I chose to create a lion based on one of the very first images I attached as inspiration. However, I still wanted to follow Beth's method of using shapes drawn from Fibonacci numbers, as this was a methodology driven practice, which I had never really experimented with much as an idea before, and was something I had really experienced a change in experience from previously.
So I used a compass to map out a plan for a face composed of Fibonacci shapes, just to make sure I could achieve believable proportion with these and create a recognizable lion.
It was very basic, but allowed me to quickly double check my idea was feesible within the creative limits of this method (with a little artistic license in there of course!).
From this I then traced my core shapes from which I could start to build up my face shape. Overlaying multiple large pieces of tissue paper built up the opacity of the work quickly, and with a little pen detailing overtop I was quickly looking at a very characteristic lion face. I then began to construct the mane, again from Fibonacci circles. However this time instead of constructing a form from many overlaid complete shapes, I instead cut away from the circles to suggest locks of hair.
Once again I benefitted from the beauty of this method in allowing controlled composition. This allowed me to repeatedly test the cut and shape in the style of the mane against the face without actually sticking, and gradually start to build the picture up. The only artistic commitments I had to make were ones that I chose, and every induvidual element of the design could be manipulated in any number of ways before being fixed into place with glue. 
The lion was rapidly coming together, however I was not satisfied with a simple two dimensional illustration. Some depth had already been suggested, as you can see in the picture to the right, by careful overlapping of the large forehead circles. This gives translucency at the outer edge, and the suggestion of tone. I still wanted to add some extra layers in however to really make the artwork pop and increase the look of a painted stencil without the environmentally harmful materials.
I added white tissue sections of the face to highlight, and additional tones to the hair to suggest depth but also lend a more abstract, painterly quality to the colourway. I really liked how this looked, but was also tempted to add some further geometric abstractions as a background to the piece. As another nod to elements of Beth's practice, and how it had combined with my work in our collaborative sessions.
I chose to do this with a series of white circles, also from the Fibonacci sequence, which I intended as a minimalist take on Beth's style. I wanted the central focus to be the lion, however I knew that the overlaps between the white circles would stick out against the wall, and call particular attention to the interesting intersections and new shapes conjoured between.It also had connotations of a cloud of some kind, giving dreamlike qualities to the image. At this point I realised I had neglected to give the poor creature any ears, so quickly added those in, and used a pen to suggest some more black detailing in the mane. Once everything had been glued together, the work was ready to go! I was really excited to see how this piece would translate into the street.
I also just wanted to make a final change to our shark piece from the last collaboration session, and remove the background. I had been uncertain about it intially, and having generally unconsciously looked at it for the past while, it had not grown on me. So using a scalpel I cut around the visible parts of it and it was as if it had never been there. Now I had two pieces ready to go onto the street, and would hopefully get the chance to install them very soon!
No comments:
Post a Comment