"Some scientists believe chimpanzees can be useful in finding out more about human diseases and searching for cures because they can be infected with otherwise uniquely human viruses. I cannot understand it. I am ashamed to understand it"
- Goodall and Nightingale
Sunday, April 27, 2008
Saturday, April 26, 2008
Tuesday, April 15, 2008
EXP 2 Client quotes
Jane Goodall
"Some scientists believe chimpanzees can be useful in finding out more about human diseases and searching for cures because they can be infected with otherwise uniquely human viruses... it isnt only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow."
NATURE, Jane Goodall's Wild Chimpanzees: Jane Goodall's Story, The Educational Broadcasting Association, accessed 15 April 2008, <http://www.pbs.org/wnet/nature/goodall/story2.html>
Stephen Hawking
"To have removed predictability from physics and then to have put it back again, but
in a reduced sense, is quite a success story."
Hawking, SW 1994, '1. Classical Theory', Lecture, Cambridge University, accessed 15 April 2008, <http://www.hawking.org.uk/pdf/time.pdf>
Florence Nightingale
"...in my thirty first year, I can see nothing desirable but death.... I cannot understand it. I am ashamed to understand it"
(This quote may seem far from conveying Nightingale's strong belief in order in hospital systems, but it conveys the emotion that one might feel at being revealed the disorder within the hospital system that Nightingale would have witnessed when she first became a nurse)
Nightingale, F 1860, Notes for Suggestions to the Searchers for Truth Among Artizans of England. Eyre & Spottiswoode (for author), p 134.
Sunday, April 13, 2008
The final SketchUp: flesh, bone and soul.
Materials and space: The top floor space (Nolan's studio) consists of two parts, one being made of tin and the other of white rendered walls. The conceptual relevance of this is the link these materials have to Nolan's exploration of Ned Kelly (the tin man) and of the crisp Modernist movement of architecture which paralleled the life of Nolan. Glass is added around the studio to provide different 'impressions' of the space's interior and to echo the eye slot on Ned Kelly's helmet. Impressions are made even more evident by the glass stairs which shape around the glass sphere, making the experience of walking up the stairs almost claustrophobic from the indentations seemingly left by each separate space.
The 'between' gallery space continues on with the 'impression' idea of the top space. With red wood spread around the building's exterior to add an organic quality to the building and continue on with the 'scrunched up box' effect, appearing solid but squashed around the glass central ball. This earthy outback quality is retained towards the back of the building where recycled concrete stones create a contrasting but complementing exterior space. Earth and man aim to also 'merge' through the stairs which link the gallery to Piccinini's studio, from the airiness produced by the glass above ground to the dampness and tightness created by the dirt revealed by the glass stairs continuing underground. The nature and man concept explored by Nolan and Piccinini is also echoed by these materials and the space they create.
To explore the word 'perplex' for Piccinini's studio space, limited material was used, mainly sandstone and rock. I wanted to create a dune-like and cave-like space that will appear 'perplexing' for any who enter. Because the space is symmetrical as well as circular, walking inside would confuse and challenge a visitor the same way Piccinini's artworks do.
Sketchy story boards for animations
a)
b)
c)
c) The gallery space will reveal a merging of themes explored by Patricia Piccinini and Sidney Nolan. Two themes that will particularly be explored are nature and man. These will be revealed through the gallery's contained tranquility, having brought nature within through slits of windows and silhouettes.
b) Sidney Nolan was an eccentric character, and if not eccentric then enigmatic. There is a certain uneasiness expressed in much of Nolan's art pieces, with nostalgia and isolation being two characteristics I experience while viewing his works. I thought it would thus be essential for Nolan's studio space to alleviate a sense of isolation and grandeur. The animation will not reveal all of Nolan's studio but will focus on just one 'room' to hopefully capture the experience of the space.
a) The key concept to be explored in Piccinini's studio space is confusion or the word 'perplex'. The 'camera' is to tour around the space at a fast space to create a sense of franticness, going around in circles in an environment that looks the same at all angles.
Saturday, April 12, 2008
new and 'improved' sketchUp skeleton
Impression
Perplex
The 'impressions' I tried to convey on the top floor of my last model were too superficial. This new model makes use of the 'indentations' made by each space onto one another, almost like a bunch of boxes were scrunched together around a a ball.
Tuesday, April 8, 2008
Material and production methods of artists
Piccinini
Picinini explores the relationship between humanity, technology and nature by challenging her viewers in an imaginative yet realistic manner. In order to create her art Picinini goes through several main processes: first the design, production and then the creation of her work. The early stages of Picinini's work, can be seen in her conventional use of pencil and paper in 'Hector (on carpet)' where her focus on detail is evident. The translation of such detail into 3D is exemplified in "lattice 2000", where the use of synthetic materials such as plastic is purely for the purpose of mimicking 'reality'. Piccinini's art is therefore made to 'shape' reality; her pieces are usually of near to real life size. The production of Picinini's work thus involves detailed dialogue between Picinini as a client to her sculptors. What is then created by Piccinini and is a combination of the efforts of various people.
Nolan
Traditional materials and medium are used by Nolan in an unconventional manner to create distorted and even naive art. The 'Kelly' series by Nolan incorporates this very approach and is clearly of conceptual relevance. While oils are used in the traditional way, with the use of a lean then fat layer, how they are applied is unique. Each brushstroke is almost violently slapped on with a paint brush to effectively blur the boundary between nature and man, or in this case, Ned Kelly and the land. This method repeats through out the series to create images that represent Ned Kelly as the Australian bush icon.
Picinini explores the relationship between humanity, technology and nature by challenging her viewers in an imaginative yet realistic manner. In order to create her art Picinini goes through several main processes: first the design, production and then the creation of her work. The early stages of Picinini's work, can be seen in her conventional use of pencil and paper in 'Hector (on carpet)' where her focus on detail is evident. The translation of such detail into 3D is exemplified in "lattice 2000", where the use of synthetic materials such as plastic is purely for the purpose of mimicking 'reality'. Piccinini's art is therefore made to 'shape' reality; her pieces are usually of near to real life size. The production of Picinini's work thus involves detailed dialogue between Picinini as a client to her sculptors. What is then created by Piccinini and is a combination of the efforts of various people.
Nolan
Traditional materials and medium are used by Nolan in an unconventional manner to create distorted and even naive art. The 'Kelly' series by Nolan incorporates this very approach and is clearly of conceptual relevance. While oils are used in the traditional way, with the use of a lean then fat layer, how they are applied is unique. Each brushstroke is almost violently slapped on with a paint brush to effectively blur the boundary between nature and man, or in this case, Ned Kelly and the land. This method repeats through out the series to create images that represent Ned Kelly as the Australian bush icon.
Tuesday, April 1, 2008
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