This has been one hell of a week!
During the easter holidays, I made the decision to make two more casts from my mould. My reason for doing this is to document the constantly changing shape and size of the alginate shell. As the water escapes from the surface of the alginate it begins to dry up, the form also starts to shrink and shrivel. The only difference between my first two casts and the second two is the type of plaster I used. Being in uni I was able to get my hands on potter’s plaster which is of a higher quality of plaster than plaster of Paris. Although I followed the instructions given to me at uni and on the packaging of the plaster of Paris, the casts I did at home didn’t come out the same. I managed to capture the detail of my skin and nipple area, but there was a vast amount of bubbles on the surface of the casts. I have also found that one of the casts has gone mouldy. I have decided to not use the other three casts in the degree show as they are not visually and aesthetically appealing. I feel the original shows the true representation of my breasts. On the other hand, I will still be documenting the changes of casting with the alginate at different time points and the deterioration of the actual cast.
To was going to alter the plaster breasts and make them more presentable. To do this I would have used a plaster filing tool to shave the edges. This would have left me with clean, tidy surfaces for presentation. Instead, I have opted to leave the cast how it is. The rough edges of the plaster add to the natural and unforced nature of my work. I have also considered many ways to present my work in the degree show. My first idea was to mount the bust on the wall. But due to the weight of the plaster (3.5 kg per cast), the walls and fixtures wouldn’t sturdy enough. Instead, I have opted for well made white plinths. Referencing greek mythology, I feel the plinths will give the bust status and power. The height of the plinth is also something I’ve thought about. I’ve opted for the busts to sit level with my chest to emphasise the realism. Another aspect of the breasts is the colour. Because I have chosen to use potter’s plaster as my material the casts have come out an off-white colour, this I feel works in my favour. I now have the choice between using crisp white plinth or a coloured plinth.
Finishing film footage
With all the film footage complete, it’s time to start editing. As I’m not experienced in the arts of premier pro I’ve entrusted Tom with helping me. The first stage of editing was choosing the most successful pieces of film, I have chosen six individual shots. each shot displays a different feature, by this I mean the direction of either moving liquid or colour, speed or distance of camera lens from the balloon. I have decided on four main show reels, three screening one film each and the fourth screening two films put together. I made the decision to pair two of the films due to the similarity in colour, shape and liquid flow speed. The only difference between the two edits is the distance of the camera lens. I have found that the jump of distance connects the two pieces and encourages the continuation of engagement. After completing all the editing I then watched everything through. All four films show a high level of meditative behaviour, the slow paced movement of the liquid and slight tendency to gently sway encapsulates the viewer and change your perspective of thinking in terms of function and the purpose of the objects. The balloons become an ambiguous form but are also challenged by my context.
ARTISTS WHO WORK WIHT FILM
Housing the iPads – Dome idea
I wish to display the footage on four iPads evenly spaced out on a wall. To house the iPads and run with the ‘boob aesthetic’ I have research bubble phone booths, an image shown above. The soft structure is a continuation of the natural shape of breasts. They will compliment and create an atmospherical experience for my audience to step into. To enhance and push the space within the bubble booths I have also considered sound. my options are natural sounds, for example; the sea, wind, water and animals. The sound made by humans, for example; singing, instrumental music, talking or bodily sounds. Since breast doesn’t really have a distinct sound other than a child feeding or skin contact an alternative that appeals to me is instrumental music. Due to the meditative nature of my footage, I wish to use something that doesn’t distract or challenge. The sound should enhance the experience and encourage concentration. I am very fond of classical music which is very calm but also dramatic and spikes alertness. Puccini Without Words is an album I have found to work with my footage. Link below.
To make the domes I have tried and tested a few material on their own and combined with other materials. these are:
- paper mache with tissue paper (water and PVA)
- paper mache with tissue paper (just PVA)
- paper mache with newsprint/newspaper
- cartridge paper
- pain and PVA
- PVA on its own
Below are a few images of my results. Having tested all the materials I found the aesthetic of tissue paper gave the best effect. The skin like colour reflects elements of my project and the delicate feel of the structure also coheres with the nature of breasts.
ARTISTS WHO HAVE ALSO EXPERIMENTED WITH PAPER MACHE OR OTHER SIMILAR MATERIALS TO MAKE DOME SHAPES. SOUNDS ARTISTS TO