Helen Burgess

http://www.helenburgess.co.uk/
This work i have found is very simular to other artists work which i have found so when making my final piece i have taken influence from alll these peoples way of working and presenting my work.

About

Helen’s work is concerned with a phenomenological experience of space and place and how this can be translated through a visual arts practice.

She utilizes drawing, sculpture, pinhole photography and more recently site-specific photographic installations to explore our perception of space and place. Walking is a central part of her practice and an important element of the process by which she makes work.

Formerly a teacher, she retrained as an artist, graduating with a distinction in an 'MA by Project in Fine Art'.
Her final MA project 'The Space of Place' looked at how pinhole photography could translate a phenomenological experience of space in non-urban place; in doing so it explored the relationship between time and photographic process and approached photography as both a visual and physical construct.

Absence 2007                                                                            Interval 2008

 

Introspection 2005

Introspection II 2006                                                         Just Hanging 2006

Suspended 2010                                             Unexpected Use of Space 2006

                                                                                                       100 Thoughts of Frustration 2007

John Risley

John Risley, OC (born 1948) is a Canadian businessman with major financial interests in fisheries, food supplements, and communications. Based in Chester, Nova Scotia, he is one of the 100 richest people in Canada. His wealth in 2009 was estimated to be $830 million. He was born in Halifax, Nova Scotia, the son of an insurance broker. He never attended university, instead choosing a career in real estate. By 1976 he was struggling through a housing slump and with his brother-in-law, Colin MacDonald he took a gamble in opening a lobster business in Bedford, Nova Scotia. Within ten years of its founding in 1976, Clearwater had grown into one the of the largest international food fish businesses by specializing in high return products including scallops, lobster, clams, coldwater shrimp and crab, which it air-freights around the world. It is the largest holder of rights in Canada for each of these shellfish species and by 2008, it owned the rights to all offshore lobster fished in offshore Atlantic Canadian waters and all Arctic surf clams. By 2008, the fleet included ten factory freezers (the largest such fleet in Canada) and the entire international fleet totalled 21 vessels.


John Risleys work I saw in a peers book and found it fascinating that they have used the humamn figure as a theme for simple wire chairs. I am going to use this outime and drawing with wire in my work as a structure first before building on top.

Wire Experimentation

30th April
Form the influence of Rachel Ducker, Barbara Licha, Helen Burgess and Jaume Plensa. I made my own model, by using the strength and structure of Rachel Duckers work so that the sculpture keep its form and shape. Then as i didnt like  the layer technique on top i used Barbara Licha's messy scribble on top to create a unique sculpure from  artist research. Half way throw I ran out of wire and couldn't proceed any further, and had to wait 4 days for more wire. This work is also greatly inspired by Anthony Gormleys work which I went and saw in Manchester city art gallery in the easter holidays, it was so simple but time consuming as from a sample it was just soo fasinating and i want to get this emotion from viewers when they look at my work in my end of year exhibition.

Bust Sculptures

bust ¹ (bst)

n.

1. A sculpture representing a person's head, shoulders, and upper chest.

2.

a. A woman's bosom.

b. The human chest.

SAMUEL TONKISS (c.1909-c.1992)
Portrait of Lowry (c. 1960 England)    

http://www.onlinegalleries.com/art-and-antiques/fine-art/sculpture/bust





I looked at Bust sculpture as i didn't think i would have time to create the whole piece and develop my work future as well as getting ready to start my work in a week or so. But from peers reviews they think i should finish it when the wire arrives on top of making my final piece.






As the wire wont be at college till next week I have decided not to finish this piece and use it as a lesson on how to work with the wire in this way so i may tidy it up and make it in to a bust sculpture.

Jaume Plensa

www.jaumeplensa.com

http://www.ysp.co.uk/exhibitions/jaume-plensa

http://www.guardian.co.uk/artanddesign/2011/mar/30/jaume-plensa-show-at-yorkshire-sculpture-park

http://www.telegraph.co.uk/culture/art/art-features/8443996/Jaume-Plensa-a-profile.html

http://www.channel4.com/culture/microsites/B/bigart/about_artists.html

 

 

http://jaumeplensa.com/web/index.php/exhibitions-and-projects/current/item/289-art-public-miami-beach

This work inspired me as well as all his others but I found these pieces of work were its exhibited excellently were you have to go out your way and stop to look at his work in stead of walking past it as a daily object. I am going to use this in my work when exhibiting my work, so I am going to talk to tutors so this actually happens as I think its really effective. Also im going go make the human figure like this but in different mediums I haven't clarified which yet with tutors to make sure I have access to the materials I want to use.

Plensa was born in Barcelona, Catalonia and studied art there, in the "Llotja" School and in the Escola Superior de Belles Arts de Sant Jordi.
His works include the Crown Fountain at Millennium Park in Chicago, Illinois, United States. It opened in July 2004.The fountain is composed of a black granite reflecting pool placed between a pair of glass brick towers. The towers are 50 feet (15 m) tall, and they use light-emitting diodes (LEDs) to display digital videos on the inward faces.
Another Plensa piece is Blake in Gateshead, in North East England, a laser beam that on special occasions shines high into the night sky over Gateshead's Baltic Centre for Contemporary Art. In the summer of 2007 he participated in the Chicago Public Art exhibit, Cool Globes: Hot Ideas for a Cooler Planet.

Wire Drawings

From research shown early on my blog -the delicate wire drawings i used their technique and made my own it worked really well but instead of making another layer for the eye i tried to make it separately from the main part of the face and join it but as shown below in this post it didn't succeed sand just broke the main frame into two from the heat of the spotwhelder. 

I used these materials to create a intricate and delicate wire draings.

 I firstly draw what I wanted to create, which was taken from inspiration of my artist research the delicate wire drawings.

By using the drawing I produced I shaped the wire ontop to  get the same shape. This is what I created. I think it turned out quite well, it shows a sign of emotion.

This shows the break as I tried to spotwheld the eye piece to the main piece, the face, its melted the wire but not bonded the piece together. So now im not too sure what I can do, I may present this in my book and make a new one, all in one piece or a few layers.

Clay experimentation

Tuesday 23rd April 2013
From looking at Mo Jubbs work, I have started to experiment more with clay.
Here are some very quick models for some ideas I could use in my Final Major Project. I like the way I have played around with different thicknessess and shapes for the best outcome. I also made a large figure made out of various shapes to make a patchwork type of look.

 

From being fired in kiln they all the delicate people all broke which was a shame but I now know that i cant make intricate delicate pieces of clay as they crack or break under the pressure of the heat. So i was glad i made a larger sample in a different way then i can fire it and test the colours of the glazes which we have. I am very happy with the outcome of the sample and may use that technique to make my final piece.

I enjoyed doing this way of working but its very time consuming and this one took me atleast half a day to produce and its not even that much. The thing hich takes the longest is the setting up and waiting for the rolled out slabs to dryout a bit so it makes it easier to work with as it holds the shape better.

 

Mo Jupp

MO JUPP (b. 1938)
http://www.galeriebesson.co.uk/jupp.html

Mo Jupp was born in 1938 and studied at the Camberwell School of Art and Royal College of Art in London. His first workshop (1967 72) was at Brands Hatch, Kent, and during this period he taught at Harrow, Farnham and Hornsey Schools of Art. He moved to Gloucestershire and then Herefordshire, returning in 1987 to London, where he has a workshop in Bermondsey. He has taught on a regular basis, at Harrow, at the Bristol Polytechnic and the Bath Academy of Art, and has been a visiting lecturer throughout the United Kingdom and Ireland. His work is in the permanent collection of the Victoria & Albert Museum and the National Museum of Wales, Cardiff.

 from tubes of clay luted together and, though lacking heads and arms, with breasts and draperies lovith woman.
from Hans Coper a respect for Cycladic figures, and himself owns several ancient Cypriot clay statuettes, one of his favourite possessions is a mere bowl from a broken clay pipe that chances to remind him of the human knee. He looks for “an essence, the essence of things,” and fights to stop his work becoming too figurative. If archaeology unearths objects that embody such an essence, he will appropriate the findings. Thus it was with the neatly aligned toes of Egyptian statuary: “So beautiful!” In the last six or eight months he has started looking at Indian sculpture, which previously he found “too hot, almost too up-front.” If some of his new figures sway their hips or wear linear draperies, we may speculate about his visits to the re-opened Indian galleries at the Victoria & Albert.

As for these draperies or skirts, which cover the twiggy legs of his women while yielding a glimpse of tantalisingly bare flank, it is worth recalling that, as a boy, his mother’s work as a dressmaker fascinated him. He often uses dress-making techniques, as in cutting out a “dart” in order to lead his material over a curved form. These skirts also contribute strength of construction to his figures by bridging the gap between the legs. This is important to him because he considers each small figure a maquette that must be capable of realisation the size of life, should a buyer commission such a work.

Mo Jupp began as a sculptor, then trained as a potter, intolerant of the delay in working from clay to bronze. Art or craft? It makes no difference to him. In his fifties, he seems to have shed a youthful need to shock, and now expresses his admiration for women with tender directness: how they stand; what they wear; how they walk through a door. I am impatient to see the rest of his work for this show.

Written by J. V. G. Mallet as the introduction for Mo Jupp’s 1992 exhibition at Galerie Besson.

 

http://www.lameridiana.fi.it/courses_mo_jupp.htm

From the influence of Mo Jupp I have produced my own samples in clay using Mo Jupp's techniques I think it was very successful and its definitely a way of working that I could use in my final piece which is going to be exhibited.