What am I up to?

Today I finished my buzzy circle on the large piece of wood.
This work will have to be cut down to a circle and be one of the ground level circles for my installation as it is very heavy.

I have also bought a small motor which revolves 3x per minute. I plan to attach this motor to the wall and have two circles attached to it, the circle infront being the on that is slowly moving.
I am not sure how much of a distraction the motor will be when vieweing the work so I will need to test how large the wall work must be and also if I need to either bury the motor in the wall or in a solid cube fo polystyrene.

Todya I also went shopping to Mitre 10 for large sheets of polystyrene. I thyink that it will be a lot easier to cut these boards and I can use the excess to make small blocks underneath to raise some circles above others.
One concern I have about this material is its ability to remain flat, without warping when it is cut thin.
It is important that the circles are thin enough to not be seen by the viewer as objects (approx 2 strands of wool thick). If they do begin to warp I will glue two pieces of wood in a cross over the back of each one to keep them flat.


Now onto a lot of work!!!!

Tanya Schultz and Nicole Andrijevic

Glitter and Candy Installations


The intensity of making and overall visual experience are the two elements of this work that really struck me as interesting, I can see a strong connection to my current ideas of excess sensation through colour and movement.
                                      
http://www.featherofme.com/nicole-andrijevic-tanya-schultz-candyland/

                                         "Candyland," Nicole Andrijevic and Tanya Schultz 

Nicole Andrijevic and Tanya Schultz have collaborated to create this amazing Candyland in the middle of the gallery floor. They are Australian artistic duo “Pip&Pop” constructing these intricately patterned floor installations made of colourful sweets mixed with glitter, beads, modelling clay, wax, polystyrene, wire, toys, sand, and other equally vibrant found objects. Up close, the mounds of dyed sugar are decorated with pearl beads, bright mushrooms, and animal figurines. Throughout history there has been a long tradition of depicting journeys through imaginary lands and utopian worlds. These sculptural treats are inspired by the rich history of other worlds as told through mythologies, Japanese folk tales, literature, and ancient cosmologies. They are like a sugary version of Japanese pop art with cartoonish shapes and eye-popping colors

Next step in the production of my final installation:

 - finding appropriate background surfaces
 - selecting the most effective wool to produce large circles that confont the viewer with an overload of intense sensations.

 - multi coloured wool spiralled on a metal plate

 - I chose metal plate because it lies flat on the ground and can act as a base circle for other circles ot overlap.

 - I have seen a lot of colour and tonal connections between my current circles and I need to figure out if I want to work element throughout the whole installation of to have circles clashing with each other!

 - The next circle I want to make with potentially be made form this selection of colours.

 - I have found another use for the large canvases that I have, as the canvas can be cut from the fram I can make a wool circle on the solid frame then separate the canvas from the support to act as a flat circle on the ground. It is a very light background so therefore will act as a base layer and other circles can be placed ontop.

Further experimentation with found objects (cupcake holders, beads, wool)
Notes from my most recent critique with Mon J....

I have constantly been thinking and making a resolved final installation that brings together all the ideas explored in my annotated bibliographies.

 

 

 

After the power point presentations made by each year three student it was suggested to me that I move from my beaded works back to my wool circles.

It was also suggested that I try making 3D works, and in the experiments above I have wound fluorescent wool around polystyrene objects and built up the intensity of the installation with different coloured beads.

 

 

"Untitled," September 2013, coloured cupcakes and beads

 

I have been working towards planning my final installation and have come up with the a different take on this small installation above.

For my final I plan to make 5-7 large wool circles, each one wound carefully with specifically chosen wool that buzzes against each other. I want all of the circles to be of a larger scale so that the installation takes over a larger area of floor space and each large layered circle will saturate the viewer's vision with an excess of colour and pattern to create a powerful and unique experience for each individual.

 

My other plan is to have another work made separate to the floor installation that sits separately on the wall. It will involve a larger wool spiral circle mounted onto the wall, with a smaller circle fitted on top, that slowly rotates clockwise. I am currently searching for a right kind of motor that with the correct speed to bring these two circles together and visually expand and push my idea of movement from the stationary visual sensation to a moving installation that captures the viewer in its mesmerising movement.

 

I have thought about possibly cutting some shapes out of the top circle to enhance the buzzy relationship between the two layered circles.

 

Update for recent bead works:

 

"Untitled," September 2013, found wool and beads on canvas (Note: photo should be landscape)

More works using found beads and wool

Excess sensation through colour, continuous line and pattern

 

"Untitled," September, 2013, found necklace beads and strands of wool

 

• Looking at the intensity of pattern and coloured wool
• I am interested in messing with the viewers perception and seeing what the viewer's eye can handle - if they can find a focal point, or the control and order in the pattern making.