Author: Anna Finlayson

Placing objects in pockets.

For this I glued earbuds and a phone to the inside of the pockets so they can come out of the dried plaster easily. Once the plaster was dry I did need to do hack away a little bit to get the earbuds out but overall I think it looked pretty cool.

Outcomes:

My lovely friend being amazing

For this I wanted to extend the pocket idea further by having someone IN the pants whilst filling it with plaster. This meant the plaster was shaped by her body as well as the shape of the pocket.

It’s somewhat more revealing as it casts the contents of the pockets are well as the imprint of the body. For this one I left a hair tie in the pocket and attempted to remove it once it had hardened but I actually liked how it looked. And the action of me removing it made it feel as though I was digging up a fossil or something. But by leaving it in there it is physically bringing the contents out of the pocket. It visually invites the viewer to look more closely to uncover what the object is. By trapping it in the plaster it seems harsher, not only am I prying but also stealing. I am taking it with me rather than just noticing it is there.

Seated:

Outcomes:

These came out cool as well, obviously thinner and smaller due to there not being as much room in the pockets when she was sitting. But it adds interest when looking at the moulds all together. It shows how a pocket operates when in tandem with the body. I want to try and push this further by pouring the plaster and then continually moving until it dries.

Jacket:

Until I opened the zippers I had no idea this one had fake pockets. But I thought I’d use it anyway as it adds a bit of humour to the series. I’m exploring pockets, but also ‘not’ pockets. The idea that I’m playing with of exposing a private space, actually still works with this piece as I’m exposing the fact that the pockets that are made to look real are actually fake. This is vulnerable but in a different way than the other pockets casts.

I really like how these turned out. They remind me of a fossil and even the one that cracked turned out really interesting. The texture of the zip came out really nicely. The remains of the fabric stuck onto the plaster very much connects the sculpture to the clothing item, even when they are not photographed together. It acts as an identifier, which is an interesting idea.

I did a few more casts of pockets just to get more variation:

This one I left the earbuds in the pocket without glue or anything in a more natural position. This meant that when it was dry it was pretty impossible to remove so it didn’t leave an imprint as such but hinted to the object in a more obvious way, with a bit of the wire sticking out. Again, like the hair tie piece, it is like stealing from the pocket and the wearer.

Ideas going forward

Pouring plaster in and going about activities

Putting plaster mould BACK into pockets and wearing them

Marc Quinn

I have definitely come across Quinn’s work before, in particular his blood face, but that’s not what I’m looking at today. There is a few works of his that really interest me, one being his works using the mould of his body.

He has done multiple works like this all which have a really eerie feel. The sense of absence is clear. Spooky and empty and flat and limp. There’s not much connection to what I am doing but still good to look at and see how I could treat the casts I had (the clothing pockets).

Another series of his that is really cool is his Eternal Spring works where he manages to preserve flowers in their fresh state. Very interesting ideas of preservation and whether the flower is even a flower anymore. The life and death of a flower is what makes it a flower so by removing that you are removing its identity.

“So then I made the Eternal Spring sculptures, bunches of flowers that have traded their biological life for visual immortality. To me, they raise interesting questions of when an object becomes an image of itself, dematerialises to the point that whether or not it really is dead or alive is literally immaterial.”

– Marc Quinn, Recent Sculptures catalogue, Groninger Museum, 2006

My plaster pockets act in a similar way. It preserves something fleeting- the contents of a pocket in never constant. And it also discards the pocket of its identity. Just some interesting ideas to throw around in relation to my work.

References:

“No Visible Means of Escape II.” Accessed October 20, 2022. http://marcquinn.com/artworks/single/no-visible-means-of-escape-ii.

“Triaxial Planck Density.” Accessed October 20, 2022. http://marcquinn.com/artworks/single/triaxial-planck-density.

“Biography.” Accessed October 20, 2022. http://marcquinn.com/read/biography.

“Eternal Spring (Sunflower) I.” Accessed October 20, 2022. http://marcquinn.com/artworks/single/eternal-spring-sunflower-i.

Barrao

Barrao is a sculpture and multi media artist who uses found objects. Mostly they are second hand ceramics or kitschy ornaments. After collected heaps, he sorts and organises them. Then he groups them into sculptural forms, fusing them to create a singular abstract object. His works are funky and light hearted.

Although not that relevant to my work, there are still bits that inspire me and that I will take into my own work. For example, the way he collects objects and arranges them is very interesting. I’ve used various objects in my ‘pocket’ work so I could play with grouping them together or something. Maybe I could empty my pockets each day and create a series of photographs with everything or even display the objects in some kind of display case- very much making the private public.

Some of his plain white works inspire me especially because of my plaster pockets all being white- maybe I could attach them together somehow?

References:

“Curiosidade, 2021 by Barrão,” October 19, 2022. https://ocula.com/art-galleries/fortes-daloia-gabriel/artworks/barrao/curiosidade/.

“Barrão – 7 Artworks, Bio & Shows on Artsy.” Accessed October 20, 2022. https://www.artsy.net/artist/barrao.

After reaching a bit of a dead end I need to get some more inspiration. Although most of these artists don’t relate directly to my work they will hopefully give me some ideas.

Angela De La Cruz

Angela De La Cruz is a spanish artist that plays in the middle ground between painting and sculpture. She likes to play with movement in her sculptures. With the idea that a painting is never finished, she uses materials to embrace the movement of ‘making’, that can never truly leave a work. It creates tension, that when combined with the deconstructed themes she incorporates, produces an emotional yet lighthearted response. This tension also comes from the visual instability of her work. The ‘damage’ done to these objects create uncertainty, as if it could fall at any moment and the viewer cannot predict how this will go. As we are looking at verbs which often incorporate movement, Angela’s work is very relevant. She creates movement through crumpling, folding, and slashing the material.

Another interesting factor of her work is the anthropomorphic quality and relationship to body. Angela herself being in a wheelchair has given her a unique perspective of the fragility of the body and she uses the damaged material to invoke this idea.

When thinking about the Rorschach tests, I’m wondering how to incorporate a human element to it as it is based off the human psyche. However I do like the clinical nature of them as well and how perfect symmetry creates this clinical feel. So I might just have a play around with both of them.

She does also incorporate found objects into her work, often damaging or distorting them to rid them of their use.

References:

“Angela De La Cruz at Galerie Krinzinger,” October 20, 2022. https://ocula.com/art-galleries/galerie-krinzinger/artists/angela-de-la-cruz/.

“Angela de La Cruz’s Artworks | Lisson Gallery.” Accessed October 20, 2022. https://www.lissongallery.com/artists/angela-de-la-cruz/artworks.

“How Sculptor Angela de La Cruz Uses Twisted Metal to Explore the Vulnerability of the Body at Lisson Gallery | Artnet News.” Accessed October 20, 2022. https://news.artnet.com/art-world/lisson-gallery-angela-de-la-cruz-1313720.

“Head I (Turquoise) by Angela De La Cruz at Galerie Krinzinger.” Accessed October 20, 2022. https://ocula.com/art-galleries/galerie-krinzinger/artworks/angela-de-la-cruz/head-i-turquoise-(1)/.

“Angela de La Cruz: Larger Than Life (Knackered) at Galerie Thomas Schulte.” Accessed October 20, 2022. https://www.galleriesnow.net/shows/angela-de-la-cruz-larger-than-life-knackered/.

This time I brought my pocket work into the wet lab. I gathered heaps of clothing for cheap at an opshop that just needed to have pockets. At first I only wanted pants but then I ran out so went for jackets as well.

Continuing with the idea that I am displaying a private thing to the public, I came up with the verb “to pry”. I am prying into someones private life as well as physically prying the plaster out of the pocket.

I left the wet plaster overnight and unwrapped it the next day.

This was really gross but also kind of cool- I found a tissue at the bottom of the plaster that I didn’t realise was there. Obviously not mine as I got it straight from an opshop so that just makes it 10 times worse. Buttt at the same time the pocket cast really tells a story. Of both the clothing piece and the ex-owners life, where they’ve been. I’ve pried too deep into someones life. Their old used tissue that they thought no one would ever see has ended up displayed in plaster. Dunno just quite interesting. I only touched it for like a millisecond before I realised what it was then washed my hands thoroughly.

Harriet showed me a work by Roman Mitch which displays a folded piece of paper he kept it his pocket for many years. It plays with similar ideas- something that has travelled with someone in a somewhat intimate place is being removed from it’s home and put on display.

Roman Mitch, Pocket Painting, 2020

Knowing that the acrylic rorscarch slotted sculpture worked at created some interesting shadows, I decided to do a clay version.

Looking at the clay object in full light it does not look like a Rorschach pattern- more of just a brown blob thing with bits sticking out. However when angled correctly and with a spotlight on it, you can see the clear foreboding Rorschach patterns as the shadows on the wall behind. For installation I am thinking this would be effective to have 2 spotlights shining on either side, projecting the 2 shadows. It would be cool if the lights went on and off alternatively.

As you can see, the shadows are pretty creepy looking which connects the history of the Rorschach testing. Behind every answer was the looming analysis as to whether the patient was ‘insane’. I want to play with this with the lighting by trying to make the shadow even bigger and more dominating like it is properly looming on the viewer and enclosing them into the space.

I was inspired by the genre of shadow art and how the object itself can look very different from the 2D image reflected as the shadow.

I mentioned Rorschach tests in previous posts so I won’t go on too much about the meaning. This experiment was me trying to find a way to represent the differences in visual perspective that people have when taking these tests. This is made from 2 pieces of foam board that slot together to form a shape that changes depending on where you are looking from. I was also looking it this work to incorporate lighting- having 2 spotlights shining up at each side of the object casting shadows onto the wall. I think this will emphasise the general creepiness of these tests (1920 psychology yikes) that are masked behind the visual pretty pattern.

After this I had the idea of making a bigger version from coloured translucent acrylic perspex. But then I saw how expensive it is so I went for a smaller scale.

I managed to figure out how to make a symmetrical drawing on illustrator of 2 Rorschach patterns. Then I went to the 3D lab to figure out how to get it later cut to ensure it was symmetrical. I found some scrap acrylic that I could use which was perfect. I really like how this came out and the translucentness adds a really nice quality and will be interesting to see how it acts with the spotlights.

I may also do another one where I make the shapes very similar but have one look more like a dragon or something so there is a subtle change which is more akin to the test patients differing perspective.

For this work initially I was thinking about so called ‘negative space’ and how that space is there for a purpose- going without it makes you realise this. For example when you are sitting on a chair and you can’t tuck your legs under it is really annoying. And pockets are much the same. I was looking at artist Rachel Whiteread who fills spaces with concrete to create the cast of an object.

The first experiment was just an empty pocket from pants I got from an opshop. I then cut the pocket out once it was hard to reveal the sculpture. I love the texture that you can see and all the details of the fabric.

The second one I did was the same process but placing objects into the pocket before pouring the plaster in. I think I could have executed this better by glueing the objects down first to the edges but unfortunately by super glue tube split so I couldn’t use it. This meant I had to carve into the plaster after to get the objects out. The coin was effective by the lip balm didn’t stay in place so I had to dig quite deep leaving a less recognisable imprint.

After reflecting on this piece I thought about the idea of how the cast of the pockets show something that is normally private into the public eye and even on display. I will play with this idea more for future casts of pockets. I was also looking at tying in a feminism idea of how women pockets are typically smaller than mens pockets but not sure as this may be a bit cheesy or cliche. I was talking to Harriet at the wet lab and I am thinking of getting a ton of pants with pockets and filling them with plaster to create a little lineup showing the different sizes and textures. And then putting objects into them to create the imprint as a way of making the private, public.

I also did another experiment with imprinting objects where I put plaster into a plastic bag and putting it over an object. This was a bit of a fail as the texture of the plastic took away from any detail from the object.

Looking for inspiration for the ‘of symmetry’ verb and Rorschach tests I can across multiple artists who interpreted these ideas.

Andy Warhol

Andy Warhol did this painting by folding the canvas in half. When looking at the painting out of context it looks fairly unremarkable. But when seen in a gallery you can get a better idea of the scale. The reason why it is so impactful is because of the large scale. As I would like to explore if I had longer, I too think that the Rorschach pattern used on a large scale is most effective. Warhol continued to make more of these paintings creating a 38-piece collection. 

In 2013 wallpaper company Flavor Paper created a wallpaper inspired by Warhol’s paintings. Inserting the Rorschach pattern into a traditional damask wallpaper. I think this is a really cool idea and both the damask wallpaper and Rorschach pattern interest me a lot. It does get me thinking about how I could use this icon in other home settings. 

© 2022 Andy Warhol Foundation for the Visual
Arts / Artists Rights Society (ARS), New York

https://www.moma.org/collection/works/79749

Nick Ervinck

Ervink is a 41-year-old Belgium sculptor who combines traditional ideas and craftsmanship with modern technology and pop culture. Using a 3D printer he has created this sculpture that mimics the natural action of water and its erosion of rocks. This piece is completely symmetrical and is reminiscent of a Rorschach print. The natural yet extra-terrestrial forms he uses remind me heavily of fashion designer Iris Van Herpen. Both use 3D printing, and it would be a great medium to work with but I know that kind of stuff takes ages for me to understand. The Rorschach pattern already takes on this feel so it is interesting how he has pushed it even further.

https://en.trippen.com/blog/2020/01/29/iris-van-herpen-and-trippen-sensory-common-grounds

https://nickervinck.com/src/Frontend/Files/Portfolio/files/1483624887.pdf

https://nickervinck.com/en/work/advanced-search/detail-2/myrstaw

Susan Chrysler White

Susan Chrysler White is another artist that takes on this natural yet sci-fi take on the Rorschach test. She also uses 3D printing to create her works which of course made sense to get exact replicas of each piece she uses. But I wonder if I could play with this idea- perhaps making it purposefully asymmetrical and handmade looking seeing as 3D printing isn’t realistic for me to do. Or even creating what looks perfect and machine cut but is actually done by hand. I feel like that would create a nice narrative. 

White creates beautiful sculptures which take the elements of a Rorschach test, colour, symmetry, and shape, and combines it with repetition. 

http://www.susanchryslerwhite.net/#/3d-work-2017/

Giovanni De Benedetto

Giovanni De Benedetto also has a take on the Rorschach pattern in his art. Taking photographs of his original paintings her creates highly detailed closeup images of the paint which draw the viewer in. They are both magnetic yet repulsive, they almost disturb the viewer. This ties into the act of the Rorschach test- a way to test and challenge your perspective. You can see how the paint acts as a material in a way you typically would not. Similarly to Warhol, he wants to display his work on a large scale- I agree with them on this, it makes the pattern even more impactful and really dominates the viewer’s mind and vision. 

https://www.altiba9.com/artist-interviews/giovanni-de-benedetto-painting-photography

https://artelaguna.world/photograph/premature-88/

Moving away from the use of Rorschach in art, I am also looking at shadow art as a genre. 

Using light and shadow as your main mediums is a popular sculptural device. I find it could be interesting to use in this brief due to the nature of perception and deception related to Rorschach tests. Shadow operates in a well that can show the ‘unhappy’ side of the beautiful Rorschach patterns history whilst the object casting the shadow can be visually removed from this negativity.