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My name's Nick. I've creeped in these forums for a number of years but haven't posted anything until now. I've kind of arrived at a block of sorts with this piece. I am having a hard time deciding where to proceed now that the head itself is completed. Originally I was going to appropriate some ornate vintage brasswork to make a base; however now that its come to start working on the base I am thinking I should make something more substantial so I am looking at building a neck and part of an upper torso. The problem I've run into is that I have no idea what kind of but I should make. Part of me wants to build the neck/shoulders/collarbone area and cut it flat across the bottom (http://www.art-prints-on-demand.com/...ri_bust_hi.jpg) but another part of me wants to terminate it in a more traditional bust form (http://libraries.mit.edu/sites/exhib...st-smaller.jpg). If I go for the latter it will continue lower than traditionally and be terminated in a very geometric manner.
Oh and for reference its approx 2ft tall right now
Also any comments or criticism are greatly appreciated
sorry for the low quality of picture, it was a quick snapshot
Took a better picture
currently just a few inches shy of three feet. going to probably sit at 6-7 ft when done. still a lot of work to go into glue, resin work and shaping the lines to refine them into the piece. from here im going to start building the front of the body to dip down for part of the torso's front before building a tall pedestal into the base.
crits or suggestions so far?
I really like what you have going there aesthetically so far. The contrast of materials has an inherent appeal, the industrial metal with the wood is nice, but I really like the oddness of the red baby face with the horns. My one issue is with the upside down crucifix. I'm not a Christian, but in my own experience with attempting to use symbolism to convey complex issues of cultural criticism (whether pro or anti-religion) within a work of visual art, the end results just don't translate to the viewer. For me as a viewer the Cross doesn't really communicate anything about the rest of the piece, I assume a general tone of irreverence; which I can appreciate - but I think it's a little gratuitous use of the iconography. I think you risk alienating a good percentage of your viewership based on a miscommunication of concept. Just my opinion, I don't know what your original concept was, but I thinks if you removed the Cross the piece would be able to stand on it's own as an interesting object to look at, and I think that's all good sculpture needs to be.
Thanks for post!
about the cross; in the last year or so I have been using pseudo-religious and occult based iconography heavily in my work. It will tie into the piece more as it develops. I was on the fence about using the cross this context does tend to draw negative connotations even though it's originally used as the cros of St. Peter. I have been toying with the ideas of having completed works being ably to stand on their own as a symbol rather than strictly the physical presentation.
Here's an example of a previous work:
Made a lot of progress since the last post. nearing the completed stage; all that remains is some bondo work over the exposed foam portions to add rigidity, reattaching the tongue, several layers of laquer and then a bit of painting. The red portion of the face also needs to be stripped and repainted with something other than aerosol paint as for some reason aerosol does not want to fully set over that material and its been on for over a month. might change out the screws that attach the piece to the base to something eisier to remove for transportation.
whole thing currently stands 7'2" and weighs probably a good 60+ lbs
also debating adding multiple layers of rubbed graphite powder and then laquer on the cross to give it a really nice colour but im not sure yet.
without further adue
Made a ton of progress since the last post. the figure currently stands seven foot two inches tall and weighs around 60-80lbs. most of the work remaining consists of bondo filler to make the overall shape smoother, paint, a bit of carving and a hardcoat.