Wednesday, May 2, 2018

PROJ 3 - FINAL

final printed in PLA plastic.

primed with black spray paint, hand-painted with acrylics.
final product with leather cord attached.

detail & gloss finish.

Eazora never made it to the Briar Patch planet. Since her death, Phila has made every last effort to fulfill Eazora’s wish for her granddaughter to explore all she can. Metal and gold and jewels decay long before life on the Briar Patch, and while it’s shining glory has all but faded away over the passage of nearly three hundred years, it’s symbolic nature is enough to grant Phila that same reflective beauty as she looks to the future for brighter and better days, grasping the pendant that now hangs very close to her heart.

Friday, April 13, 2018

PROJ 3 - Modeling and Shaping

working through this and decided that it might be a cool idea to turn the brooch into a pendant. a really big statement piece. thinking it could hang from the upper gear with a chain, maybe a ring around here or a hole added to slip it through. also, no smiley faces with the holes & crescents this time!

Tuesday, April 10, 2018

PROJ 3 - Sketches

three concept ideas for phila's brooch. i'm leaning more towards the far right one because i really enjoy the gears idea. it matches well with the ka'bu people's technological advancement.

Sunday, April 1, 2018

PROJECT 3 - Mood Board and History



“Carry this piece of me with you, and no matter the games of the stars, I will be there.”

Born in 2047 before the dissenting members of her society fled to brighter futures, Phila blended well into the cultural and artistic haven that was the Ka’bu. Her family was a smaller but wealthy one, and she enjoyed many of the pleasures that came with a society built upon mechanized labor. She was pretty, talented—and lonely. The life of an only child was a boring one for most of Phila’s early childhood.

Her peoples’ obsession with beauty and perfection naturally drew her to the freedoms that came with art, which also served as a reprieve from the ceaseless monotony that greeted her at every sunrise. As she grew into her talents, Phila made a name for herself as a painter, exploring the shapes and landscapes of foreign worlds that she could only imagine. Only so much could be seen from the windows of the starships, and she made it her mission to illustrate those millions of possibilities to the very farthest extent of her abilities.

Over the course of most of her early life, no figure was more influential or crucial to her development than Eazora, her grandmother and most present companion at any time. The older woman’s face was wisened with years spent aboard the many ships of the Ka’bu, and her vast knowledge of places forever unknown to her granddaughter was a constant source of inspiration for Phila. As Eazora’s memories faded with age, Phila would replace them in every shade and color made available to her.

In 2066, Phila’s artist fellows and members of the warrior classes came at odds, and the Ka’bu society began to tear apart at the seams. The political flames incited by resistance and the newfound desire to explore both frightened and intrigued Phila, who felt that her dreams were finally beginning to come true, albeit at the cost of peace amongst her people.

Eventually, it was decided that a small party of Ka’bu would depart, in secret. Phila managed to arrange a place for herself inside their numbers through complicated favors and persuasion on her part. Her talents, she argued, would be essential for the Ba’ku—as the resistance called itself—to remember home, and all of the places that had once been considered as such.

Eazora guarded the secret well, but hesitated in agreeing to join Phila on the journey to the new land. Her health was failing, and she feared that she was beyond her time to engage in such a life-changing event. Phila pleaded with her, tearful and insistent that she simply could not go without her beloved grandmother. Knowing what it meant to Phila, Eazora eventually consented to joining the dissenters.

However, shortly before departure, Eazora’s health took a turn for the worse. Phila was heartbroken, and struggled to decide where her heart and responsibilities rested. The days until her assumed departure passed quickly, with no change in Eazora’s condition.

“Phila, you have always wanted to see those places,” the old woman breathed, her eyes glassy.

“Please, go see them. For me.”

The brooch placed into Phila’s hands by the dying woman was ornate and old, but it gleamed like the stars surrounding the Briar Patch planet that greeted her through the starship’s glass.

Tuesday, March 6, 2018

Rob Meyers Response

I mean, yeah, this guy's got all of his ducks in a row. Readymades and the sharing nature of 3D models alongside copyright restrictions and freedoms is a weird place to begin a discussion. But when the commissioning party has paid the artist and the artist has completed the work, their agreement is finished and the intended shareable file is then accessible to the public--that's the point. It was different in the 20th century when art was an exclusive club and it was much more likely that a person would pass a sculpture or painting on the street and think "wow, that person is more talented and better off at creating than me" compared to today. Art is most certainly democratized and when that file is shared to everyone it becomes possible for anyone to be that famous artist.

In an ideal world, credit would always be given where credit is due. It's a murky field when a) the original work is intended to be given to the masses and b) sometimes an original work can be remixed so extensively that hardly anything of the original remains. Where's the line drawn there? That's the question Meyers is asking. I believe it lies in the individual artist's value of original credit and/or the contract between the commissioner and the readymade's artist.

If Bob takes the dog balloon and incorporates it into a sculpture of a bounce house, he should of course say "Meyers' dog is in there somewhere, pay him." But when Sally takes that same balloon and 3D prints the pieces of it in the moment it is destroyed by an errant needle, what does she say then? One solution is to say "Meyers' dog was an inspiration for this piece," or to title the new work "Balloon Dog in the Aftermath of the Point," and describe the original form somehow or somewhere to give credit that way. Alternatively, if Sally points to the intent of the balloon dog as a mass-shared file and doesn't bother with crediting Meyers because that was the point, then isn't that valid too?

this doesn't make any sense

WEEKS 4-8 DEBRIEF

week 3 brought us the beginnings of furthering the understanding of the new aesthetic and what its demands are for the new era. since then, we have discussed, in a nutshell:

- the democratization of art and techniques that become readily available to the public
- the widespread nature of mass-produced works of art
- the ability of the people to influence major corporations' intent and marketing reach
- the proliferation and important of readymade art and the concept of original work vs copies (or, for our purposes, the "remixing" of original work)

the latter concept is the central idea of our second project. blending several types of 3D models (retrieved from sources who support and expand upon the first two principles i noted) to create a newer concept of a chimera is symbolic of this period in the semester. our focus has been on the individual's ability to manipulate the regulated nature of our world and remind ourselves of the power that comes with having the tools to do so. there is significance in google's providing that architectural program (i can't remember the name) to the masses, and similar reveals of public awareness.

last week (week 8), we traveled downtown for the Sea3D (mixed feelings about the name) tour, and it was an interesting experience. i was able to get a test model actually printed that i may use for the actual project, and we were able to see an actual industry-grade 3D space scanner in action. that was cool. we were also able to better understand the differing types of 3D printers and were instructed as to the variety of settings necessary for determining the outcome of the model. the most interesting and informative for me was the infill. there's a great difference between 15 and 100%--i.e., the heart and the model of the boots and gun that were displayed to us. madison, kayla and myself also got to try a macaroon for the first time afterwards, so it was a pretty successful trip.

on thursday (3/1), we finally had critique for the first project. some really spectacular work was produced and put on display, but it was clear that few people were fully prepared for it, which is likely a symptom of a) the timeline upset we had for this class early on, b) the CNC machine's tool breaking which pushed many people back, and c) perhaps most significantly, the spring semester in general. it's tough. i'm trying to maintain a balance between putting in a good effort and reminding myself that my own time is important and really getting intooi doing the things i want to do for myself. it's hard.

mine was one of two projects that thomas' didn't have any extensive feedback for, which was a relief. i'm doing okay. ilan's was fantastic.

over spring break i'll be putting more work into project 2 and seeing what i can come up with.
i hope it's fruitful.