Miku S Art as Lens

Visual Art 2021 v1.1 Unit 1: Art as Lens - Experimental Folio Miku S

Reflective Statement The focus for this experimental folio was an Ultraman figurine. The toy is one of the most iconic Tokusatsu superheroes in Japan, shaping the childhood of generations from the Showa to Heisei Period.

The model was investigated through various len’s, focusing on how a culturally iconic character could be manipulated to convey unorthodox meaning. A various range of media was used to convey and develop the importance of memories as valuables, but also its drawbacks. This includes, the physical, the digital, the two-dimensional, the three-dimensional, the monotone and the colorful.

The figurine is explored through a personal context because of its deep connection to my childhood. The toy represents my connection to both the Japanese culture and to both my dad’s and my childhood (the television program premiered in 1966).

Reflective Statement (continued) My experimental artworks have been inspired by contemporary artists who explore items, feelings or ideas they consider valuable. In Michael Zavros’s ‘Falling’ series, it portray these ‘things’ that are of value to them but unlike societal conventions, these valuable ‘things’ are not portrayed to be beautiful or delicate. Value is demonstrable through various lenses.

As a child I once idolized the 40m tall goliaths who fought monsters to protect the Earth. The superheroes on my television screen lit a spark of enjoyment in my childhood.

Within my artworks, the worn-out toy, which is neither beautiful or perfect, is held as something of utmost value, because it is a representation of my childhood; a time of fondness and nostalgia.

Folio of experimental works 3

‘Children’, 2021 For the children of Japan that grew up with Ultraman; nostalgia and purity?

Oil on Canvas

Folio of experimental works 4

‘Ultra-Vogue’, 2021 Toys are clothes for little people. Capitalism.

Capitalism. Capitalism Photography, Photoshop and Lightroom A4

Folio of experimental works 1

‘悪のウルトラマン’ or ‘Evil Ultraman’, 2021 Scared of Adulthood; the fear of growing up.

Clay Sculpture 300 x 300 mm

Folio of experimental works 2

‘Hero’s Day Off’, 2021 What does Ultraman do on his day off?

Alcohol Markers on Water Colour Paper 170 x 130 mm

Supporting Evidence

Figure 1: Personal Collection of Ultraman Figurines, purchased by parents from ages 3 to 8. Character design has changed from 1966 to present day, but often characterized by the iconic red and grey colour scheme on a humanoid/alien design.

Figure 3: Japanese Children love Ultraman

Figure 2: Poster of the Original Ultraman Series.

The Ultraman brand generated US$7.4 billion in merchandising revenue from 1966 to 1987, equivalent to more than $17 billion adjusted for inflation.

Ultraman was the world's third top-selling licensed character in the 1980s

The Ultraman are a technologically advanced civilization who were originally identical to humans. They share a strong cultural sense of justice and duty, a majority of Ultramen joining the Space Garrison to maintain peace in the universe, including Earth, from alien invaders and monsters.

Supporting Evidence

Figure 4: Preliminary sketch using graphite pencil to understand shape and structure of the object. Focused on making the figure look larger by drawing from a lower perspective.

Figure 5: Experimentation on the colours of the object. Shape was constructed in an abstract manner through both digital art and acrylic paint on canvas.

Figure 6: ‘Falling’ series by Michael Zavros, has horses as his focal point. Horse is an animal he has grown up with his whole life, hence has value to him.

Zavros contextualises this object within his other values of freedom, as he says in an interview, ’For me, success is far more about freedom than the trappings of glamour’ (Baker. C, 2016). Horses symbolise freedom for him, but also juxtaposes this object in the movement of free fall, with little to no freedom at all. This motion further suggests the depression and anxiety he faces when thinking about the ‘terrible worst-case scenarios’. Freedom is valuable to him, but not expressed as beautiful.

Supporting Evidence

Figure 11: Experimentation of coloured pencils on crumpled cartridge paper. Intended to mimic a style I used throughout my childhood where complicated shapes were simplified, with a lack of understanding on perspective and composition.

Figure 8: Sketch for experimental work 2.

Conceptual sketch, juxtaposing this larger than life superhero into an everyday life situation.

Figure 7: Experimentational portrait of the figurine. Inspired by sketches of European busts.

Improves understanding of the finer details.

Figure 10: Image of the clay sculpture before casting. The ugly, creepier and evil interpretation of Ultraman, taking inspiration from Spiderman Villain, Venom, is a reflection on the fear of growing up. Humans look back at the simpler stages of Childhood, and begin to fear the complex and difficult hurdles of adulthood.

Figure 12: Experimentation on colour within the abstract. Acrylic on cardboard. Focused on expression using simple strokes, putting emphasis on the Japanese characters.

Figure 18: Whilst all these memories are attached to our childhoods, it is important to remember the origins of the item. Ultraman at its core was a character to merchandise and make money for, and to contrast against my other artworks, I have positioned the item in the setting of capitalist advertisement, similar to ones seen in a fashion magazine like Vogue. This idea is further emphasised by the small price tag on the poster.

Supporting Evidence

Figure 17: The oil painting ‘Children’ was also inspired by a Japanese film I grew up watching, Ponyo. The themes of growing up and independence fit well within the reflection back on my childhood. The portrait has more of a round shape compared to Nara’s work and was the design change inspired by the film.

Figure 13: Digital art experimentation, parody of an iconic chocolate brand logo in Japan. Both Ultraman and Milky were created in the same era. Cartoon persona of myself is wearing a chain of Ultraman, due to jewellery symbolising an object of value.

Figure 14: Festival masks in Japan, feature children's favourite superheroes.

Children often play around at parks, role playing as there favourite character.

Figure 16: Yoshitomo Nara was inspiration for the oil painting I created.

He celebrates the wonders and mystery of youth, illustrating portraits of his daughters. The childish nature is something I wanted to replicate in my painting. Furthermore, he is a Japanese artist which helped fit the cultural context of my folio.

Bibliography

Baker, C. (2016, October 7). Artist Michael Zavros and the power of the worst-case scenario. Retrieved from The Sydney Morning Herald: https://www.smh.com.au/lifestyle/artist-michael-zavros-and-the-power-of-theworstcase-scenario-20160913-grfgje.html