Notes Steeped in Nostalgia, Gore and Singed Monkey Fur

From within an improbable mausoleum of air, a nightingale's song charms another heart of stone out from its morbid cavity.

Deracination

A screenprint I made in 2006. No relevance to this course, but I like it.

Rectangular Blocks

Viruses and a Heart of Stone at the Altar of Murdered Men

"A scientific man ought to have no wishes, no affections - a mere heart of stone."

~ Charles Darwin.

"I think computer viruses should count as life. I think it says something about human nature that the only form of life we have created so far is purely destructive. We've created life in our own image."

~Stephen Hawking.

"I stand at the altar of the murdered men, and, while I live, I fight their cause."

~Florence Nightingale.

The following links lead to the original sources for these quotes: Charles Darwin - Stephen Hawking - Florence Nightingale

Shiko Munakata, Black

"I make black and white prints because I want to go back to the beginning. Black and white are absolute... expressing unlimited profundity."

~Shiko Munakata

The following link leads to the original source of this quote: Shiko Munakata

Post

Because the model was so large, over 10MB, I had to remove a lot of the geometry in order to be able to upload it to Google Warehouse. In removing a lot of the surfaces, I realised that seeing the underlying geometry behind shapes was interesting in itself. Whilst I enjoyed the sense of physicality I got when looking at the earlier model with full geometry, I actually like the sketchy, abstract version I eventually submitted even more.

When it came to deciding what surfaces to cull, I considered it from the perspective of a viewer located within the spaces. The effect of the missing geometry is similar to looking at a theatre set: intact from one perspective, but fraudulent on circumspection.

YouTube Videos

Animated fly-throughs of my final model.

Final Studio & Gallery Space

1: Detail of stairs.

2: View of gallery space.

3: View of Duchamp studio and artwork.

4: View of Piccinini studio and artwork.

5: View of Piccinini studio space.

6: View of whole building.

7: Detail of stairs.

8: Detail of stairs.

9: Front-on view of gallery space.

Final Model, Google Warehouse

My final model for EXPERIMENT 1 is now on Google Warehouse.
I also made a comment on another student's work, which can be found at: http://www.gracewaigei.blogspot.com/

Textures

Surogat

A 1961 animated short from Zagreb Film Studios, who had a large influence on American animation studios like Hanna-Barbera.

Middle Space

Material Choices

Piccinini Studio: Concrete, ceramic, glass, steel struts and sheets, white leather/vinyl, aluminium.
Duchamp Studio: Concrete, ceramic, timber, glass, brick, steel struts and formwork.

Stair [Metaphysics, Sphinx]

This model responded to the words 'metaphysics' and 'sphinx'. The images drawn upon were a car leaning into the air (metaphysics) and a train sunk into the ground (sphinx). Instead of literally reproducing the images, this model draws on the wheel as a shorthand symbol for locomotion and industry.

Duchamp Complex

The Duchamp studio turned out a lot different than my stated expectations below. I started to focus more on the practical requirements an artist would need to have fulfilled by a studio space: there is plently of surface area to work on, shelves for storage/display and an elevated walkway that offers a detached aspect for viewing work.

Stairs