As this is a two-week project, Tuesday’s tutorial was the last before our final critique so all attention turned to final outcomes. My textile experiments and samples of work were well received when presented. The only problem that we faced was what the purpose of the textiles were. Visually my soft sculptures were engaging to the group, however should they be marketed as soft toys or installation art sculptures? To allow the eyes to see the work in a new light I photocopied each creature in colour, black and white and negative. This created a flat image in which the creature could be observed more objectively. After consideration, we decided that my work should be installed and promoted in a simillar way to that of Anette Messager’s work. This will allow me to think about my work within a space and look as ways in which it can be interpreted.
An initial idea was to have each creature standing up within an exhibition space as my creatures have more impact when displayed collectively. The issue that I had with this idea was that the sculptures would be static and I wanted them to have a sense of movement. Therefore, my sculptures are now going to be arranged and hung from the ceiling, much like an adult mobile. I am aiming to bridge the gap between Alexander Calder’s work and the soft toy mobiles in the commercial children’s market. This is an interesting format as I want viewers to look upwards at my creatures and to consider colour and form as a whole rather than induvial pieces. This reflects the interaction of the visitor and animal at the zoo, as we very rarely look at an animal straight ahead, they are more likely to be hidden in different spaces in their habitat meaning that ‘we’ as the visitor need to work harder to gain information. I am looking to arrange the work in a circular shape so as the viewer will walk around the piece and see a movement and alteration in viewpoints of each element. This will further emphasise colour relationships as other sculptures can be viewed through negative spaces and curves.
I have already begun the making process of the outcome by planning a 2-metre-high creature to be the largest of my piece. This will then be accompanied by varying other sized creatures to show the difference of each specie at the zoo. I am aiming to complete three sculptures (more if possible within the time scale) all with improved detail and organic shapes than the experiments. Making on a larger scale means that I can return to my Indian ink drawings as guidance for the free flowing shapes and abstracted ideas. My colour schemes were guided by the availability of felt colours on this scale. I chose to use similar relationships of colours to that of my experiments, but to also place new colours so as to enhance my understanding of block colour. My thinking was to use black, white and dark purple as a constant throughout each sculpture so as they sit together as a series, and then vary the lighter tones. Furthermore, the designs which I have chosen are not replicates of my previous studies, but mixes of each successful section. The largest sculpture is created from my interpretation of an iguana’s head and a bird’s body in which the shapes are formatted from my original mark making. These shapes worked well in the experimentation and provided with a good quality outcome. Where quality is concerned the most important parts are to make sure the shapes are within the seam allowances, that there is minimal puckering and that if a pattern is carried onto the opposite side, the pattern matches up. Furthermore, I am looking to add wood in the necks of each sculpture so as to strengthen the join.