Tuesday, October 19, 2010

Many Days (& Nights) in the studio.

Hey lovers.

This isn't the time for my After-Reaction so I won't say a single word and just throw up my process, drawings, and design statement. And I'll write a different entry this weekend or the next about the personal side of it.

Okay, I'll say some words. I vote for a bed in that loft above the entrance and a secret bathroom because it's hard not sleeping or peeing when you're technically not allowed to be there all night and are forced to be locked in. I literally would have cried if they tried to kick us out just to get sympathy.

"Successful people don't sleep." -My studio mother
But humans sleep, Jan. Although I'd like to say I think I fared well. 13 hours of sleep in 5 nights. Meg sleeps 13 hours in one fucking day. I usually sleep 6-8 hours a night. (8 if I'm lucky). This studio weekend kicked my ass. I would normally have loved this (and okay, maybe a few more hours of sleep because sleep is kinda necessary after awhile) but I grew to hate my piece... more on that later.

I'm linking the photo albums in the section titles and choosing my favs of each just for a preview.

Visual Research:

Process (Sketches, To-Do lists)

Die-Forming process

Visual Progress: (In this album, I wrote a lot of notes under the photos)
My lovely little bench(es)
Visitation from Alex

At the point I was going crazy... Kelsey conveyed this well for me hahaha

End Drawing:
I didn't have any colored pencils so I had to get creative... and used my tablet to color and draw (a bit). It reminded me how I used to love digital art/design.

Design Statement:

To Contain

To contain something most often provokes thoughts of Tupperware, purses, and the like. However, containing can be more abstract. A home contains a family and their relationships until they leave the home, a heavy suit of armor contains the wearer in gravity, or a sheet of paper contains each individual element of music translated.

This rather large neckpiece contains the wearers themselves as a part of the neckpiece because of its size. The most important elements of jazz are woven through the components of the neckpiece to overtake the body. The thick wire and leather lace overtake the wearer by creeping toward their chest, where each person feels the rhythm of the music the most. At thunderous concerts, the bass of the rhythm is amplified and feels like a heavy beating drum inside. The weight of the bulbous central piece is felt on the chest like the weight of the rhythm in the chest. Any addition to the actual container designed into the back of the central piece would add to the weight to increase the rhythm. Throughout each of the pieces, the lines and curves of melodies are made in material form through the silver inlay as highlights to the whole piece. The large metal pieces themselves are reminiscent of the melodic curves to reinforce that the melody is carried throughout a song. The element of jazz seen in this piece alone that sets it apart from other genres of music and specifies this as a jazz effect as opposed to rock (because all music has rhythm and melody) is the overall effect of mood. The color blue can be interpreted in two extremes, making it the best color to be represented. Blue is slow, tranquil, and reflective, but blue is also uplifting, stimulating, and light feeling. In some cases, both interpretations can be fused. It all depends on the individual interpretation.

What might not be as evident to those who do not know the process is the integration of improvisation. Jazz is like art in that creativity is key in the creation of the music. There is a structure, but smaller details are worked out in the flow of the creation. Such details would be the swirls of the melodic inlay or even the solutions to small mishaps that happened along the way.


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