#human form
Frosted rock crystal, gold, sapphire, and ruby girl’s head brooch, Van Cleef & Arpels, c. 1960s (at The Back Vault)
…wtf, Van Cleef & Arpels? Like the teddy bear from hell wasn’t enough? Now you give us a sea monster/vampire/Japanese horror movie girl? It doesn’t help that the light hitting the facets of the mouth jewel make them look like fangs. What the hell was going on at VC&A in the ‘60s? (Drugs. It was probably drugs. Please tell me it was drugs because the other answer is that they were summoning eldritch horrors through alchemical offerings and… just no.)
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Posed, acrylic on linen, 2019 (bottom right image is of the painting’s first layer, bottom left and top right are finished)
Source image (top left) from Leprosy in New Orleans by Henry W. Blanc, 1889:
“Case 27. Lepra Macula.— Aged 14 years. Presented herself in my clinic at the Charity Hospital, February 28th, 1888, with the following history: Born in the Fifth District of this city (Algiers) and has always lived there, attending one of the public schools.”
I want to draw my Splatoon OCs, but also miss drawing hair. So, make ‘em human!
Sammy would probably never stop running if she had a set of legs.
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Who else is playing Dragalia Lost on mobile? I can’t believe how polished and fun it is!! Just got Pele from the new event last night! ^_^ Some of the dragons in the game have human aspect forms, but I don’t think the lightning dragon, Jupiter has one, so I decided to make my own! Also, I felt obligated to add some more beard to the game as it is woefully lacking.
*Fun tidbit, all of the actual colors used here were taken from Jupiter’s official artwork.
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Human Static go Brrrrr
Review of TED Talk artist, Antony Gormley
Gormley’s talk was based on combining the theoretical aspects of space, and time with the physical dimensions of the corporeal realm. He explains how it is continuous and everlasting, existing without boundaries both internally and to the exterior of the human form, using it as a catalyst for reaction and interaction.
Gormley claims that his interests lie within creating a subject and collective space that usually only resides within the darkness of the human body, specifically the mind. He views this as a place of imagination and of potential, a place in which there are no ‘things’ in this 'dimensionless, limitless, indeed endless’ space. Gormley states that the most profound quality is that is is objectless, which is in direct contrast to the very nature of sculpture as it produces a proposition of materials and scale, whereas paradoxically, this space does not have any of these. It is not inhabited, influenced or touched by foreign entities.
However, as a sculptor, he works directly with real places that have intimate elemental features that pose the question 'can the dark void of the mind be mapped?’ Best shown in ’Aperture VII’ 2010 as it clearly marks out the fundamentals of the human form, but without giving it any true weight or physicality.
(I found this a fascinating notion for a sculptor, and didn’t think that his lecture would be as philosophical and thought provoking as it was.)
Using the figure as a basis, a physicality in which his metaphysical void exists in the mind Gormley claims that the body is its boundaries, its limit in existence, making a formless entity visible and substantial. He did this through the use of an external membrane, his piece, 'Learning to See' (1988-98). A lead capsule that encases the space where Gormley once stood. It’s name originated due to the purpose; an object that sees reflectively and speaks about that connection with the darkness of the interior of the body, demonstrated with the darkness that resides within the capsule.
To develop this idea, Gormley now placed the negative cast against a natural element, the horizon ’Another Place’ (1997). The piece is looking out beyond the horizon, as these surrogate bodies question the relationship between the natural and the unnatural, the internal and the external; a relation with the real body and the infinite body. It raises the idea of the interior darkness and its bodily limit, stretching out to the horizon and whatever is beyond it.
’Blind Light’ (2007) consists of light, water vapor and vast openness which materialistically and aesthetically is contradictory to the encapsulated void of the figures previously demonstrated in Gormley’s work. However, this piece is a better, clearer representation of the ideas Gormley spoke of previously.
“You disappear, to others and to the self, visually and emotionally, you are now consciousness without object, you are the dark void that could only possibly exist internally, now it is external, it is real, freed from the dimensional and measured, ambient environment, the space is actually filled with people, disembodied voices when others approach your own body that they appear to be representations, when they appear close to the edge of the box, they are representations, representations in which the viewers become the viewed.” - Gormley
’Aperture VII' (2010)
'Learning to See' (1988-93)
'Another Place’ (1997)
'Blind Light’ (2007)
Reviewed by, Katie Varey
12/1/2014
Video can be viewed at:
Once the plaster had set within the shoe, I tried to retrive it, however in this case, the right court shoe actually snapped along with the plaster interior. At first I thought it was useless, however when I cleaned up the plaster, smoothing it, it reminded me of the resin blocks found in pointe ballet shoes. Also the exaggerated and broken arch of the foot connected perfectly to the ideas of foot binding.
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Casting with shoes
Carrying on with the casting idea inspired from the foot binding and ballet research, I have started using recycled shoes and creating a mold of the negative cavity of the interior. Whilst still wet, ribbons have been embedded to link to the research and also to keep the shoes together as a pair. The shoe size does in fact matter at this point in development as I thought that the smaller the shoe, the more it related to the idea of foot binding - the young age at which the female feet are broken and bound.
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I’ve got this cute little HC that when Pennywise is in his human form, if he gets really nervous or very distressed, his form changes to the clown in the form of a glitch. So he will look just like Bob Grey, but he gets all nervous and his red nose comes back or one eye turns yellow or one line of his make up shows up faded on his cheek.
idk I thought it was kinda cute
