Mila Process Portfolio

https://ordrupgaard.dk/en/portfolio_page/gauguin-blue-trees/ https://www.brooklynmuseum.org/opencollection/objects/4202

Geometry in the human body and how I can use it for a sculpture

https://www.tate.org.uk/art/artworks/gabo-head-no-2-t01520 https://www.stainthorp-sculpture.com/home/sculpture-3/ http://www.antonygormley.com/ https://www.pinterest.fr/pin/3377768442164295/

http://fullinsight.com/blog/2012/01/geometric-paper-organs http://www.nickpetronziosculpture.com/ https://www.saatchiart.com/art/Sculpture-male-torso-stone/905712/4111026/view

Going through with the experiments and new development ideas

https://www.liveauctioneers.com/en-gb/item/58716907_continental-bronzemodernist-nude-torso-sculpture https://www.pinterest.fr/pin/8022105567577696/

Developing a design

https://yamatomagazine.home.blog/2019/07/14/dissecting-the-parts-of-traditionalsamurai-armour/ https://www.indiamart.com/proddetail/full-plate-black-armor-suit-21266917897.ht ml

Making a print and playing with layers

Christine Wu is an artist who really plays with figures and layering https://dopemgz.net/by-christine-wu-2/ http://www.musee-rodin.fr/fr/collections/sculptures/le-penseur

Creation of a 3D piece I need to create a 3D with for components words and with a restricted palette.

I want the piece to be about a theme that I truly care about and create and advocacy or memorial around it.

The criteria which require the use of a word or text really made me think of the message that I would want to convery

Marks of physical abuse

Using shadows and intensity to represent shapes

The Crow is a symbol of death and or depression

I further used the idea of shades and intensity to this time try to represent a face.

I like the idea of the box but want to explore different layouts

The more I am experimenting, the more I start to imagine a sculpture involving hatching

From the sides the piece would not make sense as the drawings would not align

Otherwise a similar way would be to have it as a pendulum

A child is a symbol for innocence.

I wanted to use it to show that anyone could be affected

Evolution of the the theme

Since the piece is in black and white, Ink was a media that I wanted to experiment with . Especially with opacity and the way the brush mays it down.

I also decided to see how the crow would be represented with ink.

To refine the idea and message that I want to send, I settled on child cancer. This topic is dark however it does resonate with me as I lost a classmate due to it.

I wanted a clean silhouette of a child but completely black

As well as playing with lines and opacity, I wanted to use perspective and see the effects of distance. Both papers are the same sizes, and so are the lines on them, the only difference is how far they are from the camera.

The different lines that I drew made me think of the hatching technique. Therefore I decided to experiment with ink and the thickness, opacity and way it behaved

The representation of the crow needs to follow the right proportions.

Acrylic paint Instead of writing it, I tried stamps with ink and paint to see the difference.

As the word is meant to be a main feature I decided to try different fonts.

To create the word on plastic sheets, I tried different techniques Paint and ink on a stamp Ink and pen

These two crow representations are my favorite ones

The structure and inspirations Vertical Foliage, 1941, metal sheets, wire and paint Alexander Calder

An idea to structure and represent the piece was to use a pendulum system.

However, the structure that I could build was not strong enough and needed a different Idea

I tried out the idea on first plastic sheets

As the idea of the pendulum was not working, I want back to previous sketches What would have not worked was the positions of the rectangles and their perfect alignment at all times

Through trials, the use of ink became the best option as it was the best at filling the hetching and not affect the surface

The idea that stuck with me was the use of many blocks forming a square. I had access to a structure with a light emission and movable parts.

After experimenting with the layout and design, this was my final idea and set up. Each layer will be on a piece of plastic.

The word however will be scattered on the blocks, that is where perception and distance will play a role

Both Durietz and Boltanski use the way the piece is positioned to add a new layer to their work.

Use of light in Christian Boltanski’s work I selected the piece Reflexion by Christian Boltanski as i was very interested in the way he used lighting and transparency to communicate emotion to his audience. Reflexion is the second part of a bigger exposition named “Coming and Going” representing and portraying individuals and leaving room for imagination but mainly based the impact on the audience off of its own life experience. It has influenced my own work on the way I display my sculpture and how the setup truly impacts the audience and how light can create and emphasise the meaning as well as the emotions within the piece.

REFLEXION, 2000, COMING AND GOING, PART II Analysis of formal qualities The piece overall is composed by different individual pieces working together to create a overall installation. Each rack has on it an hanged white piece of fabric with the print of a portrait. Behind each piece of fabric, an interrogation light is shined through the face of the subjects. Each rack itself is more than 2 meters high and 1.30 meters large. The significant size of the rackes makes the audience feel small and magnifies the portraits. The attention is automatically brought to the faces and their size forces the audience to move back to get an overall look of the piece. Each portrait is 2 meters high and 1.10meters wide. Each is centered at the middle of the fabric. The light is shining through the main features if the face, mainly focused on the eyes in individual portraits, and focused and the connection of two individuals when more than one subject is represented. This is to guide the audience's and balance the composition of the work. It is their to make the audience reflect on what is important in each portrait. All the racks are identical in size and the format for each piece is the same. This is really to bring an emphasis to the subjects. The entire piece is in the shades from white to black . Not only are the portraits and the fabric in black and white, but so are the colors in the room in which it is exposed in. The ceiling and walls ae painting white and the floor dark grey. The mirrors used in the room aren't normally reflective mirror but have a black tint to them. The use of the different shades is harmonious and creates a monochromatic look to the work. The use of black n white in the portraits creates a contrast and bring the eye attention towards the main features of the subjects.

http://archive.mariangoodman.com/exhibitions/2001 -03-21_christian-boltanski/#/images/1/ https://www.artbasel.com/catalog/artwork/54772/C hristian-Boltanski-Les-Miroirs https://journals.openedition.org/imagesrevues/3820 http://archive.mariangoodman.com/artists/christianboltanski/

https://steinhardt.nyu.edu/art/education/definitio nhttps://www.apollo-magazine.com/christian-bolt anski-expands-his-repertoire/ https://www.um.es/vmca/proceedings/docs/31.E manuela-Saladini.pdf https://www.mfa.org/exhibitions/christian-boltans kihttps://awarewomenartists.com/en/artiste/charl otte-salomon/

Cultural significance Contemporary art Boltanski's work is used and created to raise an awareness as well as commemorations the past. He is part contemporary and conceptual art which is the representations of concepts or ideas through art.

He was born in France in 1944. It was the last years of the Second World War. Even if he could not remember the war, he did grow up in a scarred Europe affected by the WWII. He is mainly known for big installations and films which pay tributes to the past. In the 2000’s he mainly focused on Identity, memory and biographies as well as the sad truth behind the stories that he is sharing.

A turning point for his work was in 1969 when he stopped filming and focused on photography and more specially set-up photography. This was the beginning of work surrounding individuals and individuality which he later translated in his sculptures. His work is now addressed to the young generations for them to learn from the past and not recreate the same mistakes but also for them to remember the ones who lost their lives and why it should never happen again.

Boltanski was also influenced by his brother and his friend Luc Boltanski and Pierre Bourdieu who were both sociologists who given him analyses of their society and helped him understand how is work could impact and affect the audience. He was also inspired by Charlotte Salomon who is the creator of an autobiographical series.

Material significance Reflexion is a representation of black and white portraits which were mechanically removed from their support and then reproduced on fabrics. The pictures were saturated and then reproduced. Then the sheets are hanged on racks and have interrogation lights shining through them individually. This installation took time to plan as each photograph was selected from anonymous photographers and then modified to fit the format he wished to use. All the aspects were thought off, where the light would hit and where the racks would be to ensure that the different lightings and pieces won’t interfere with each other. The pieces themselves are surrounded by mirrors bringing a more complex idea to its concept. Every piece has to be exactly where it is meant to be to fully succeed as an overall piece.

The reflections created by the hundreds of miros are broken reflections creating a new awareness to the audience as the pictures and their own reflections appear differently. The photographs used aren’t colored nor full of details and of a high resolution. They all are a high saturation of black and white version of the portraits erasing small details and focusing on the portraits to bring the focus on who these individuals could have been.

In a black box to focus the attention on the piece.

Portrait s vs figure

Use of the set-up to bring more emotions and immerse the audience

Connecting to own art-making practice Boltanski’s work is rully to challenge our sense of perception and memory.

It plays with the audience’s experiences and emotions to question the truth and their individuality. To do so, he uses portraits but also the way he presents his piece. I intend to do the same with my sculpture. The way the blue light is used is to create a feeling of sadness and put forward the hatching. By being suspended just like the portraits, it isolated the piece and creates loneliness and nostalgia to which the audience can connect building a link and creating empathy.

What aspects of the artist’s work have you used in your own work?

He used pictures of people to demonstrate the fact that it could be anyone. I looked for the same effect but deliberately decided to not include a portrait ad to stay abstract.

I also used transparency to incorporate light within my piece. The black box, blocking outside light brings an atmosphere of darkness and the blue light brings sadness. Transparency generates a lack of Use of black and white substance which then translates into loss. All of these emotions are but also the use in my also present in Boltanski’s work to really create a link with the piece of blue as the light to bring more sadness sculpture and the audience's emotions. opposed to a white light which freezes the piece in time/

Les Miroirs, 2000, Kewenig, installation 12 coloured photographic prints on linen cloth in metal construction, on metal steles 200.0 × 84.0 × 53.0 Size (cm) 78.7 × 33.1 × 20.9 Size (in)

These sketches are the layout of my sculpture and the way light will be contained. I decided to use a black box to focus the light

Self Portrait in Tub with Chinese Food, 2009 Oil on Linen 44'" x 44" Cue Lee Price

http://www.leepricestudio.com/hvk4syz19xv681vduqd9wimm4v9t9e https://pixabay.com/fr/photos/caf%C3%A9-parisien-pigale-paris-france-273670/

https://www.baaz.com/trending/story/5c1a65030ab9ed76a390 8faa http://salmankhoshroo.com/ http://www.artifactsgallery.com/art.asp?!=A&ID=748

I wanted to represent that taking away women’s rights to have a safe abortion is the equivalent of sending them to a death sentence.

https://whitecube.com/artists/artist/tracey_emin The website for the hanging was dissabled

Perhaps a mix of both designs would work better as they both would bring more balance to the piece.

To obtain the color i needed to create the fake blood, I had to mix a variety of paints as well as ink and pvc glue to obtain the shine and texture required

A variation of colors could emphasize the horror of the message

The importance of past life experiences in Tracey Emin’s work Sometimes, there is no reason is one of Tracey Emin’s most powerful artworks. I have selected it as it talks about the same topic as I am expressing in my piece, abortion. This art piece is powerful because Tracey Emin did not create her piece to silence it or confess, but to be unapologetic. The muted colors blue and red, in addition to the wide use of white creates a powerful contrast. This piece emulates what I would like mine to represent, a powerful representation of the truth which does not depict shame but bravery.

Cultural Context Tracey Emin is a British conceptual artist who explores confessional art. Born in 1963 in Croydon, England, she is known for her autobiographical work. She expresses he struggles that she faced as a modern day woman.

Struggles that other woman could experience but that are not explored or represented in society as judged taboo by society. She identifies herself as a feminist and uses her work to break patriarcal boundaries and fight for equality. As she said in Financial Times “Art is like a cathartic act for me”. She questions abortion and the movements that are actively fighting it. She explores feminist themes in sculptures made out of steel or neon signs, but mainly uses canvases and acrylic paints. The curated exposition ‘A Fortnight of Tears’ at White Cube was the representation of her life and the major life events that happened the good and the bad, such as her rape or her abortions.. She shifted her focus to only expressing her life and emotions instead of global issues in society in hopes to help and encourage other women to speak up.

Sometimes, there is no reason 2010, acrylic on canvas 122 x 122.5 x 3.5cm (48.03 x 48.23 x 1.38 in.)

Analysis of function and purpose Sometimes, there is no reason is the an autobiographical painting which represents her abortion. She believe that motherhood was something that she wanted to pursue and felt that it would affect her art and make her lose her passion. She created the piece to express the horror of her botched abortion and letting other women know that they are not alone.

The painting is the representation of a female silhouettes going through an abortion. The silhouette is a single line drawing painted in dark blue on a white canvas, with a background made of pink and blue toned patches of whites. The woman is half relying on her back and her legs are spread wide open, with a puddle of blood, represented by red paint coming out of her vagina. The vague silhouette is used to ensure that every woman could identify to it.

This work captures the feeling of hopelessness and fear that Emin felt. The lack of expression and the simple lines used, represent her disbelief which is emphasised by how minimalistic it is. Instead of a wide use of red paint to represent blood it is a wide use of white that we can see. It is disturbing and sad as we see it happening and yet we can’t help.

Material significance Sometimes, there is no reason is acrylic paint on canvas. It is made from a built up of layers. Emin’s process takes time and is a direct reflection of the way she feels. She first stares at the blank canvas and connects to her emotions. Sher then process to start painting. She keeps the process organic and fluid. as can be seen with splashes of red on the canvas. Even if the process is in constant evolution, she knows what she wants to represent which leads her to add or modify the piece. The use of acrylic paint is surprising as it dries quickly and paints cannot mix, however, she uses it to build the painting.

As the paint dries quickly, it allows her to add layers and details as she pleases. This can be seen with her painting For one year I wrote to you everyday. She works quickly when she settles on what she wants, but as her emotions change, so does her vision, leading her to work days on pieces.

And So It Felt Like This 2018 Acrylic on canvas 72 1/16 x 48 1/16 in. (183 x 122 cm)

My Bed, 1998 installation

Connecting to own art-making practice

For one year I wrote to you everyday 2018 Acrylic on canvas 71 7/8 x 71 5/8 in. (182.5 x 182 cm).

Tracey Emin creates her work mainly to represent and express her emotions and past experiences, but also to open conversation on subjects that are still silent. Even if my work isn’t based on what I have experienced, it has for aim to open conversation but mainly criticizes the way these subjects are silenced. Her work is defying the patriarchy and is meant to be empowering to women who do not know how to face similar situations. It is what I want to create with my work and the purpose of my piece.

Brown, Griselda Murray. “Tracey Emin: 'Art Is a Cathartic Act for Me'.” Financial Times, Financial Times, 18 Jan. 2019, cube, White. “Artists - Tracey Emin.” White Cube, whitecube.com/artists/artist/tracey_emin.

Khan, Tabish. “Rape, A Botched Abortion And Her Mother's Ashes: Tracey Emin Faces It All In New Exhibition.” Londonist, 8 Feb. 2019, Laudadio, Devon. “Tracey Emin: Rape, Sex, and Motherhood in the Artworld - Design Your Own Unit.” Google Sites, 27 May 2015, Manchester , Elizabeth. “'Terribly Wrong', Tracey Emin, 1997.” Tate, June 2000,Ogilvy, Flora Alexandra. “A Review of Tracey Emin: A Fortnight of Tears at White Cube, London.” Arteviste, Arteviste, 26 Apr. 2019, “Sometimes There Is No Reason, 2018 : Tracey Emin.” Artimage, DACS , “Tracey Emin.” Artnet, https://www.youtube.com/watch?reload=9&v=rLaAy2YKwPo https://www.youtube.com/watch?v=679ECk-7Ta0 https://www.youtube.com/watch?v=dKLDQwS-oJk

https://www.livescience.com/58517-reasons-why-placentas-are-awesome.html https://www.medicalnewstoday.com/articles/319762

Final details and deciding the staging and set up I want to use light in the photograph as a factor which adds to the message, in the same way David la Chapelle does it.

“Miley Cyrus, My Self-Made Prison Yet There is Light I Must Go Towards What I Know to Be Right,” 2017, David LaChapelle

To do the setting and the change of color, I only used one light and then inserted colored paper on top.

http://home.davidlachapelle.com/

On the other side of the setting, the shadows created an interesting scenery which was only showing the silhout=ette.

To give the umbilical cord the shine I need i decided to add cellophane plastic.

I added in addition to the c=varnish a layer of pvc glue which gives it that rigidity and the shine i needed. However the only problem I will encounter is how rigid it is and how it presents the dress from flowing properly.

“Paradise Found,” Close up, 2017, David La Chapelle Like how in this one the red is only partially on the picture and it looks as if the silhouette is slowly passing away.

The analyses of women’s representation in André Masson’s work Context André Masson was a french surrealist painter during the 1920’s to the 1950’s, illustrator as well as a decor manager and creator in theater,. Surrealism is a movement which appeared during the twentieth century and is based on the representation of the surreal through dreams. However, he believed that the movement was too ortodox and did not want to constrain his work to its description.

A turning point in his career was during the 1922 when he used surrealism to express his discuss and questioning of the human nature after WWI and how perverted humans are.

His art is closely linked to Cubism as he was looking up to his neighbor, Miro, as inspiration. He used his art as an outlet of the trauma which he had endured during the war. His later works were also influenced by his travels and his life as a refugee in the United-States of America during WWII His work was later proven to have inspired artists such as Jackson Pollock, making his work the inspiration behind abstract expressionism.

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André Masson Philémon et Baucis des "Amants Célèbres", 1979 Etching 25 3/5 × 19 9/10 in 65 × 50.5 cm

André Masson Untitled, circa 1925 Tempera, color pastels and pencil on paper 22 × 16 1/2 in 55.9 × 41.9 cm

This painting is a painting of a woman’s silhouette set in the ruins of a room, composed through the use of geometric shapes and muted colors and a play with shadows and lights. The woman is naked and does not have a head. She is the center of the pieces and is laid back on a book and on what appears to be a white blanket.

As the work is surrealist, we can see an important distortion in the piece and the way the background was represented. As the colors are darker, it is harder to identify distinct objects. However by using darker colors, it brings the audience's attention to the woman’s silhouette. In addition, the constant changes in tones and the play with the shadows creates optical illusions which makes it tricky to fully understand the background and creates the idea of a dynamic image.

André Masson decided to represent the woman without a head as he uses his art to criticise women’s place in society and the way they were over sexualised and the perverted mindset of society, which is also why he represented her naked.

The book on which she lays in addition to the missing head is a symbol for women’s ability to have a substantial role in society and that they were valid to give an opinion and for his ideal of a more matriarchal society in a heavy patriarchal one.

Comparisons/connections My work and his are tightly linked mainly in theme and in the representation of women.

I decided to use a bullet as a symbol for women, which has an angular cup for the breasts. The shape is the same as the one he uses in his painting.

I use a restricted color scheme with different shades of grey, similar to his use of shades of beige.

However compared to him, I do not use any other colors to highlight details in my work and stick to a monochromatic look.

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Use of light and shade to create depth, perspective and to guide the eye of the audience .

http://www.artnet.fr/artistes/andr%C3%A9-masson/le-peintre-et-le-temps-2WegeTGr5rX-iRvjC5IjRw2 https://www.beauxarts.com/grand-format/andre-masson-en-2-minutes/ https://www.dictionary.com/browse/surrealism https://fr.wikipedia.org/wiki/Andr%C3%A9_Masson_(artiste) https://www.jstor.org/stable/42630380?seq=1 https://fr.wikipedia.org/wiki/Femmes_pendant_la_Premi%C3%A8re_Guerre_mondiale https://www.artsy.net/artwork/andre-masson-untitled-4

Impact on my own work I really like this piece as the eye is slowly guided through it and due to all the depths that the piece has, visually and through its meaning.

In addition to the influence on my current sculpture with the decision of using the bullet bra as a symbol for the representation of women, his work and his use of muted colors is impacting the development of my next piece as the colors will now be muted as well. His work made me realise how a simple use of lights and darks as well as a color palette could truly impact the audience’s perception and focal point of a piece.

https://bygumbygolly.com/2011/10/advent ures-in-recreating-1940s-bust/ http://www.icon-icon.com/et-le-corset-coni que-devint-iconique-par-jean-paul-gaultier/ https://www.franceinter.fr/culture/jean-pa ul-gaultier-deboule-au-grand-palais-a-paris https://www.pinterest.fr/pin/10935309717 3446445/

Women throughout the years, women today A strong symbol of femininity are bras. They first a sign of freedom and independence during war times, however are now seen as binding and restrictive, as seen through the free the nipple movement.

I wanted to build the structure but did not know with which other materials to fill it in, like a normal bra, and still convey an empowerful message. I decided to use a technique similar to collage and use newspaper articles about women in our society.

The bullet bra was an iconic stylistic feature of the the 1950’s. They are also associated with stay at home women and the idea of the perfect wife.

Exposition Jean-Paul Gaultier, Paris, 2020

I decided to use articles talking about the different topics: Important women through history Female artists and writers Victims of domestic abuse The mee too movement

I know that I want to do a wire sculpture for this piece as there are wire armatures n bras. However I do want the piece to convey an empowerful message.

Exposition Jean-Paul Gaultier, Paris, 2020 As Jean- Paul Gaultier did, I would like to present my piece on a black mannequin and background, as it will bring all the details forward and make it easier to read it. Therefore I painting a plastic mannequin matt black so that the light will not reflect on it.

In my head using newspaper articles meant all of the piece in black and white but with a slight yellow tint, due to the paper. However most of the articles ended up having color and photographs. It added a layer of difficulty when i completed the piece as I had to thing in addition to the placement of the article, regarding the area it could fit it and cover, but also the overall harmony of the piece. regarding the colors.

Villainization of Women We had a workshop in which we learned how to do clay portraits. I decided to do my face as I wanted a piece which directly reflected my point of view. I decided to use Medusa as a metaphor since she is one of the most famous woman villain and date back to the -300BC

With the clay I decided to not create any pattern or texture as I liked the smooth look of the clay. https://www.ebrosgift.com/products/greek-demonic-goddess-the-temp tation-of-medusa-statue-luring-gorgons-gaze

Medusa, 1600 Leonardo Da Vinci

I like the idea of using as well the idea of the circle, but this time make it look as if medusa was almost falling into it, or the pupil of an eye created by a gradient To choose the correct oxide, I did not want to have something overwhelming as I did like the natural aspect of the clay. I decide to choose a light black oxide. http://www.academic-capit al.net/2013/10/leonardo-di -vincis-lost-painting.html