REFLECTION / 23.09.2019
Today was a day filled with experiments. For me, it is most common to work with a drawing, so I was quite comfortable, despite the unusual techniques for me and drawing for a certain time. The most difficult thing for me was the quick decision-making on the selection of material, which should mainly convey the texture. But, thanks to this, I was able to develop my ability to show the texture of wool using coal. Unfortunately, in the exercise, when it was necessary to select one detail and depict it without using borders, I chose an inexpressive texture, which I just showed with the help of wavy lines, this was unsuccessful. If I repeated this preemption again, I would use ink for its image, because with their help you can create the sensations of a glossy surface of a down jacket (which I painted), or you can choose another one for the image. Also quite playful seemed the technique of insisting one image on another. Due to the fact that one drawing was found on another and did not always clearly form, an ambiguous image was created, which is not entirely familiar.
CONTEXTUAL PRTCTICE / 25. 09.2019
REFLECTIVE QUESTIONS / 26.09.2019
How did you feel about not designing an idea before making? How could ‘thinking through making’ benefit your creativity learning?
Despite the fact that I do not always develop an idea before I bring it to life, I did not really like today, because the teachers asked us to make several experimental options before showing the final version. Because of this, it was not possible to devote enough time to an idea to work through it. ‘Thinkibg through making’ makes you think ahead, analyze what a decision will lead to. Also predict several development paths ahead.
How did your work today physically express the idea on your cards?
I chose the words: light, irregular, delicate. It seemed to me that the use of light yarn in the physical sense expresses the lightness of the object. Also the combination of real cabbage and plastic film that do not combine expresses the word irregular. And the location of the object in the hair is associated with a hairpin. For me, a hairpin is something very personal that cannot be transferred to another person. Therefore (due to the location of the object on the head) this expresses, in my opinion, the word delicate.
Does it matter if your outcome has moved away from your starting points?
It seems to me that this is a natural process. You learn from others, pay attention to your unsuccessful and good aspects of the work that you want to change or develop. At first I wanted to use a colander, but in the process I realized that it does not look easy. Thus, the idea has changed in the process.
What did you discover through change / accident?
Thanks to the movement of cabbage collected from real cabbage leaves, threads and plastic from the table to the head, the work acquired more delicacy, becoming more like headdresses of the east. It is no coincidence that I chose the model of the eastern type, which further emphasized this feeling.
What would you improve or take further about your work today?
If I had the opportunity to change something in my work, I would improve the system of attaching the head to my hair, I would use silk ribbons and plastic fibers (for contrast) to give the hairpin a neat and finished look. I would also increase the size of the cabbage leaves to give more grotesque.
ADDITION / SCULPTURE / 26.09.2019
Description of two works I like.
This work attracted me because its author, using lighting, created shadows that allow you to create the depth of space and remind of a mysterious web. If you apply the use of light to my work, you can imagine how polyethylene will reflect light, creating reflexes on the wall, face of the model and the entire surrounding space. This will create the illusion that the viewer was under water, where he saw a “magic hairpin”.
In this work, I find it interesting that the author placed each detail (piece of fabric and newspaper) separately. This allows the viewer to examine each element from different angles, to look at different angles. Perhaps I could make out my composition into elements and also arrange it in space, hanging it from the ceiling, then it would be possible to examine each piece in more detail and accurately, to more clearly see the difference in materials.
REFLECTIVE QUESTIONS / 24.09.2019
How did you find working with so many constraints? (limited time / materials, given objects)
Despite the fact that restrictions were introduced on the use of materials (only provided) and on the implementation of final facilities, we were given great freedom in action by setting only one condition (the number of fruits / vegetables), we also had to take into account the form with which it is associated (what a tomato or lemon is associated with), but otherwise we could come up with any ideas. To be honest, it was very difficult for me, because such a great freedom of thought did not allow my ideas to go in any direction. Because of this, for the short period of time that they gave us work (4-5 minutes), I could not concentrate, direct the thought somewhere specifically. Thus, the most difficult constraint is the time constraint. Compounded by the pressure of the teacher, trying, on the contrary, to help us.
Did this make it easier / harder to come up with ideas? Why?
It seems to me that it was very difficult to develop ideas today, since it is unusual for me to quickly develop concepts in such a short period of time. This happens to me because I am not used to putting some kind of concept at the head of design. That is, all my life, before entering CSM, I was taught a different approach to art and design: the main thing is to be beautifully executed, pleasing to the eye. As a direction of "pure art", which developed in the 19th century, whose supporters were such writers as A. Fet, F. Tyutchev and others. Here the approach is completely different, so it’s quite difficult to rebuild.
Was PDC what you expected? Why?
In my opinion, it is very difficult to judge a subject by one short day. The presentation that was presented to us made a great impression on me, because, it seems to me, even students of Foundation can create perfectly executed design objects in PDC, such as ceramic products, Furniture, etc. In the lesson, it was quite difficult to gather thoughts and think about the practical side of the things we did. That is, instead of thinking how a tomato holder might come in handy, I paid attention to those things that do not have any function, but can be made from the materials provided for a given time.
CONTEXTUAL PRACTICE / 25.09.2019
How did writing a description of your object make you consider relationship between its form and it function?
Comparing the shape of the object and its functions, I noticed that the keychain that I described consists of keys and pendants, each of which performs its function, opens a certain door, a magnetic key opens a gate or gate, the pendant helps to recognize the freedom of key binding, makes her special. It seems to me that this is why each element can be disconnected from the base, removed in a ring that unites them, because each of them can lose its need at one point (this can be facilitated by moving, buying something new). Thus, the keychain changes in accordance with changes in the life of its owner. Also, the choice of suspension depends on the taste of the person.
How effective was your choice of language in transmitting a description of the shape and structure of your objects? Think about how your classmate reacted to your reading.
It seems to me that all the keys were interesting enough to describe. the only thing that I received quite unsuccessfully. I wrote this because of the excitement and not the best language skills. This made my classmate a little difficult to understand the text, but, despite this, she guessed.