Merry Christmas fellow bloggers. Hope Ye're all enjoying the holidays. I know some people may be wondering why I'm making a post at this point, when I should be chillin'. Well I'm not trying to earn brownie points or anything like that, it's because my computer is playing up any I want to ensure my work to date is recorded. When you think about it these posts are an extra back-up. So I might as well bring things up to date regarding my project. Before the holidays I was working on a 3D piece composed of a paper sculpture which represents the space I occupy. It looks rather skeletal which is fine as I had never intended to portray a solid figure. There is also a degree of transparency, which I was also going for so although I didn't get to complete it I'm happy with the result. Feel free to give some feedback (critique), it's valuable to me either way.

The images show a progression of the construction process. The upper torso area is based on a rib cage which gave the initial impression of a skeleton, so I think the addition of limbs in a more cylindrical form alters this. Although light, the sheer volume of paper, and eventual position - suspended - required a 2.5mm wire armeture. This actually worked out well as the 'face' ended up being cast in wax, as opposed to my original intention of fibreglass, which I believe is lighter and may have been supported by paper. My reason for suspending the piece was the result of my research into 'sensing' one's space. Recalling from personal experience the sensation felt when floating on water, i.e. dead mans float, of being totally relaxed, drifting, oblivious, and yet aware of your position in relation to your surroundings (especially the shore). Without deliberately trying you sense what's around you - the space available to you. Thinking along this line I remembered seeing something similar in a movie that involving body suspension in mid air. The film is called 'A man called horse' starring Limericks own Richard Harris (coincidence?) and part of the plot involves Harris's mid-air suspension as part of his initiation into a Native American tribe.

                                                    

Body suspension originates from Native American and Hindu culteres. The practice has been going on for thousands of years as rites of passages, healing rituals and as a means of leaving the body and entering the spiritual realm. One notable native American ritual is the Sundance, in which the person is pierced through the chest and attached to a sacred tree. The person then pulls and dances until the piercing rips free. After the trance, when he is free from the hooks, he is also free from the prison of the physical limitations, he is reborn, like the sun.

My interpretation of this ritual is that during the trance-like, meditative state induced by the ceremony, the person is still aware of (sensing), thier space.

In today's world there is a movement emerging among adepts of body art and body modifications which aims to revive the spiritual experiences of the primitive tribes by performing rituals such as body suspension and body piercing. Many people who have gone through the experience state that the pain is easily overcome by the sensation of being above the physical senses.

Had I managed to finish this piece, or at least the other leg, I'd intended to suspend it from six points, as seen in modern day practice. If you can imagine, two opposite points on the upper chest, two on the mid-torso and one on each thigh. The reason behind this is more to do with the chosen title. Each suspension wire, or string, would be anchored to the piece through a hole drilled in a one cent coin, secured underneath the framework. Have you worked it out yet? The title of the piece was to be - " The six cent's" (sixth sense) - I know, sometimes I even amaze myself !

Before I sign off, and go and relax (suspension ?), I'm just going to show you a few images of a variation of this piece. If you noticed the leg form in the previous blog, made in a similar style, these are some images of how that has developed.

For this piece I used newspaper, which is fine, but a few things need to be considered for future attempts. Printed newspaper can leave your hands fairly black, which can transfer onto the work. I also used 'discount store' masking tape which began to unravel the following day - it's worth paying more for decent tape. I also invested in a hot glue gun which saves time but joints are prone to opening again after movement so a more rigid composition works best. Anyway, that's all for now - I'm off for a float in the bath, but before I do I'd like to wish ye all a Happy new Year.

Ho, Ho, Ho - don't worry, I'm not getting into the festive spirit - I just got the punchline to a joke I heard recently (last week). Seriously though, I do like Christmas. Sitting in front of a big open fire, feet up, roasting me chestnuts. Glass of malt in one hand, big fat cuban in the other...a cigar that is. Anyway that's next week, this week I'm still working on my project. I've been doing a few things with paper as you can see in the photos.

I know it resembles a skeleton at first glance but that's just because I began  with a representation of an upper torso and the first thing that springs to mind is the rib cage. I'm not intending to replicate a skeleton as you will see in later images.

 The image on the left is a development of the same idea, a paper frame representing a body's space. Not a full body this time but more of a composition of limbs, maybe, gonna see where it goes before finishing.

I just felt I had to show this image of a skull because it sort of goes with what I'm doing, and I think it's really cool. It was made by a guy called Chris Dunseath and called 'Veneer skull'. Constructed from laminated ash veneer. Strips of veneer were laid over a plaster skull, coated with wood glue and then covered with more strips, which were held in place with pins. I like the combination of semi-transparency verses the solidity of the wood. What's also appealing is the texture and colour of the ash strips. This would definitely be a material to consider using for a more permenant piece. Image and construction details taken from 'The encyclopedia of sculpting techniques' by John Plowman.

So that's it for this post - I hope to get another one on before the holidays and who knows, I might just wish ye all a merry christmas.

Time for an update on my project. This post is actually a lot later than it should have been due to unforseen circunstances. It's regarding some stuff I was trying out using natural materials, in this case twigs. Ever since seeing creations by Andy Goldsworthy I have to confess I've been itching to experiment along a similar vien. As I may have mentioned some time ago, I had found some flexible twigs in the garden, and intended to try and substitute them for the wire I had been using (3D wire mesh forms). So last weekend - 01/12 - I made some time and had a go.

In the first image you can see that I started off by making circular shapes by forming a circle and simply winding each end around it so that it gets held in place by its own tension. In the second image I pushed four twigs into the ground  and weaved some circle shapes through them into a crude cylinder. I was also able to make a sphere by interlocking some circular shapes and so without any specific design in mind I just tried randomly placing the various pieces around the cylindrical shape. No other materials were used and all seperate pieces were joined using either weaving or interlocking. I guess it's like wicker-work but I wanted to leave gaps in the forms for a mesh effect (translucency). Next time I'm going to create something tighter, more solid. All in all I have to say it's a good material with lots of potential. Not surprisingly AFTER I'd finished I remembered that there are several hazel trees at the end of the neighbours field. I know that hazel is flexible and strong so I think I'll be taking a walk down that direction soon.