Camilla Process Portfolio

Brainstorming: Confronting human addiction

Addiction

Our demons make us enticed to Sources:https://www.medicalnewstoday.com/articles/323465#addict Continuation of be engulfed into our addictions ion-vs-misusehttps://satimedusa.com/blogs/research/cbd-and-the-pr evention-of-drug-and-alcohol-relapse-initial-studies-show-promise alcoholism into a broader range of Addiction is lodged Death always loom over addictions such as into our minds and us when we are taking junk food, alcohol, escaping the risks for our addictions. technology, etc. demons

Considering more specific addictions as well?

‘A stoic drunk’, a previous sculpture I made that symbolizes alcoholism Specifying what the

Addiction to toys reflecting innocence

addiction is can narrow down for better focus

Silhouette indicates anonymity; Anyone can be addicted no matter what the subject could be. It spreads like an infection.

Being more specific: theme of addiction to nicotine/Tobacco due to it being the most common form of addiction

From the most innocent addiction to the more dangerous addiction.

Addiction to drugs/smoking reflecting growth of prolonged addiction

Specificity would be too much→ a broader range would be consolidated in one space: a skull that represents humanity

“CONGRATUL ATIONS 2011 WINNERS.” Submissions 2011, arttopplingtobac co.com.au/submi ssions_2011.

“Heavy Addiction - Nic Joly | Smokin' Ads | Pinterest | Small Art, Scale Art and Art.” Pinterest,www.pinterest.com/pin/123497214752 256153/?lp=true.

Exploring skull motif to develop ideas for a sculpture Interpreting objects into skull to show pure fixation to addictive objects

Otto Dix Skull by Otto Dix, 1924, Etching, aquatint and drypoints. 25 x 19 cm

Contemplating between stylization or realism.

Exaggerating skull for the purpose of In depth sketch of symbolism or to implement more objects skull sculpture Thus, studying the shape and Objects relating to addiction form of the skull poking out from inside the is preeminent skull through drilling holes Looking at both the ‘day of the Sketching ideas for implementing objects with skulls either with or without inclusion of dead’ skull and the more extra parts realistic skull sketch and determining that the more realistic skull would resonate The Face of War Salvador Dali, 1940 Oil on Canvas 64 x 79 cm better on the audience Attaching Objects could Idea of Referencing off of color objects be plastered addiction scheme to make to tone around onto the skull coming within the skull for skull to or directly through natural tones and reinforce inserted via decisions lighting idea of holes made by through “Grayscale Color Scheme”, Color Scheme.com addiction drills mind

Development of addicted skull Final sketch for sculpture: Displayed like an exhibit to show what an addicted human skull would be like

Head of a Fallen Giant” By Grayson Perry, 2008 Bronze. 40 x 50 x 35 cm

I had trouble knowing Skull made from a substance where to put objects equivalent to heavy duty (couldn’t place them where plastic originally) Inspiration from technique used

by Grayson Perry to insert objects into skull Learning how Perry integrated the objects, I decided to drill the objects in Looking at how objects could potentially balance out the proportions within the skull

“The Spirit of Our AgeMechanical Head” By Raoul Hausmann, 1920 Wooden Mannequin with various objects. 32. 5 x 21 x 20 cm

Adding proverbs/word to describe addiction Displayed like an exhibit Painted black for objects to stand out

Inclusion of a syringe, coins, stamps of words relating to addiction (ie. greed, attachment) Cigarettes, Broken bottles, Phone, Broken as the main Due to the matte nature of the objects to symbolize acrylic, there needs to be some humanity’s greatest sheen for the stamps to be prominent/legible addictions.

A quick sketch of fully fleshed podium including glass. Another idea could be a wooden podium as a base to further emphasize its exhibition.

(Substitute: Frame made from heavy wires)

Testing with potential objects through sketches

Experimented with stamps on the same acrylic used on the skull

Hausmann’s Mechanical Head is inarguably the most notable works in the Dada movement. It was crafted post WWI and was a commentary about how the interwar period was an “emotionless” time in Europe. Industrialization had turned most of Europe into calculated machines.Hausmann commented on this by saying “they have no more capabilities than those which chanced has glued on the outside of his skull; his brain remains empty”

ABCD, 1920, gelatin on silver print, 15 x 10 cm

was an Austrian Artist, who is known for being a co-founder of Dadaism. Raoul began studying art in 1098 and developed a technique known as photomontage, the process of collaging images by using contrasting fragments of photos found in other forms of media Like many other Dada artists, Hausmann mocked “superficial art as well as art critics. Hausmann also invented other anti- art forms like “otophonetics” and “poster” forms, which were made up my random letters that were merged together Dada Siegl, 1920, collage, watercolor on paper. 34 x 28 cm

The tailor’s dummy head and the objects Mechanical Head, 1920, wooden attached to it mannequin head with various objects. 33 x shows a hint of 21 x 20 cm humanity as the

Der Kunstreporter, 1920, collage. 32 x 25 cm

Founded in Zurich, Switzerland in 1916, it was an artistic and literary movement that poked fun of art art critics as well as nationalistic attitudes due to it starting after Post World War I, It was the first movement to not be ‘aesthetically pleasing to spectators and needed to show elegance like most forms of art at the time. Dada pieces are known for incorporating everyday essentials into their work and tweaking those objects to present a message.

Fountain by Marcel Duchamp, 1964 LHOOQ by Marcel Duchamp, 1964 (1919), Colored reproduction, heightened with pencil and gouache. 34 x 27 cm

(1919), 36 x 48 x 61 cm

Sources

objects that were chosen have an earthy tone and show the attachment that people have with the objects.

Its stoic Expression also increases the inhuman factor of the entire piece as that the heart is engraved in the tin cup dictates that the human soul is trapped in it. I believe that Hausmann picked the appropriate theme to represent what Dada stood fore and he accomplished that by using a simple head and attaching objects that were meaningful to Hausmann and the message that he is trying to convey. The head is compact and shows how limited the mind is and how petty objects can infatuate the most intelligent of minds. I also believe that is servas as a warning that we musn’t give up on creativity that what it stands for.

Developing ideas for a painting: Skull motif- Combining fur and bones Combining themes of environmentalism/poaching with skull motif in for a better impact for symbolism

Sources:https://www.pixoto.com/images-photography/animals/birds/blue -jay-flying-6255166524489728https://www.dkfindout.com/us/animals-an d-nature/amphibians/how-frog-jumps/https://meowlogy.com/2017/11/20 /21-wolf-unning-photo-gallery/http://digimorph.org/specimens/Eublepha ris_macularius/

Experimenting in Mammals: Some parts of the skull could be exposed as an undead factor

Practicing with dynamic poses with different

Animal studies made

by Da Vinci Da Vinci allows fur to complement bone through through a balance of both

Sketch studies on reptiles→ complex skulls

Frogs types of animals for eventual painting jumping: potential energy Splayed through feathers with poses flapping wings

How the frog pushes back and lifts itself Into the air

Stretched out hind legs for emphasis on movement Observing how movement coincides with posing

Solidifying skull/flesh painting: endangered species “Zombie” motif without rotting skin & bones→ animals out for revenge Watercolor used to test out tone to Understand value within an animal’s skeleton and pelt

Motif of endangered species to emphasize

Utilization of acrylic as a potential choice as canvas as I had chosen to do the painting with a tiger skeleton and pelt Acrylic practice with potential colors for painting

Mocking fur coats/rugs

Removed tusks symbolises why elephants are killed for emphasis on environmental aspects

Damien Hirst: Inspiration for mix of bone and flesh/fur

Consolidating tiger idea: Tigers are skinned for their pelt, so there is a greater impact/acknowledgment of the symbolism means

Gray choice of greyscale → More depictions of tone and Lights It would evoke more emotion through the message of poaching animals

Sources:http://www.newindianexpress.co m/states/odisha/2018/may/16/odishas-satk osia-reserve-readies-ground-for-tiger-re-in troduction-1815218.html https://www.gastondesign.com/product/su matran-tiger-skull/,https://www.pinterest.f r/pin/505740233145121970/?autologin=tr ue,http://archive.seashepherd.org/news-an d-commentary/news/sea-shepherd-crew-di scover-dead-vaquita-totoaba-and-great-wh ite-shark-in-refuge.html https://www.pinterest.fr/pin/50574023 3145121970/?autologin=true,

“Anatomy of an Angel by Damien Hirst, 2008, 1870 x 980 x 785, Carrara marble

Sculpture/Statues: Elements of Nature & Natural disasters

Porcelain technique: Glazed, porcelain seal sculpture

Penguin painting: penguin encountering a plastic bag and contemplating on eating it

Statue that implements elements such as a wooden sculpture and The combination of elements functioning fountain made by nature allows for a unified symbol of nature Polar turning against each other bear on iceberg

Small sculpture of monkey with resin flower

All photos were taken by me

Pollution of water: Fish (painted with acrylic) vomiting toxic waste (resin or mudroc) to indicate the cause and effect of pollution

Natural disasters with animals that are affected by certain extreme weather phenomenons Sculpture at the Jardin Majorelle with a elements like water and sculpture

Skull secreting blood along with paper mache with resin painted & acrylic

Constructing A Sculpture Made of Trash 12 cm

Using the silhouette for as reference for the shape of the seal Materials that were tested

15/14 cm

Recycled materials of rubbish bits that will be smashed up to form wave. Wave will be made of recycled material or made resin recycled material

Pained expression to show the struggle against pollution as the seal pushes back the wave

The outlines indicate resin while the trash is inside.

Fernandez Arman’s ‘bluebeard’s wife’ shows an idea of what the sculpture could be

Advantages with resin clear focus on garbage instead of only using garbage Inspiration from both sculpture’s forms. Either using resin, found objects or both

Expression won’t be as exaggerated

Sources: ‘Skyscraper- (the Bruges Whale)’ by STUDIOKCA. 11.6 meters. 2018 https://www.thisiscolossal.com/2018/06/whale-made-of-plastic-waste/ , ‘Bluebeard’s Wife’ by Fernandez Arman. Polyester resin and shaving brushes, 835 x 290 x 320 mm. 1969 https://www.tate.org.uk/art/artworks/arman-bluebeards-wife-t03380

Working on Posing for Seal/Wave sculpture

Maquette demonstrates the form of the wave and the seal Both figures need to counterbalance each other so that they won't fall over Used a difficult/improbable technique, proved to not be stable enough and tried for an alternative technique

Seal and wave must have a certain curve to show the struggle nature has with pollution With pollution, which is symbolised with a wave filled with trash

Coiling technique to hold rubbish together

Using more shinier materials to give sculpture more prominence

Constructing double coil technique: Helps with stability of the sculpture when the recycled material is inserted

1st attempt did not succeed as structure was too weak

Inspiration: Wave sculpture helps define the idea of the form of a wave

Water in Dripping - Chao, 2016, stainless steel, 90.5 x 198.1 x 223.5 cmhttp://www.sundaramtagore.com/artists/zheng-lu/featured-works?view= slider#1

Lin Evola (born 1950) and is an American artist who is based in Chicago, Illinois. Evola is most known for her sculptures made from decommissioned weapons.

Her sculptures maintain a message through the sinister innocence. When it comes to my own sculpture, Evola’s own sculptures are similar to mine from the symbolisms and similar use of materials that were used.

Displaying grief through metal: Lin Evola’s use of symbolism

The Renaissance Peace Angel is a 356 cm long sculpture that represents the attack of September eleventh. Evola’s chosen material is melted decommissioned guns and nuclear weapons. This emphasizes her symbolism of defiance and how society has to overcome the issue of gun violence. Evola choose to name it Renaissance can also be translated as a form of change as the renaissance period brought change of “800,000 weapons are destroyed every year. 8 million are perspective for the world of art. The form of the produced. That begs the notion that perhaps it’s time we shift the sculpture itself is a balanced blend of rigid and smooth way we think in our world.” as there is a sharp contrast between the angel and its Lin Evola wings. During the process of sculpting with the melted Jerusalem Peace Angel, melted shards of Untitled ink peace signs on a steel shards. She also works with an architect when she was weapons, circa late 20th century canvas, circa early 21st century creating the angels so she could check that the proportions are balanced. This shows how dedicated she is to emphasize her symbolism within the angel.

The technique that she uses to sculpt the angel are reminiscent of renaissance techniques. Every fold and wrinkle are meticulously placed to emphasis on the idea of resistance through peace. The expression on the angels face is one that looks strong, it’s furrowed brows making it determined yet sorrowful. The angel also holds an olive branch, a religious symbol for peace. The strong emotion that evokes through the angel’s posture as its hand is sticking out to help guide or console those Picture demonstrates the process of Evola’s who were affected by violence. The angel’s wings also process Peace Angel Project Peace Sign One of her most notable works is ‘Renaissance resemble nuclear bomb clouds as their rough texture sculpture, ICBM Nuclear and high Peace Angels’, which was initially added to the and size almost as engulfing the angel in a thick cloud, grade stainless, 7 x 15 x 15 cm exhibit at the National September 11 Memorial & but can also be seen as clouds, which could highlight Los Angeles Peace Angel, melted shards of 2014. weapons, circa late 20th century Museum. Evola-Smidt has been sculpting Peace show the celestial nature of the angel.

Angels along with founding the ‘Peace Angels Evola touches upon this recurring symbol of peace throughout her many other peace angels as well with some semi-2D Project’ all around the USA and the world to Renaissance Peace Angel, pieces such as the peace sign painting, which Evola painted on a canvas of flattened canvas of melted weapon shards as well commemorate tragic events and promote peace melted shards of weapons, 365as creating a sculpture made from . Evola’s Peace Angel project allows her to create different types of Angels that range from cm (tall), circa early 21st awards to decor for the UN Assembly. Though, these angels are nothing compared to what Evola did for the Renaissance through her angelic sculptures. Evola continues Peace Angel with it being the most ambitious angel that Evola did. The name Renaissance generalizes the idea of a change for century her campaign to this very day and passionately Peace, while specifying the angel to a city or country contributes the idea of peaceful change and a certain situation (ie. gun offers other artists to join her cause as well. violence, war).

Displaying grief through metal: Lin Evola’s use of symbolism Evola and I also come from a country where huge global problems like gun violence and global warming are discussed. This is why we made our sculptures to symbolize the a future of peace and act symbol. ● Both sculptures emphasize on spreading awareness of problems that need to be resolved ● Utilization of materials that have a negative connotation, transforming them into the antithesis of what they were, to begin with ● Using malleable metal in the form of wire to solidify the sculpture’s form ● Similarities in techniques for the process (ie. sketching, proportions) Evola has influenced me to continue spreading my message and motivates me to explore different techniques to create a piece that further illustrates the importance of symbolism. For the future, I intend to continue further into my symbol of environmental issues as I try more techniques with other materials that harm the environment and create more artwork with materials to transform them into symbols that contradict their purpose.

Photos of my own process‘New York Peace Angel Concept’, Graphite, circa 21st century.

Decommissioned guns used for most of the Peace Angel products

Structure and form demonstrated through the soldered wire along with a concept sketch before sculpting

‘Lin Evola’, Wikipedia.com, Wikipedia, https://en.m.wikipedia.org/wiki/Lin_Evola, featherproject, ‘Lin Evola-Smidt, Turning Weapons Into Angels of Peace’, YouTube.com. Feb. 20, 2012. https://youtu.be/bPfcclu7eGQ,

resforfrouzer, ‘Recycling Artist Spotlight: Lin Evola-Smidt and the Peace Angels’, Recycle Nation.com, ERI, April 14, 2015, https://recyclenation.com/2015/04/recycling-artist-spotlight-lin-evola-smidt-and-peace-angels/, Leclair, Bretanie, ‘Artists Transforms Weapons Into Inspiring Weapons Icons of Hope’, Spotlight.com, Shareably Media, LLC, March 22, 2019. Web https://spotlightstories.co/lin-evola-smidt-peace-angels/, TEDx Talks, ‘Transforming Nuclear Weapon and Handguns into Angels of Peace’, Youtube.com,Feb 13, 2017. https://www.youtube.com/watch?time_continue=104&v=nY68WE3qCEc Wiener, Mark & DiGusta Linda, ‘Surrender -Artist Lin Evola’s Flight of Angels’, Huffpost.com, Huffpost News, Dec, 6 2017, https://www.huffpost.com/entry/surrender-artist-lin-evola Evola, Lin, ‘All Eyes on Los Angeles’, Huffpost.com, Huffpost News, Dec, 6, 2017 https://www.huffpost.com/entry/all-eyes-on-los-angeles_b_5935892?utm_hp_ref=tw

Oil Spills: More Connection to environmental issues and exploring ideas for mixed-media painting

Looking more at how birds react to oil on them

Leading cause of death for marine birds are oil spills

Studying a bird’s wing soaked in oil: Using white to show where wing is effected the most

Picture where wing is referenced

Pushing Expression to capture distress

Sunken eyes + constricted pupils that the birds

Panel from “Sochi’s Beloved Pet” by Junji Ito Getting more comfortable with pushing expression through shape of the eyes

Pushing consistency of oil

Tests with ink & texture Sources: https://www.mnn.com/earth-matters/wilderness-resources/stories/4-years-after-gulf-oil-spill-wildlife-still-dying

Inspired by Junji Ito’s ink work and grotesque

First composition sketches: more dynamic/dis plays emotion

Working on texture and proportion for seagull painting

Color Experimenting for painting: getting the right pigment to reflect the oil on the seagull

The composition will not necessarily have true to life anatomy yet won’t have expressions that are too exaggerated Some Anatomical practice to push values.

The seagull will have realistic yet gorey expression

Experimenting with acrylic on a feather to see if it would possible to implement onto the canvas

Menacing/suffering look through the expression yet realistic expression

Dripping effects show the how seagull is completely drenched Length of the wing will definitely be the second more prominent figure within the painting as oil will sloppy drip due to form and texture made by the collaboration of line and paint

Experimentation with wax and acrylic that will be on the canvas. The wax isn’t as fluid than it was thought of initially. The wax wouldn’t be implemented everywhere but more towards the bottom to show weight

Modroc on canvas: sympathy for an injured species

Injured Giant Ibis

Looking more at birds that are directly injured by human If textured, it would be more hands realistic and have an instead of emotional factor if modroc is indirectly touched. Could be with other animals.

Continuing with marine birds and oil spills by making the oil 3D through the addition of mudroc Exploring more ideas to do with birds instead of marine birds Eyes are widened--> expressing shock Practicing more with oil dripping on pelican wings

Spear pops out through paper mache which can be touched to stimulate emotion for the injured animal Sources: https://www.vectorstock.com/royalty-free-vector/spear-vector-6280499https://www.sandiegouniontribune.com/sdut-birds-frozen-in-oil-image-of-a-desperate-s ummer-2010jun05-story.html,https://www.tripadvisor.com/LocationPhotoDirectLink-g297390-d12272435-i288382258-Cambodia_Bird_Guide_Association-Siem_ Reap_Siem_Reap_Province.html

Spearhead soaked in blood as an emphasis on blood motif as well

Open mouth indicates a cry for help instead of a closed, silent mouth Attempting to raise wings through heavy oil to indicate weight

Spear pierces through heart area as it symbolizes the heartlessness of killing it

Developing ideas for a Chinese ink inspired piece Idea stemming off of the extinction of the sumatran Focusing rhinos practicing ink on animals

First composition idea:

Pangolin

Untitled Chinese ink drawings from Ming Dynasty Painted board or frame either in red, black or a combination

Intensity with ink lines and with chinese ink (red & black) Calligraphy Technique

Testing with wash

Getting used to the ink and controlling the wash so that the lines are prominent in some places such as the noose and lighter lines to indicate fur and texture.

Sources:https://commons.wikimedia.org/wiki/File:Fan_Kua Sources:https://commons.wikimedia.org/wiki/File:Fan n-Sitting_Alone_by_a_Stream.jpg _Kuan-Sitting_Alone_by_a_Stream.jpg

Amur Leopard Sea Turtle

Rhino without horn and decaying deer

Intensity with Blood: More focus on practicing with ink for ink painting Idea of having products made by the chosen animals instead of the animals themselves Backside shown for anonymity of the animals and to let the blood have more prominence

Practicing blood drops with animals

Openings where animals bleed from to have a better grasp at drawing and painting blood drops/ splatter Bloodtrail connecting each animal

Tests/practice with different inks as well as Rough sketch of final them for different combining composition 50 cm effects Adding a frame to help with the stability of the paper 151 cm

Addition wash on india ink to test solubility

Sources:https://www.flickr.com/photos/43322624@N05/3996116640

Practicing with chinese ink in both red and black to get a sense of weight through using the ink with and without water

Practicing with angered/shocked expression when shot

Hunting Tigers: Ink piece development Lighter & bolder lines to make form Inspiration from other ink painting

Practicing with paws

Chinese ink piece→ influence for lines

More curvature made by the back as bullet pushes back the tiger As a juxtaposition between the size and power of both entities

Studies with different types of bullets

Practicing by sketching different bullet shapes for the eventuality if drawing one for the piece

Figuring out the tiger’s face and form for practice

Sources:https://regalosnauticos.com/gb/ammunition-cartridges-and-bullets/1302-mp40-submachine-gun-bullet-226-mm-d-52.html, https://elements.envato.com/9mm-bullet-for-a-gun-isolated-PU6ENKR , http://factsanddetails.com/china/cat2/4sub9/entry-5478.html https://www.pinterest.fr/pin/307370743290731479/

Practicing with bullet going through fur

Salience of Shadows: Investigating Boltanski’s Théâtre d’ombres The obscurity of the dark is what we fear most, but controlling it to fill space and shape its form into something that holds meaning to those who tame it. Christian Boltanski’s L’Théâtre d’Ombres exemplifies how he implements metal stencils to create a scene where a story is told through the silhouettes of shadow. The way it was displayed was also peculiar as the shadows that the makeshift mobile made an eerie scene that reminded me of puppet shows that I watched when I was younger. Though the grim message was shown through the demons chasing others while angels appear as a symbol of salvation. Captivated by this technique to further diversify the message of my exhibition, I decided to make my own mobile of senstils of to convey my theme of environmental issues.

Christian Boltanski was born in Paris, France at the tail end of World War II. Throughout his adolescence, he was ostracized from others as the trauma constricted him from having the confidence to speak to others. However, Boltanski started his artist career after leaving school at a young age. He started with painting, but grew bored of it and transitioned to doing photography.

In 1968, his first exhibition, La vie impossible de Christian Boltanski was the first to display photographs that symbolizes the turmoil of vicitims of the Holocaust as well as exploring memory, trauma and death. He also implemented pictures of himself to illustrate his own trauma with the war. Some examples are Reserve of The Swiss and Life in the Making are prime examples of how Boltanski uses his main medium as well as running with the same motif with lights and photographs.

‘Théâtre d’ombres’, 1985, figurines (metal, cardboard, wire, electrical tape, nails, pin, projectors.

Théâtre d’ombres (Theater of Shadows) appears to be a makeshift mobile made from wire, nails, light protectors and a fan. Metal stencils that shape tortured souls, the demons that prey upon them are reflected through shadows made by the projectors. The walls are the canvas, as one’s eyes look around to see different scenes. This combination could symbolize the balance of good and evil and how supernatural figures and wandering souls play their parts in a stage of light and darkness. The composition is dependent on the walls. Boltanski describes it as, ‘ ...a painting with a precious lighting on it’, which shows how prominent the position of light is for this piece. The simplicity of its form through fundamental materials such as wire, metal, pins and needles. Boltanski used simple shapes to still make it feel anonymous so that anyone can put themselves in the perspective of those who are being

tortured. The choice of materials show how the most rediumentary of materials can create a scene filled with emotion.

Boltanski might have been inspired by the asian shadow puppetry also known as Wayang Kuilt. This form of puppetry originated in Indonesia and China and had spread throughout Asia. Nowadays, Wayang Kulit finds itself in the heart of Malaysia as it has been a popular form of entertainment as of recent. The way Boltanski utilizes this inspiration through the storytelling aspect, ‘Théâtre d’Ombres transform any space to a magical performance of the interplay between light and darkness’. In this case, the story is clear through the religious symbolism of the stencils and how supernatural spirits interact with the humans. The scene is definitely disturbing to the viewer as the violent imagery allows the viewer to go into the repressed memories of Boltanski.

Théâtre d’ombres sticks out from other works from Boltanski as most of his piece show his versatility with imagery. The symbolism of his past trauma resonates within each piece as photographs are used for most of them. Boltanski continues the motif of using light to symbolize the souls of the victims or an interrogation lamp that symbolizes the soldiers that executed them. Though, Théâtre d’ombres stands out from the rest as the shift in medium demonstrates Boltanski’s diverse set of skills as both a photographer and, in a way, a sculpturist. For both Life in the Making and The Reserve of the Swiss, it does not appeal as much as Théâtre d’ombres as photographs are seen throughout the of his exhibitions.

Théâtre d’ombres is a breath of fresh air and allows the viewer to interact with the small world that Boltanski has set up. Its otherworldly figures intrigue the audience more than a set of photographs with a dimly lighted lamp.

Example of Wayang Kuilt puppets while not preforming

‘Life in the Making’

As mentioned before, I was inspired by this technique to make my own piece that involves using metal stencils to create shadows through projections of light. Théâtre d’ombres definitely shows its prominence in Boltanski’s collection and secures the interest of any audience. As I do want to follow through with my theme of environmentalism, I’d thought of making something that would be more inversive for the viewer as it could help with understanding the message of my exhibition more through the amplifications of figures through light projections to make an unavoidable scene. For my mobile, I would put scenes of humans hunting endangered species, extracting resources from them and showing the products that the animals will eventually become. The story will be brief yet impactful as the imagery will leave audiences to consider the implications of using dying species for unnecessary products.

‘The Reserve of the Swiss’

‘Christian Boltanski’, das eröffnungs--festival, bauhaus.com,https://www.bauhausfestival.de/en/artists/christian-boltanski/, Christie’s ‘Christian Boltanski: Théâtre d’ombres’, YouTube.com, https://www.youtube.com/watch?v=TDrFplT3Nug, ‘The History of Indonesian Puppet Theater’ Asian / Education, Asian Art Museum, https://education.asianart.org/explore-resources/background-information/history-indonesian-puppet-theater-wayang, ‘Théâtre d’ombres’, artnet.com, http://www.artnet.com/artists/christian-boltanski/théâtre-dombres-theatre-of-shadows-hLUhaBVThV2Kh3GBhlOc9A2, ‘Christian Boltanski’, Collection Online, Guggenhiem.com, https://www.guggenheim.org/artwork/artist/christian-boltanski , Sze, Charmaine, ‘Experiencing Wayang Kulit at the Heart of Kuala Lampur’, Eksentrika. 17 Aug. 2017 https://eksentrika.com/wayang-kulit-at-kl/, ‘Christian Boltanski’, Tate.org,https://www.tate.org.uk/art/artists/christian-boltanski-2305 , ‘Christian Boltanski’s whole career is on view in Paris’, Domus.com, https://www.domusweb.it/en/art/gallery/2019/11/18/french-artist-christian-boltanskis-whole-career-is-on-view-in-paris.html

Finding symbolism through shadows and puppets Will depict three separate scenes→ depicts a story about poaching

More simplified “puppets” inspired by Boltanski’s Théâtre d’ombres

“Puppets” to be more stylized for striking imagery and to help contrast with one another

Human design will have anonymous features along with a hunter’s hat

Inspiration from wayang kulit and boltanski: Using the puppet motif from Boltanski’s “Thêatre d’ombres” there will be some sort of storytelling to show the gruesome act of killing and to provoke more ‘Théâtre d’ombres’, 1985, figurines melancholic/distressed Stencil before laser cutting: I drew a basic (metal, cardboard, wire, electrical emotion tape, nails, pin, projectors. outline of the stencil as the laser cutter needed Stylized Silhouettes of it. I make sure that the animals for a cleaner form→ sharp and rounded Emphasis on story motif edges were clear for both with the puppets the human and animal 3 brief scenes that depict a hunter spearing down a large feline/big cat.

Acrylic pieces: I laser cut the acrylic pieces through outlined drawings and these were the results

Utilizing more equilateral and cylindrical shapes depicts a clearer scene and allows for a better interpretation of figure within a scene

Beheaded Panda: Treatment of endangered species

Sculpting the panda through sketches to have a better understanding of its head

Thought of having either a half skull sculpture or hanging sculpture

Paper maché or tissue paper imitating blood Beheaded like a dripping ‘hunting trophy’

Observing how panda noses are more slanted and have a slight bump

Focusing on different perspectives for better details within the sculpture

Exploring different features of a Panda’s head while maintaining balance of its proportions The half skull idea was not entirely practical due to the intricacy of the details within the skull and the limitations made by the clay

Sources:https://www.flickr.com/photos/kazatdiscoverconnection /3641269223