition. Furthermore, the fur was a bit lackluster though it did add dimension. If I did do this project again, I would try out a different fur technique and layer them significantly so it doesn't stick to the frame so much.
Despite my wistfulness of another opportunity to further my abilities, I am proud of the sculpture. It represents its theme without a doubt. Upon first glance it allows others to interpret the piece as they like. It isn't just simply a wolf, but one with an obscure figure which prompts questions. If my piece can make others ask questions, then I am content.
Looking back on my project, I feel as though it may lack certain key features despite its abstract concept. The eyes are significant features of a wolf and I didn't do them. This was partly due to the base of the figure as it didn't allow me to place eyes in a realistic composition. Furthermore, the fur was a bit lackluster though it did add dimension. If I did do this project again, I would try out a different fur technique and layer them significantly so it doesn't stick to the frame so much.
Despite my wistfulness of another opportunity to further my abilities, I am proud of the sculpture. It represents its theme without a doubt. Upon first glance it allows others to interpret the piece as they like. It isn't just simply a wolf, but one with an obscure figure which prompts questions. If my piece can make others ask questions, then I am content.
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ACT Responses
1. Clearly explain and describe how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork.
Mark Hopkins creates sculptures that seemingly disappear from their origin. They appear to be floating subjects with hardly any stability. This caused my work to be more abstract as spots where fur is to be, is void. In addition, Norris Yim's portraits follow a messy obscurity. My piece followed as it shows the same level of unknown and chaotic.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
Mark Hopkins enjoys nature and anything related to it. He think it's the connection to the world and to humans themselves. His view upon my subject correlates to his passions. However, the meaning is more humanoid than most of Hopkins subjects.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I have come upon the conclusion that wolves are fierce and known to be either lonely or content within a pack. This made me realize that the species has more story to them than simply being a predator and fierce.
4. What was the central idea or theme around your inspirational research?
The central idea around my inspirational research was an animal or being that was aggressive. Something that can be seen as a threat rather than a pey. To then hide its true intentions with something obscure. This would all replicate the defensive mechanism that is being demonstrated.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
While completing my research I have come upon the conclusion that sculptures are very wide in options. Sticking to just one idea is almost as harmful as choosing too many ideas. So it's best to start with two ideas and form them together or mix ideas as they come. This is what Hopkins did and few artists I researched when looking for an inspiration.
Mark Hopkins creates sculptures that seemingly disappear from their origin. They appear to be floating subjects with hardly any stability. This caused my work to be more abstract as spots where fur is to be, is void. In addition, Norris Yim's portraits follow a messy obscurity. My piece followed as it shows the same level of unknown and chaotic.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
Mark Hopkins enjoys nature and anything related to it. He think it's the connection to the world and to humans themselves. His view upon my subject correlates to his passions. However, the meaning is more humanoid than most of Hopkins subjects.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I have come upon the conclusion that wolves are fierce and known to be either lonely or content within a pack. This made me realize that the species has more story to them than simply being a predator and fierce.
4. What was the central idea or theme around your inspirational research?
The central idea around my inspirational research was an animal or being that was aggressive. Something that can be seen as a threat rather than a pey. To then hide its true intentions with something obscure. This would all replicate the defensive mechanism that is being demonstrated.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
While completing my research I have come upon the conclusion that sculptures are very wide in options. Sticking to just one idea is almost as harmful as choosing too many ideas. So it's best to start with two ideas and form them together or mix ideas as they come. This is what Hopkins did and few artists I researched when looking for an inspiration.
Bibliography
Mark Hopkins Sculpture. (n.d.). Retrieved January 20, 2021, from http://www.markhopkinssculpture.com/index.php
Norris Yim. (n.d.). Retrieved March 12, 2021, from https://www.norrisyimart.com/about
Wilkinson, A. (2019, December 20). Interview with Norris yim. Retrieved March 12, 2021, from https://www.visualatelier8.com/interviews/2019/12/9/norris-yim
Norris Yim. (n.d.). Retrieved March 12, 2021, from https://www.norrisyimart.com/about
Wilkinson, A. (2019, December 20). Interview with Norris yim. Retrieved March 12, 2021, from https://www.visualatelier8.com/interviews/2019/12/9/norris-yim