Panel III: Is It Real?
Inspiration
This was first inspired by a song lyric from Down With The Fallen by Starset
"Tell me what is real
'Cause I've lost my way again"
I used that as an idea because of how precious the song is to me. It has been close to me for a few years now, as it has described my life rather well. I've lost my way many times, and I have realized how far I disassociated from reality, as if I can no longer tell what is real and what is fantasy. I had even overly romanticized someone I cared about, and it occurred to me when I was digging through my things at home to get rid of much of it. I came across an old journal, and flipped through it, a sense of nostalgia, perhaps. But one of the journal entries woke me up, as it read what the truth was, and my heart skipped a beat, reality finally hitting me. I went into thought. Was there anything else that wasn't real, but had wished so hard to be real that I lost sense of reality?
Lost in thought, I realized I was slowly becoming the person I made up over the years, an original character whose past was written through multiple trials in different fictional stories, finally landing in her tragic history. I realized I fantasized so much, and wished so hard for this to become real that I was leaving reality.
That situation is what sparked this. Is what was false finally becoming real, or is it just another delusion? Is this girl truly entering the world she desires, or is it just wishful thinking? I suppose, in a way, this was me facing another part of the past that I cannot erase. I won't run from it, but perhaps the wishful thinking is still there, as I still fantasize in order to feel safe and free. Every single night I fantasize being in those worlds as my original character.
"Tell me what is real
'Cause I've lost my way again"
I used that as an idea because of how precious the song is to me. It has been close to me for a few years now, as it has described my life rather well. I've lost my way many times, and I have realized how far I disassociated from reality, as if I can no longer tell what is real and what is fantasy. I had even overly romanticized someone I cared about, and it occurred to me when I was digging through my things at home to get rid of much of it. I came across an old journal, and flipped through it, a sense of nostalgia, perhaps. But one of the journal entries woke me up, as it read what the truth was, and my heart skipped a beat, reality finally hitting me. I went into thought. Was there anything else that wasn't real, but had wished so hard to be real that I lost sense of reality?
Lost in thought, I realized I was slowly becoming the person I made up over the years, an original character whose past was written through multiple trials in different fictional stories, finally landing in her tragic history. I realized I fantasized so much, and wished so hard for this to become real that I was leaving reality.
That situation is what sparked this. Is what was false finally becoming real, or is it just another delusion? Is this girl truly entering the world she desires, or is it just wishful thinking? I suppose, in a way, this was me facing another part of the past that I cannot erase. I won't run from it, but perhaps the wishful thinking is still there, as I still fantasize in order to feel safe and free. Every single night I fantasize being in those worlds as my original character.
Research
“10 Artists Who Shatter Our Perceptions of Reality.” My Modern Met, Alice Yoo, 26 May 2017, mymodernmet.com/smartwater-10-artists-who-shatter-perceptions-of-reality/.
“Seeing is Believing: 5 Art Shows Which Question Reality.” Bushwick Daily, KSENIYA BARANOVA, 9 June 2016, bushwickdaily.com/bushwick/categories/news/3701-seeing-is-believing-5-art-shows-which-question-reality.
As the idea of challenging reality is my topic, I went after artists who also challenged reality. I was quite fascinated at my findings. Quite a few artists decided to challenge reality in different ways. I was seeking ideas as to how specifically to challenge reality.
"A Painting Too Real" fascinated me the most. I love how the water is dripping from the canvas. Erik Johansson was a contemporary artist, specifically photo manipulation. I like how the painting starts to become real. This idea is what I hope to bring into my piece. The water is flowing from behind the canvas.
I wanted to pull the same style of interpretation, where an image is almost forced into reality. Although Erik manipulated photos for her work, I am trying to make a drawing real. The idea remains the same, however the technique varies. Another idea that is deepening in Erik's work is the work becoming real itself. It is something that happens within the mind of an artist. They mix their work and reality in some way. Although her work is more of the "painting" becoming real and pouring into the real work, my project is the opposite, reality pouring into the work. The desire for the mind and reality to mix is relatively common among us artists. This seems to be the meaning behind Erik's work, and my intended meaning for this project.
Although other artists had their interpretations of reality and "fiction" mixing, Erik's was the most fascinating for me, especially the piece "A Painting Too Real," which pours the painting to the real world. The other artists use placement and colors to challenge the reality of their piece. The idea of being blanketed by sand, pulling a road behind, or a canvas pouring with water. It was all very fascinating to look at, but they don't all mix reality and fiction quite like a story. Many artists who challenge reality are more like the majority of the ones who came up in research, which will create something that appears real, but also looks so false. Erik's work seemed so real, as if that water could be drank, touched.
"A Painting Too Real" fascinated me the most. I love how the water is dripping from the canvas. Erik Johansson was a contemporary artist, specifically photo manipulation. I like how the painting starts to become real. This idea is what I hope to bring into my piece. The water is flowing from behind the canvas.
I wanted to pull the same style of interpretation, where an image is almost forced into reality. Although Erik manipulated photos for her work, I am trying to make a drawing real. The idea remains the same, however the technique varies. Another idea that is deepening in Erik's work is the work becoming real itself. It is something that happens within the mind of an artist. They mix their work and reality in some way. Although her work is more of the "painting" becoming real and pouring into the real work, my project is the opposite, reality pouring into the work. The desire for the mind and reality to mix is relatively common among us artists. This seems to be the meaning behind Erik's work, and my intended meaning for this project.
Although other artists had their interpretations of reality and "fiction" mixing, Erik's was the most fascinating for me, especially the piece "A Painting Too Real," which pours the painting to the real world. The other artists use placement and colors to challenge the reality of their piece. The idea of being blanketed by sand, pulling a road behind, or a canvas pouring with water. It was all very fascinating to look at, but they don't all mix reality and fiction quite like a story. Many artists who challenge reality are more like the majority of the ones who came up in research, which will create something that appears real, but also looks so false. Erik's work seemed so real, as if that water could be drank, touched.
Planning (Physical Sketchbook)
I had something in mind when I scribbled these ideas out.
I wanted this to be a transition. This was meant to force the audience to look towards the hand coming from the sketchbook. That hand is meant to transition to the final panel. I didn't want it to stand out from the other panels, however. So I made it to follow the direction of Forlorn Solitude. Forlorn Solitude was meant to begin the story, and this one is meant to use the element of surprise for the figure. She is surprised a hand comes from her sketchbook.
This also takes a likeness to the music video for Take On Me by Ah Ha. A hand reaches from her comic book and invites her inside. Unlike this project, the girl in the video comes back to reality, and the guy who took her to the comic becomes real.
I wanted this to be a transition. This was meant to force the audience to look towards the hand coming from the sketchbook. That hand is meant to transition to the final panel. I didn't want it to stand out from the other panels, however. So I made it to follow the direction of Forlorn Solitude. Forlorn Solitude was meant to begin the story, and this one is meant to use the element of surprise for the figure. She is surprised a hand comes from her sketchbook.
This also takes a likeness to the music video for Take On Me by Ah Ha. A hand reaches from her comic book and invites her inside. Unlike this project, the girl in the video comes back to reality, and the guy who took her to the comic becomes real.
Experimentation (Physical Sketchbook)
After my failures in Forlorn Solitude, I wanted to try something completely different in this one. This was where I decided to use less plastic wrap and more paper, adding thicker, more stable layers.
I started out with the arms of the figure. Instead of wrapping my arm directly, I tried wrapping the paper and plastic cling wrap around empty water bottles. In Forlorn Solitude, everything was too thick and unstable, so I was thinking to use this method here instead to see if I can make the figure thinner and more stable by layering paper instead of stuffing what I cut off my body.
I started out with the arms of the figure. Instead of wrapping my arm directly, I tried wrapping the paper and plastic cling wrap around empty water bottles. In Forlorn Solitude, everything was too thick and unstable, so I was thinking to use this method here instead to see if I can make the figure thinner and more stable by layering paper instead of stuffing what I cut off my body.
Here's when I started creating the legs as well. I attached two water bottles together to make thickness, then wrapped newspaper around the bottles. To create the rounded shape, I folded more paper and stuffed it on either side of the attached and wrapped water bottles.
This would create the right thickness and shape for the limbs. Using this method proved more accurate than what I used in Forlorn Solitude.
This would create the right thickness and shape for the limbs. Using this method proved more accurate than what I used in Forlorn Solitude.
I have much trial and error within this project. It was between the materials, the new placement for accuracy, the better support methods.
Here's a comparison of the final idea for the planning sketch next to what started to come out.
There was much difference between Forlorn Solitude and this project. Forlorn Solitude was very thick and awkwardly attached, and as such, something I wanted to avoid here. As a result, I tried some new techniques for this one:
1) Joints
2) Chest
3) Abdomen
4) Waist and thighs
5) Angles
In Forlorn Solitude, I had just kept adding paper and tape to the joints. In this one, I tried cutting cardboard rolls to fit between the thigh and the calf. I then taped that in place and wrapped plastic around it. In Forlorn Solitude, I just almost entirely ditched trying to shape the chest and abdomen. In this one, I used bottles to shape both of them.
Also, in Forlorn Solitude, the waist and thighs were almost sloppy, as I didn't know how to go about making them. In this project, I lined the thighs with the bottom of the waist on the abdomen, and then added a cardboard roll on the back for support. Then I taped that in place and wrapped it in plastic and paper. This is to shape and stabilize it. This worked much better for the project. The angles of the joints were tricky to work with. Throughout the construction of this project, I was trying to figure out how to get perfectly stable joint angles. Forlorn Solitude was sitting down, so it didn't require as much joint stability, so the angle didn't matter so much. This is my first time in this overarching project needing to take caution with angles.
1) Joints
2) Chest
3) Abdomen
4) Waist and thighs
5) Angles
In Forlorn Solitude, I had just kept adding paper and tape to the joints. In this one, I tried cutting cardboard rolls to fit between the thigh and the calf. I then taped that in place and wrapped plastic around it. In Forlorn Solitude, I just almost entirely ditched trying to shape the chest and abdomen. In this one, I used bottles to shape both of them.
Also, in Forlorn Solitude, the waist and thighs were almost sloppy, as I didn't know how to go about making them. In this project, I lined the thighs with the bottom of the waist on the abdomen, and then added a cardboard roll on the back for support. Then I taped that in place and wrapped it in plastic and paper. This is to shape and stabilize it. This worked much better for the project. The angles of the joints were tricky to work with. Throughout the construction of this project, I was trying to figure out how to get perfectly stable joint angles. Forlorn Solitude was sitting down, so it didn't require as much joint stability, so the angle didn't matter so much. This is my first time in this overarching project needing to take caution with angles.
Process
The process in this project is nearly identical to the process in Forlorn Solitude. It is simply wrapping myself in plastic and paper.
However, learning from Forlorn Solitude's mistakes, I took other steps to try for accuracy and neatness in this project.
However, learning from Forlorn Solitude's mistakes, I took other steps to try for accuracy and neatness in this project.
My new method took a little more time, but it was well worth it for the accuracy and stability I was getting.
By wrapping materials directly instead of later stuffing them, I was able to gain better results immediately. At this point, I was also contemplating the need to paint the figures. If I can shape them right, color may not be needed. I also want the audience to see what the figures are made from, letting them see for themselves one of the many ways to make such projects, especially without money. On top of that, painting them would be a lot of trouble, so that's another reason I wanted to avoid painting them.
Because of the mistakes made in the previous project, Forlorn Solitude, I experimented other techniques and methods in this project. I wanted to find a better method while using the same materials.
While this is another purely experimental project, I am rather proud of how it's going. In Forlorn Solitude, I had used up more than 2 rolls of plastic cling wrap. In this project, I used less than one roll to make four limbs. I think using this same method, with little variation, for the next pieces may limit how much cling wrap is needed. I might be able to only use one roll per figure, if not less.
As I move forward with this overarching project, I will continue experimenting methods to use less cling wrap. I get all the ads and newspapers in the mail and from other resources (such as libraries with discarded materials), but I have to buy cling wrap. I'd like to experiment to see if I can make two figures with one roll of cling wrap.
This is also a fun project in general. I liked how much fun I had experimenting and creating different methods of building these figures from few materials. And because I had fun, I enjoyed developing my skills throughout.
By wrapping materials directly instead of later stuffing them, I was able to gain better results immediately. At this point, I was also contemplating the need to paint the figures. If I can shape them right, color may not be needed. I also want the audience to see what the figures are made from, letting them see for themselves one of the many ways to make such projects, especially without money. On top of that, painting them would be a lot of trouble, so that's another reason I wanted to avoid painting them.
Because of the mistakes made in the previous project, Forlorn Solitude, I experimented other techniques and methods in this project. I wanted to find a better method while using the same materials.
While this is another purely experimental project, I am rather proud of how it's going. In Forlorn Solitude, I had used up more than 2 rolls of plastic cling wrap. In this project, I used less than one roll to make four limbs. I think using this same method, with little variation, for the next pieces may limit how much cling wrap is needed. I might be able to only use one roll per figure, if not less.
As I move forward with this overarching project, I will continue experimenting methods to use less cling wrap. I get all the ads and newspapers in the mail and from other resources (such as libraries with discarded materials), but I have to buy cling wrap. I'd like to experiment to see if I can make two figures with one roll of cling wrap.
This is also a fun project in general. I liked how much fun I had experimenting and creating different methods of building these figures from few materials. And because I had fun, I enjoyed developing my skills throughout.
Next, I started to attach the limbs.
This also varied from Forlorn Solitude. Unlike in Forlorn Solitude, this figure stands on the hands and calf. The arms must be the most stable. If they are not perfectly stable, the figure will fall. I also had more to do with the arms than just stabilization. In Forlorn Solitude, I had tried to attach the arms by wrapping the plastic cling wrap around the entire figure, which then resembled a restraint around the upper arms. This restricted the figure, even to the point where getting the clothing on was a challenge. This is something I aimed to avoid in this project.
I wrapped the plastic under the arms rather than around to attach them. It takes more layers, but it's not awkwardly limiting the figure. I also sought to wrap the joints differently, using the cardboard on the rolls from the empty containers of plastic wrap, paper towel rolls, and toilet paper rolls. By using those, I can easily round off the joints and stabilize them to be more sturdy.
I figured the new strategies would be of use, and it seems I was correct. The limbs were more accurate, the joints were more stable, and the weight was lighter.
I was able to improve my techniques for this method of sculpting by reflecting on my first attempt, Forlorn Solitude. Although the joints aren't quite stable yet, they are more stable than the previous project. The next best course of action would be to perhaps stuff the cardboard tubes with newspaper to make them hard.
See, challenging reality is difficult visually. The full figure isn't the only piece of this project. The part that is mainly meant to challenge reality is the hand coming from the sketchbook. The challenge comes from the angle, rather than a visual pattern. It's meant to make the audience question if the hand truly is coming from the sketchbook. I wanted to make it seem like it's dripping from the sketchbook, like the water dripping from the canvas. It brings something false into reality.
I wrapped the plastic under the arms rather than around to attach them. It takes more layers, but it's not awkwardly limiting the figure. I also sought to wrap the joints differently, using the cardboard on the rolls from the empty containers of plastic wrap, paper towel rolls, and toilet paper rolls. By using those, I can easily round off the joints and stabilize them to be more sturdy.
I figured the new strategies would be of use, and it seems I was correct. The limbs were more accurate, the joints were more stable, and the weight was lighter.
I was able to improve my techniques for this method of sculpting by reflecting on my first attempt, Forlorn Solitude. Although the joints aren't quite stable yet, they are more stable than the previous project. The next best course of action would be to perhaps stuff the cardboard tubes with newspaper to make them hard.
See, challenging reality is difficult visually. The full figure isn't the only piece of this project. The part that is mainly meant to challenge reality is the hand coming from the sketchbook. The challenge comes from the angle, rather than a visual pattern. It's meant to make the audience question if the hand truly is coming from the sketchbook. I wanted to make it seem like it's dripping from the sketchbook, like the water dripping from the canvas. It brings something false into reality.
As I favored Erik's work, I tried to pull off the same realism she pulled off. My favorite of hers was "A Painting Too Real," and that is where water poured from behind the painting, flooding the room. It's like it jumped from the canvas. In my figure, I was trying to transition from Forlorn Solitude to New Life, and Is It Real has to transition. The figure is staring at the hand coming from the canvas. That hand is coming through the sketchbook. I tried to make it as sudden and real as Erik. This was difficult because of how hard an arm is to draw, which is how it would transition to reality. As it comes along, it becomes harder to pour the sketch to reality. The way Erik manipulated her images made it seem all too real, while I am having trouble making mine seem real. The way she makes it seem real draws the audience in to the piece more, makes them feel like the water is real, and they could begin to feel it. Accessing the senses is what makes a piece seem real. I had trouble accessing the senses like that. This takes value away from the work.
Reflection (Physical Sketchbook)
I am rather satisfied with my newer strategy. It's been less messy. In my first attempt at this kind of sculpting, the placement was weak and awkward, some parts too thick, others too unstable and thin. The shoulders were tied to the body awkwardly. Knowing my mistakes from that attempt, I tried more from this project. I tried using less wrap and more paper, connecting the joints differently, shaping the figure more precisely and accurately using different means. I wanted to use what I know were my mistakes in Forlorn Solitude to make this project better. I used tighter plastic layers, wrapped materials carefully under the arms instead of around. I also used a smaller form. Forlorn Solitude was far too thick, making it less real. It also threw the balance off, both visually and physically. I wanted to avoid this in the second attempt at this style of sculpting. I layered the most paper in the abdomen and legs to try to put the weight towards the floor, where the figure needed to stay.
This is a very direct visual of the figure alone compared to Forlorn Solitude. Forlorn Solitude looked so terrible. The shoulders were bound around the figure instead of under the arms, the hands were mostly tape that was falling apart. The arms and legs were excessively thick, and the head was a ball instead of in the shape of a head. Looking at those mistakes, I tried something new in Is It Real, thinning out the limbs and going between all of them. I thinned out the neck, broadened the shoulders, added more sturdy material for the joints, and made sure it was properly shaped. I tried more to shape the neck as well, using bottles to stabilize it. I used thick, small layers wrapping around the "neck" and then wrapping that in cling wrap. This did indeed stabilize the neck, and also allowed more accurate shapes and proportions without falling apart. The draft for Forlorn Solitude was purely experimental, as it was my first time using this method. In reflecting upon the mistakes in Forlorn Solitude, I was able to improve upon it throughout Is It Real.
The form changed from Forlorn Solitude as well. By comparing this new strategy to my first attempt, Forlorn Hope, I was able to identify my mistakes and adapt to change in the next experiment. The project had to balance as well, otherwise it will fall over. Every limb and amount of weight had to work in unity, or everything will collapse.
The form changed from Forlorn Solitude as well. By comparing this new strategy to my first attempt, Forlorn Hope, I was able to identify my mistakes and adapt to change in the next experiment. The project had to balance as well, otherwise it will fall over. Every limb and amount of weight had to work in unity, or everything will collapse.