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What is my work? What is the context? What is it about the body that I want to say? What do you want the audience to experience? Am I overthinking the work? By analysing my work, I need to spend time with a piece and analyse how I can manipulate and challenge the work. I have a tendency to continue making and making and making, avoiding the purpose of what my aims are. If I don’t understand my own work how do I expect my audience to understand the work? Spending time with my own work, analysing and observing the qualities and breaking down one singular piece at a time. There is a sexual tendency that evokes the work, an analyzation of the relationship with the body, awkwardness of the body, the issue of being uncomfortable in your own skin. The work has a dark aesthetic.

My use of nude tights plays a crucial role in the current work but how can I exploit this? Do I try other forms of tights? Black tights, fishnet tights, stockings, this would take the work in a completely new direction. Why tights? Is it the female association that’s important? The colours of balloons can translate and read differently, the white balloons read neutrally and give a sense of purity. What about trying red? Is there a feminine aesthetic to the work? What do the balloons represent? Breasts or male genitals? These questions I ask challenge my thinking and conceptual understanding of my own work. I’ve realized how the body plays a core role and important aspect in my current practice. The tights forms with expanding form have a child scale, they have an awkward presence. Do I need to change the scale? The legs need to be longer and of an adult scale.

Sarah Lucas’ use of the figure and the cast is an interesting concept and her practice feeds directly into my own work at times. The forms using tights and filling provokes an aesthetic rawness and vulnerability. I can relate to the provocative aspect and challenging nature of her work. As I’ve been working with the tights and expanding foam I’ve noticed that the marks appear on the surface; they look like cellulite or stretch marks. This quality is alluring and real; we all have these imperfections that we try to conceal and hide but these pieces celebrate and exploit. The interesting aspect is the element of performance and time, the material changes the form.

 

 

Are the pieces the finished work or the documentation? There is a strong and unavoidable relationship between sculpture and performance. There is an awkward element in my work, an uncomfortable aspect. The work has developed a challenge between the struggle of me and the materials; this translates with the struggle between me and my own body. This is also translating through working with the foam pieces; the manipulation of the foam using elastic bands. There’s an element of tension from the material, the bulging and creases portray a fleshy representation. What I’m curious to explore further is the casting element; the possibilities of turning the soft and squidgy foam material into a solid form. I want to explore bronze and lead, their weight and qualities would offer the foam forms a different quality and presence.


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