08/05/12

I constructed a piece of material by placing lots of different materials and fabrics onto plain cotton and pinned it into a composition that I found pleasing. I tried to find materials that had a lot of texture and patterns. Then i sewed them together on the sewing machine using a free machining foot. I tried to create a lot of texture and movement by adding different shapes to it and also going over patterns that were already on the fabrics to exaggerate the patterns.

Still Life

By Grace Ndiritu

"A return to the organic Shakti Goddess power of Mother Nature in Study no. 4 is inevitable after seeing a horrifying reflection of the artificial, paranoid, neurotic internal world in Study no.1 & 3 epitomized by todays post-modern urban landscape. One of the starting points for the positions was the traditional Buddha poses of walking, standing, sitting, reclining. "
- Grace Ndiritu

As well as referring to famous stanses, Still Life also relate to Buddha. So it is also religious.

Her work is mainly about politics and global issues concerning the inequality and degrading of human beings due to war and poverty. Grace infuses her work performances with music, landscape, fabric and passion.
Ndiritu covers the body in fabric, mostly with prints that would be found within her culture. When I watched her performance, i firstly felt uneasy, as if I shouldn't be watching such an intimate scene when she is touching   and stroking herself.
I like the sense of verability it has from bedding covered, but also the power from the poses and the way she moves.

The Nightingale

Still Life refferences

http://cottonglobalthreads.com/exhibit/grace-ndiritu/




Lewis Morley





 
Botticelli's Venus






Whistlers Mother

 

Manets Olypia

Venus of Urbino

Cecilia Paredes

Cecilia paints the body in a camouflage manner the same as Bolin. Although, Cecilia paints the body so that it is noticable, and follows the movements and contours- unlike Bolin who creats strong enthisis on hiding the person from the scene.
I like the colours and patterns she has chosen to use.

http://www.pondly.com/tag/cecilia-paredes/

Olek Projection

These performances of Olek's work are projected over to enhance texture and movement.

crochet

unsure on this material..

Olek Camo

I found some more images I liked by Olek.

As I have said before, I get an aggressive vibe from some pieces, the two bellow are examples.

Putting that aside, I love the overall effect they have and I feel they are really strong in terms of colour and composition.

Olek Installations

From my newspaper experiment, I thought about other techniques I could use to cover a room/person with.

The first thing that came to mind was material. By producing a garment and matching curtains or backdrop, I could create my desired effect.

I later remembered an artist that creates work and installations- Olek.

She crochets huge pieces then attaches them together around objects and people. I love the effect it has, changing the scenes, almost making them child like even though some of her work is quite violent.

 

Sewing

Zoe Bradley

http://www.zoebradley.com/

Inhabitant

I love the different textures in this piece, and way the materials are all in the same range of colour really adds to the effect and emotion of being fragile and worn as the background story entails.
I want to base an Alternative Miss World outfit around this concept of gathering abandoned objects to form something new and intriguing.

"Inhabitant was made during Urban Interventions, an exchange residency based in Linz between European Capital of Culture cities. Nominated for the residency by Liverpool Biennial, I worked at Salzamt Atelierhaus from July to September 2009.

A sculpture made and worn around Linz, Austria, Inhabitant is about trying to find your own place or identity in a city and the representation of psychological space. The final form was influenced by the time spent in Linz and took on some characteristics of the architecture there. The materials in the work - cardboard, wood and plastics - were all previously discarded and these made fragile, temporary building blocks. Worn, or inhabited, this work sits somewhere between a garment and a sculpture. It is like a shell or façade, in which I, although concealed safely inside, remain vulnerable, without the ability to see and encumbered by my own creation."

Elements

Water









Earth










Air









Fire