Monday 20th February
Establishing the focus of my project:
The essence of my work is the physical form of the human body. I am particularly interested in the physiological impact of having an idea; this is the focus of the entire project. I feel that a better understanding of the shapes, dimensions and forms of body parts will expand my biological knowledge and therefore help me understand the scientific reasons behind the electrical impulses.
When our minds are stimulated somehow we create an electrical wave of energy that sparks a thought or an idea. All the time we are transmitting these impulses in our minds. They run across and between cells in our brains and are somehow manifested as a comprehensible sentence which is usually followed by a recognisable action in response. I am intrigued to find out how this happens and what the responses to these thoughts are.
Tuesday 21st February
From my visit to the Human Biology Exhibition at the Natural History Museum, I found that we almost entirely run off these electric impulses. Every thought that occurs is an electric 'wave of excitation' that runs along the nerves and is soon followed by an action, where another signal is sent from the brain to an effector e.g. a muscle which contracts or the heart that beats (which incidentally is also another electric impulse).
Drawing from real body parts in the same way as Leonardo da Vinci really inspired me as I found there was so much more detail than could be seen from any picture or diagram. I began to really notice the texture of the organs trying to recreate these surfaces in my drawings, while I also realised the colour of the preservative fluids and boxes they were contained in. may have had a huge impact on the way that I saw them. To look further into this I researched the anatomist Dr Gunther Von Hagens who created a method of preservation without this called 'Plastination'.
In the exhibition, I was also captivated by the change in the cell structures as the magnification became more intense. Such a dramatic difference in how the makeup of the brain is shown really caught my attention. I really began to notice how size can make a huge impact on how the body parts are perceived and it made me wonder if doing things like increasing the size of my drawings would create a new element or statement which highlights the concept of electricity in the human body.
Wednesday 22nd February
I did some further drawings from the human biology exhibit at the natural history museum where I found that I favoured Ink drawings. I feel they have a clearly feel like that of a detailed scientific drawing. I really like the way that it is an easily manipulated medium that can act in many different ways meaning that it is easy to accurately depict small changes in tissue texture like those which are seen when using a microscope. My favourite image is the highest magnification as it is a very symmetrical, linear image which seems to be very pleasing to the eye. I can see a lot of potential in this image and feel that there is huge room for further development. I also find it particularly satisfying how ou can see the shape of the nerves - something that I wish to look to in the future during this project.
Thursday 23rd February - Monday 27th February
Research week:
I found this Exhibition at the Wellcome Collections inspiring! Electricity: the spark of life was really fun to go to one which was celebrating all I am trying to communicate in my project. It was also very illuminating teaching me further about the facts of electricity which has helped me develop both my theoretical proposals and construction techniques. I found it particularly satisfying to see the development of the equipment that I was using - seeing the progression as it became less and less organic. I found it frustrating how a large portion of the exhibition seemed to be dedicated to the old electrical experiments, rather than today in the here and now. This exhibition has not necessarily changed my ideas, it has rather built them to reinforce the route that I am exploring in my project
I enjoyed seeing the wide range of paintings produced from the singular theme at the Light Therapy Exhibition. Many of the artists had interpreted the theme in different ways, each producing their own unique ideas and findings. As inspirational as the exhibition was, it wasn't what I expected. The artists were not using light as part of their work but instead as inspiration leaving me disappointed with what I saw. Having said that I still found it useful to see the ways in which other people understood light. The theme of light as therapy also produced a similarity between all the works. Most of the artists in this exhibition had turned to the soft natural light of the sun to express a calm resolve of peace of mind rather than the harsh white light of an electric bulb. This got me thinking that it is not only colour that influences the interpretation of emotions but the light dynamic as well. this helps me build on my ideas - involving a type of light which could change the onlooker's view.
Although I was fun and interesting to see the Leonardo da Vinci's that were on display at the National Gallery. I did not find the experience particularly useful of fulfilling as I realised the pieces that I wanted and needed to see - the ones which related to my work- I did not have access to. This included things like his sketchbook and study of the human body. I, therefore, did not find the overall experience particularly significant, producing no changes to my thoughts or methods of how I carry out my work.
I also heard back from my A level teacher who told me to research the book 'The Sick Rose' wich depicts old images of body parts and diseases back in the time of medical discoveries.
Tuesday 28th February
Studying the heart that I bought from the butcher has really made me consider the texture and shape in my drawings. In a lot of them, I found myself trying to capture the difference between the fatty tissues and the muscle fibres while in others the veins running across the surface became more dominant. I really enjoyed looking at the different shapes that could be found on the surface of the heart, for example, the holes formed by the veins and arteries were twisted and contorted by the valves inside complementary to the light that glistened off of the folds and protrusions of the loose meat on top. However, I have decided that most of these drawings are not specific enough to capture what I stated in my aim: 'The principle and intention for my project is to explore the phenomenon of nerve impulses and electricity in the body. I aim to do this through researching the biology behind this phenomenon.' By exploring the hearts features by means of drawing I have decided that I need to make the inside of the heart-dominant. This is where the electric impulses occur and it is, therefore, this part of the heart that I should be focussing on.
I also hope to develop my work from these drafts by adding the use of colour, contrast or texture to highlight the 'bundle of his' (the area that the electrical impulses move along in order to create a heartbeat). All of my drawings so far have been concentrating on the shape and texture of the heart, and are therefore all monochromatic. I feel that the use of colour to accent certain parts of the anatomy will add depth to my work and accentuate the concept by visualising the electric impulses that move through the heart.
Wednesday 1st March
I began to push my experiments further by looking at the inside of the heart. I opened it up to reveal the contrasting surface between the heart walls and the chambers. I wanted to focus on the inside of the heart because this is the area where all of the electrical impulses occur:
To follow through my plans from yesterday I started to experiment with colour, using different techniques to try and create a range of different tones and textures. I did, however, begin with a simple line drawing in an attempt to capture the basic shape and allow me to push the media of my colour drawings to a new level. This worked well not as a finished image but by acting as a foundation and enabling me to see the contours of the heart more clearly when applying colour. It became a key stepping stone as it helped me differentiate between the levels of the heart's surface and recreate that in my work.
Overall I think that the two drawings I did today did not accomplish what I wanted to achieve - recreating a flesh-like texture. They were less convincing than I had hoped and were more graphically stylised than I intended. I have come to the conclusion that the materials I have used, i.e. marker pen and watercolour, don't allow for much detail to be added. Though a realistic image might be possible with watercolour, I have decided that it would be impractical and far too time-consuming to be worthwhile in this project. The best part of both drawings was the use of highlight. It really created a three-dimensional effect while also contrasting to the darker colours of the heart to create the 'glistening' effect (more in watercolour than marker) of light reflecting off a fresh heart. Tomorrow I am going to use resist methods to further my experimentation of trying to get a realistic method of drawing. I will continue pursuing the idea that adding highlights across the surface of the heart are key to achieving the result that I want.
Thursday 2nd March
I have discovered that methods like the wax resist and oil pastel are far more suitable mediums for fulfilling my aims of a realistic style. I began with the wax resist which I was hoping to use to create the bold highlights which can be seen across the hearts surface thus adding dimension to my drawing. However, I unintentionally managed to capture the texture of the fatty tissues where I had accidently applied the wax unevenly. This has created a variation of ink saturation where the in has stained the paper in a way that creates a lightly dappled effect. This has changed my perspective as I can see that it is important to not only have contrasting textures for different areas of the heart 'i.e. muscle and fat' but also within each of theses area as well. The final product has given a really delicate quality to the image which I feel reflects the heart perfectly in a recreation of the soft valve tissues and delicate heart strings.
Following the idea of contrasting texture and surfaces, I then decided to use oil pastels for contrasting reasons. I wanted the strong, textured muscle to be shown in the bold, colourful strokes of a pastel mark.This is the opposite to how the fat and valve tissues were depicted in the previous drawing made up of delicately detailed, translucent ink. I have decided that the images would work best if they were side by side in a drawing as it would show this difference of texture that I am going for, while also providing a realistic fleshy heart.
Friday 3rd March
To explore the heart further I decided to photograph it in the different forms that I had used to draw it. I had a fresh heart, a partially cut open heart, a fully cut open heart a frozen heart and a stained heart. I wanted to capture pictures of the heart in the most unusual way possible, in as many different forms as possible. Overall I took a wide range of photographs, however, some worked really well in comparison to some other failures. The pictures of the frozen heart worked
The pictures that didn't work so well were the ones that were quite simply the natural heart. I found the images to be quite mundane and where the heart was no longer fresh it had lost quite a lot of its original colour and vibrance. I also found it difficult to get variation in my shots as the heart was so symmetrical and looked almost the same from every angle.
The pictures of the frozen heart worked incredibly well. The ice on the surface had created a new dynamic on the heart while its solidity meant that it also kept its shape during photography. Although these were good, I do not consider these to be the most successful photos. In order to keep it fresh, I had to freeze the half a heart which I had stained blue. This meant that not only was there a distinction between the textures of the heart tissue but also between the now blue muscle and the ice. It is this that I feel has created the success of these images, providing a look of sharpness and slight alienation. This unnatural colour is not how we would shows a heart and therefore is shocking for us to see. This is the feeling I want to create with the used of electricity; that what we consider to be man made is, in fact, natural in the body.
Saturday 4th March
Overnight I left the blue stained heart on some cartridge paper. In the morning, the ice had completely melted and the ink had become wet so when I lifted the heart of it had left a slight blue print on the paper. I felt that the print left by the heart was far too faint but had potential as the print had a very life-like quality, even with this small amount of ink. I found there was a huge amount of detail. On reapplying the ink my feelings were confirmed; this was a perfect image of the heart. The new print showed the key areas in the heart in a very detailed way. Although the structure wasn't necessarily 'accurate', because of the movement and action of hand printing. The depiction of the tissues gave the image a sense of realism. I concluded that because the texture of the print looked real, for example, the surface tissue of the heart was clearly shown, our minds could then create the rest of the image.This experience has shown me that the stronger the image the greater the impact it has on the viewer, allowing them to use their imagination and think more deeply about the subject depicted.
My experiments with the prints lead to a collage. Now I have the texture I thought I could use the shape how I pleaded. The aim of this was to use the prints to represent the electric currents in the heart. I followed this by using the inner heart walls, which hold the bundle of his, as a reflection of the whole heart. The walls depicted upside down were meant to show the energy flowing to the hearts apex. I feel that this is a very loose connection and although the shape reminds me of lightning I think that a stronger link needs to be made.
Monday 6th March
I wanted to experiment further with the blue heart prints. I felt that they held such a strong place in my project because the image they created was what I felt to be an exact replica of the heart's surface. In my collage (so that I didn't destroy the original prints) I had used a photocopy, therefore, recreating the prints to look exactly the same. I then decided to use the photocopier as a tool to manipulate the prints. I was using the electric light from the photocopier to change and distort the images made from the heart. My aim here was to highlight the 'unnatural and manmade' electricity being inside the heart and causing it to beat. I feel like I managed to capture this by using and adjusting multiple settings on the photocopier and pursuing the boundaries of this medium.
Tuesday 7th March
I continued to experiment with the photocopier. I started by changing the colours it prints with for example I used one colour printing to look at the difference in the prints if an alternative colour had been used. Just using a single blue tone looked quite striking so I then photocopied the image, which I had just created, in negative side by side with the other image to form a small diptych. However, I am not happy with this as it strays too far from my aim of creating a realistic heart because here the bold colours and block tones of the native print give the image a minimalist, graphic-like poster quality which destroys the detail of the hand prints.
This did, however, make me think that changing the background colour was an interesting concept. I lifted the lid on the photocopier so that the prints would be surrounded by a black background instead of a white one. by doing this I realised that it allowed for the small details of the print to show up as bright specks on the darkness. my only issue was the border around the heart print from where it had been cut out. I came to the conclusion that the only way to sort this would be to print the original image with a white background so that no border shows and then re-photocopy it as a negative to the images merge.
When printed in negative the blue ink of the heart became a deep read. I really liked this as it brought the image back to a realistic heart. I felt like what had been produced was a photocopy of the heart itself and it contrasted greatly with the dark background.
Thursday 9th March
To experiment further with the photocopier I decided that just using the method as a means to show electricity was not enough. I wanted to use light within the prints and not just to create them. I came up with an idea of using a lightbox to display the prints. I think that this design will work well as it will allow me to work with a large number of different materials, allowing me to capture the true nature of the heart. I have decided to look into acetate, black card, silver film and high-quality paper as materials to print on to. I think that these will work well with the light box and capture specific areas of light.
Printing on black card did not work at all and produced the worst image. I realised that the card was too dark and absorbent to show the reds that were necessary to show the heart print in all its glory. the paper print, although it was not a disaster, did not work well It did not capture the light and when placed on the light box became faded. The silver film print worked on its own capturing the light from the surroundings however it did not let light through when placed on the light box. The prints on acetate worked very well, however, I had the same problem of the ink becoming faded when a strong light was placed behind it. I found that because the acetate was transparent three layers of the same image meant that the colours were bolder but the same amount of light could show through.
Friday 10th March
To make the image more relevant to the idea of electricity I developed this again by painting the heart gold. My aim was to make the heart look 'metallic' and to imitate the gold wires that are found in cables which carry electric currents around a building.This worked well, however, I feel that because the heart was not frozen it did not have quite the same characteristics as the original and did not work quite as well. as the previous images, even so, I printed the heart again.
Unfortunately, these reprints ith the gold acrylic (much like the photographs) did not have the same amount of detail as the ones I did with the blue ink. I, however, decided that this didn't matter as when used together the minds projection would fill in the rest of any missing detail. I developed my collage idea this time using the dramatic colour change to highlight the idea that the heart muscle contains conductive tissues. This experiment has worked as although I feel it looks tacky. It has allowed me to form an idea or basis for a more in-depth piece. The idea of contrasting the natural composition of the organ to other 'man-made' conductive substance is one that I want do make key in the development of my project.
Monday 13th March
My first point of call for my new idea of contrasting conductive substances with conductive tissues was to provide a basic image of the two. Using my previous work ( the gold and blue prints and the pastel drawings) I created long strips of paper. These shapes were meant to be representative of wires and directional currents. I placed them over the heart in an attempt to create a similar effect wth the drawing and make 'flesh like' wires yet the image was not quite what I had hoped for. I believe that this is due to the fact that the strips are too fat and not quite even, creating an ugly, stubby image. I also feel that the prints that I have used are not delicate enough to show any detail making them look like block colour and badly smeared paint.
I now plan to improve this by spending some time thinking about this image and the aim and pursuing ideas for development and progress. I hope to make the image less clumpy and more delicate depicting the length of the wires and nerves that conduct the electricity.
Tuesday 14th March
I followed my aims from yesterday's reflection and came up with the idea that for the contrast to look more sophisticated it should come from real life. There for the design that I have come up with is a combination of the strongest images from my past research and work. I have put them together to form a design that should encompass all of my aims in my project brief. While I have also included the drawing from the microscope magnification, layered over the inside of the heart to continue and produce the idea of the contrasting effect of electricity against flesh.
The microscope magnification will be in gold which will I hope to reflect the imagery in my mind of the nerves in the body acting like the golden wires in cables carrying electric currents from one point to another. I will show the inside of the heart in my final picture as it has a far more interesting and detailed surface which is very pleasing to the eye. I have planned to move on from oil pastels to oil paints as I want this image to be more detailed while be increased in scale, While the thick oil paints are very similar to the pastels, mediums can be added wich make the paint far easier to manipulate allowing them to act like ink with the use of resist mediums. Have have created
I have created a set of colour samples as I feel it is necessary to bring out all of the details in the heart. I plan to create a basis of block colour and add in subtle undertones with increasing details in layers as the paint drys. I will start with the darkest areas and paint with increasing tints as I hope this will really bring out the 3D effect in my painting.
Wednesday 15th March
To continue with my painting I have added a greater level of detail into the heart walls as they are the most important part of the heart. I have added a greater variation of colour hues and began to move the paint in a way that will form shape. I also darkened the hearts chambers while adding tone to other places around the heart and once this had dried adding a little highlight as well, allowing it to begin to form a three-dimensional object.
Thursday 16th March
I finished off the heart. At first, I was unsure about adding detail into the chambers but I now feel that this was the right decision as it does not detract from the heart walls but rather adds to the impact of the whole heart. The final finishing touches came from the heart strings which really added a new dynamic to the painting. the strong straight lines give the eyes a focus between the wavy surface.
After this, I managed to finish the entire painting by putting together the multiple layers. I firstly thought about using an elongated landscape format, which I tested out by editing the image on a computer, but I soon decided against this as I feel the length separates the gold ink from the heart as the origin point is too far away, thus creating separate objects instead of an entwined layered effect, so after trying this I changed back to the original Idea of a larger squarer canvas with the focus in the bottom centre.
Friday 17th March
I am happy with how my heart painting turned out overall, although I do feel that the image may not have captured the atmosphere that I was trying to create, The image may follow the ideals that I created, but I do think that I am pursuing these ideas using the right methods, In my personal project proposal I aimed to explore electricity in the body by means of light. Therefore I should be researching more into the possibility of contrasting light against the heart and body instead of doing what I have done here (which looks at how the electricity is conducted). I should simplify this by just looking at the act of the electric impulses happening. Using the inspiration recovered from research on Darren Pearson I intend to experiment with this idea using a wide range of methods that can be seen throughout his work to look further into the light on the body.
After further research, I have created a mindmap with multiple variations on light fittings and different ways in which these light sources can interact with the human form. I need to keep my aim in mind - showing how these electrical impulses are what causes every part of our bodies existence. With these photographs, I hope to show the idea of movement in the body electric waves and shooting impulses.
Today I tried to create this firstly using fairy lights draped across the body. I found however that because the cable is not lit, the lights instead of lighting the body just look like a bunch of randomly scattered lights as the form of the body can no longer be seen. With more time and thought on this experiment, I will use the camera more appropriately as a tool and not just a mechanism of recording. I hope to capture the shape of the body with movement and by increasing the length of the shutter speed to create an image which will track the shape of the body and its orientations.
Saturday 18th March
Some research into Michael Taylor and Bruce Monro helped me to understand the techniques that I need to apply and consider when working with light. In photography, i am used to working with lights but not photographing light sources. This means there is a very high contrasting image and precautions need to be taken in order to overcome the loss of detail that goes with this by looking at these two artists I have discovered that working with the correct white balance and shutter speed are the key aspects to balance into to create the desired effect.
The two artists have also influenced my work by helping me discover and explore a multiple range of light sourses. I am hoping that I can recreate their methods of working along side some new methods that I have come up with.
Monday 20th March
To begin my experiments with light sources on the body parts I started with the use of fairy lights. I began by draping them over the brain in a 'random' pattern but once the picture was taken I realised that this left no outline of the part. My next step was to wrap the lights around the organ in diagonal lines in the hopes that the share would show through however because the wire is not lit once the picture was taken it again look as though the lights were hung in a random fashion and the brain could not be seen.
Tuesday 21st March and Wednesday 22nd March
I continued to take pictures of organs surrounded by different kinds of light. The process became far more difficult than I imagined as the organs didn't respond to the lights incredibly well. I found that they became too warm and fleshy for the lights to make any real difference to the shape. Because the organs were static objects and I was taking 'still life' photographs it became increasingly difficult to get the long shutter speed shots which I would be using to describe the outline and shape. This means that the photographs are not taken up to a higher standard as I hoped as I did not have the correct resources that I might be able to obtain had I had more time. The ones that I am most pleased with are those with a strong directional light as It shows the detail in the heart. However, to fit the concept these are probably the worst as they are not representative of an electrical impulse. My conclusion is that the only way to settle this would be to make a compromise of one or the other.
Thursday 23rd March
From further research into light sources, I discovered that it is possible to create an electric circuit by drawing one, this is because graphite is an electrical conductor so any pencil line drawn on a page is able to conduct electricity. I tested this idea out in my sketch book where I found it to be true:
This experiment made me consider the idea of manufactured light formed from natural sources. I have begun to realise the similarities between conductive tissues in the body and the graphite found in the form of pencil leads.
Both the human boy and the graphite are carbon-based compounds,
the nerve cells that conduct electrical impulses are long and thin and so are the pencil leads,
both substances can be used to conduct an electrical impulse,
nerve cells and graphite sticks can be joined to form a circuit.
After considering these points I decided that I would use graphite as a base for my next idea. Where my light experiments hadn't previously worked was because the photography could not capture accurately the formation of nerves in the body. I evaluated that this is because I was trying to create something that is three-dimensional using two-dimensional images (these themselves were trying to capture light wich is not a tangible substance). Therefore by using graphite would I be able to make a 3D form where the physical means of creating light is the sculpture and it is seen by the viewer in its original form. I hope that once finished, by creating a tactile sculpture it will mean that the idea of electricity in the body will become real to the viewer as they can see this happening in front of them.
After more research, I came across a video of 'the pencil lead experiment' where by putting an electrical current through a pencil lead the resistance means that the graphite itself becomes the light source. This is a key concept as it allows me to accurately portray the phenomenon that I am trying to highlight. The carbon-based compound graphite is a natural substance, its significance is symbolising the carbon-based tissues of the body while the electricity that runs through it symbiosis the nerve impulses triggered throughout the body. However, the man mad circuit and the emittance of light is significant of the concept that electricity is a man-made substance first created in 1879.
Friday 24th March
I wanted to pursue the idea of electric graphite further so I decided to try the experiment out myself. In my risk assessment I found there too many hazards but under the supervision of the technicians, the experiment was safe. overall I think that the experiment worked well (even though there was some missing equipment I quickly found alternatives such as the use of a beaker for a stand) as the graphite did glow, but by conducting this experiment myself it allowed me to discover a few things that could set me back.
The graphite doesn't burn for long periods of time. It does burn out.
As the graphite reaches its peak resistance it changes shape and colour.
The current that flows through the graphite has to be applied very slowly and precisely otherwise the pencilled shatters.
the size of the graphite impacts the length of time it takes before it starts glowing.
These are all facts that I need to consider when applying this experiment into my work. They could effect the outcome of my piece or even restrict some ideas. I have also considered that the restrictions might not stunt my ideas but push me to think outside the box and therefore making my designs more radical and interesting.
Saturday 25th March
To expand on the experiment and combine it with my project aims (to pursue electricity in the human body with the use of light) I decided to make a sculpture out of pencil leads. I did some research into blocks of graphite which I could carve into, but I discovered that they were too expensive and out of my price range at £200. Using superglue I stuck the leds together in the rough shape of a heart. My intention was that with the addition of an electric current the pencil leads would bend and change shape becoming more aesthetic. I was very disappointed that when I hooked it up to the circuit nothing happened, and I soon discovered that this was due to the glue being an insulator (a non-conductive substance) and therefore was blocking any current from moving through the sculpture. While making it I also found it very frustrating that the glue kept not sticking to the graphite and stuck to me instead. However, once it did stick it was very satisfying to see the small pieces of pencil led fitting together side by side and even becoming curvy and fluid in some parts of the sculpture. This piece did not meet my expectations or goals but it has shown me how I need to change my ideas to accommodate for the electrical currents by finding a new joining method. If I recreated this piece I would make it larger and more fluid, this is something that I hope to improve on in my next piece.
Sunday 26th March
I spent most of the day finding an effective way of joining graphite in a way that will conduct electricity. I looked at many different methods of connection starting with soldering - this did not work at all as the solder would fall off the graphite. I even trapping the end of the graphite between two pieces of solder but once cooled it would just fall off.
The second process that I tried was copper wire - this technique was also a disaster as the wire was not tight enough to hold the graphite in place and was very tricky to manipulated into a sculptural form.
I even considered melting the graphite and pouring it like a mould but research told me that to make graphite molten you not only need to reach stupidly high temperatures but you also need vast amounts of pressure, both of wich are out of my reach.
These experiments have been very disappointing and unsuccessful and have made me realise that the most likely and attainable solution would be to put a current through the pencil leads individually and then create the sculpture afterwards. I am not happy with this as it means that the sculpture will not glow as a whole, but the after effects of electricity on the human body will still be seen. I can, however, continue in trying to make my sculpture more fluid in form using smaller pieces of graphite and a larger scale.
Monday 27th March
My new issue was how to get such a large amount of pencil leads from the pencils. I had previously used a craft knife to split the pencils and push out the led however this took far too long for a number of pencils that I needed. By searching through the workshops I found a metal cutting tool that when used precisely on a pencil reduced the time it took me to split one pencil from 10 minutes to 2 minutes of average meaning that a pack of 30 pencils only took an hour. I split 5 packets today (150 pencils) it is a very tiring process consisting of the same mundane repetitive task by the end I was particularly frustrated however this process does the job. I also became interested in the pencil casings once the led had been removed because not only did the increasing pile show me how far through I got but when placed all together they began to create an aesthetic pattern which seemed to symbolise my frustration.
Tuesday 28th March
I then began to design my exhibition. I did this first as I felt it was important to know the qualities of how many supplies I would need and the logistics of both the transportation and the display before I continued. My design consists of two graphite sculptures of the brain one before having a current passed through it and the other one after. These two sculptures would be separated by the photocopied image of the heart backed by a light box. The board will be lit by the four corners each light aiming for the sculptures wich will hopefully produce a slight shadow on the wall accentuating the graphite 'nerve endings' I plan for the spotlights and all the wiring to be white and to follow the edges of the board/wall so that the majority of it is hidden. the sculptures will be hung on hooks in four different places each while the light box will be placed in a wooden box for safety and the hung in each corner by the same box. I am happy with this design as I feel it is neat and aesthetic. I think the symmetry really allows the piece to be seen at its full potential. However, it is annoying that the lightbox is in the centre as the wire will be seen running through the middle of the board.
Wednesday 29th March
Designing and making the spinal chord was a very interesting process. Using ink in my preliminary drawings helped to contribute to my aim of making a fluid sculpture following the lines and the flow of the brush added curvature to my design making it feel organic. Using soft clay for the armature and support worked in a similar was as it allowed me to mould a fluid shape on which I could lay the solid graphite. I then soaked it in PVA and left it to dry. This will be my first sculpture seen 'before an electric current has been passed through it. I am happy with this piece of work so far as it has managed to encompass my aims of a naturally malleable feeling of organic tissue however it is annoying as the slopes on the armature mean the graphite slowly falls and has to be continually moved back into place. It was satisfying to be able to build the shape of the spinal chord very quickly just by pouring on the graphite as all the other processes have been painstakingly precise. Watching it dry I want to add more detail to it and build up the graphite along the outside to create the diagonal pattern of the nerves and to add structure and support to the shape.
Thursday 30th March
I finished the spinal chord by adding some refining details. I felt that the way the graphite sticks were placed on the armature was very random and made the straight making the sculpture unrealistic, however, once I looked back over the drawings of spinal chords I realised that the nerves consistently fall outwards from the centre in a downwards diagonal. To recreate this in graphite I hand placed a top and bottom layer which slotted together and formed the correct pattern. I also extended and separated the bottom few nerves as the base of the spinal chord fanned out.I had to use supports for these pieces as the were not supported by the sculpture and could easily fall or snap. After making these changes I felt very happy with this outcome, although I dislike how precarious and fragile the sculpture is.I find the top layer of the structure particularly fascinating as I was not expecting it to follow the downwards diagonal pattern in such a precise way but the length of the freestanding pencil leads at the end are particularly frustrating as the keep snapping off. Next time I would like to improve the top of the spinal chord as here it starts flowing in the opposite direction to the rest of the sculpture in an attempt to form a joining with the brain. Despite this I still think that I have finished this to a high standard following my expectations, even using graphite powder to cover any visible glue, this has helped me achieve my goal of a realistic structure. This method is not something that I wish to change.
Friday 31st march
I began to design the brain for the top of the spinal chord to complete the central nervous system. Because of its cylindrical shape, I found it particularly difficult to find a way that I could get the solid straight graphite sticks to fit, especially in a way that would continue with the realism and fluidity of the spinal chord. Again I decided that using ink would be the best way to follow this through in my design.I decided that a solid brain would look too heavy and dominant on a fragile and delicate sculpture so I decided to make it as similar to the spine as possible by using the same technique. By starting from a single print at the back of the head and trailing the pencil leads in a staggard manner towards the front I managed to pull off a convincing form that is also as fragile and delicate as the spine. I feel that this may be very tricky to make but with the correct placement, the right glue and lots of graphite the structure could be made. I do not like the image as much as I did the design for the spinal chord because it is more complicated and messy however I do feel that the centre point helps focus it. I may also find that If I add some further three dimensional elements to it such as a central dip and fold lines the shape may become more realistic.
Is have spent the rest of the day splitting more pencils using the faster method previously discovered. This is to collect enough graphite to make the sculpture of the brain and to fix any damages that the spinal chord may sustain. It is very frustrating spending so long getting graphite for this purpose as it is very time consuming however it is a necessary action that will help me a chive the standard that I want for the finished product.
Saturday 1st April
I continued to split the pencils as a very large amount would be needed to support my ideas. I even began to think that I might be able to extend the pine further so that the sculpture will have more of an impact on the viewer when hung in the exhibition.
Making the clay armature for the head was also more difficult than I imagined as I realised the due to gravity the leds would not stick to the top half of the sphere which therefore meant that it had to be made in two halves. After some careful deliberation, I decided to spit the brain horizontally because this meant that the central dip in the brain can be properly set which should make the structure stronger and give it a more life-like feel. By splitting the armature in half it is also more resourceful as it means that less clay is needed to make it because there is no need for thick walls to support a tall hollow structure.
Sunday 2nd April
I took the first steps in laying the pencil leads for the brain. I did both the top and the bottom half at the same time, and it worked very much like the spinal chords did. I added a thicker layer of graphite to what will eventually be the back for support to the structure and where the two separate parts, of the spinal cord and the brain, will be joined.
While this was drying I took the time to take and edit some photographs of the spinal chord. I used a white backdrop with a slight directional light to provide a soft shadow of the nerve endings. This was a very useful exercise as it worked like a trial viewing of how I imagine the exhibition to look. I was happy that the shadows didn't come across too strongly and that the shape of the spine could easily bee is seen providing me with the comfort that the arch was not too close to the wall. I became frustrated when some of the details of the top layer of graphite were not showing but I manage to fix the majority of this problem by adjusting the contrast however in future I hope that I can improve on this and maintain the detail of the sculpture in the original shot.
Monday 3rd April
After carefully removing the brain from the armature I realised that it needed some more support as (especially the front of the brain) was very thin and week so I was doubtful that it would be strong enough to support the other half. These extra pieces were individually added wich meant that they could be solely placed for structural purposes therefore only a few were needed and the delicate image that was created was not destroyed by the thickness of the graphite branches. Joining together the top and bottom halves were however still difficult as they did not line up perfectly. This made the presses very aggravating and slow moving as I had to glue only one side at a time in order to give the wet join some support.
Tuesday 4th April
Once both sides were dry enough to move I added to both the brain and the spinal chord of the sculpture in order to make them fit together as one. I wanted the finished result to be of a high standard so the brain must not look stuck on. I did not manage to achieve this as the brains structure would not hold. I found it very difficult to shape the brain which meant that the process of trying to stick it to the spinal chord mad it fall apart. I found that little pieces of graphite would have also been key in adding detail wich contributed to the whole overall effect of the sculpture. However, I did not have sufficient graphite to do this and hand to move on in order to complete the rest of my project to a deadline. If I were to change my design I would try to find a stronger way of joining the graphite or try to make it less brittle as the most infuriating part of this process was having to repeat actions after the pencil legs had snapped wich also slowed my pace. I definitely did not my goals of creating a realistic structure of the brain and I think that agitation due to the brain and spinal cords being placed together contributed to this. I have also realised that it is an unrealistic expectation to individually electrify the pencil leads to create a sculpture - this method would take months to retrieve all the leads individually before setting the up in a circuit one at a time. This is why I have come up with a new method of making the graphite glow. I will use the ultra high heat of a blowtorch to warm the graphite to the high temperature needed. This also means that I can create my second sculpture in the same way that I did my first using PVA glue and an armature before I burn it. I think that this will provide a better effect as the sculpture is being treated as one object and will react accordingly.
Wednesday 5th April
I used the same techniques as I did with the spinal chord to take and edit pictures of the whole sculpture - a white backdrop with a slight directional light to provide a soft shadow of the nerve endings. This again worked well acting like a trial viewing of how I imagine the exhibition to look when properly lit and hung on a white board. The shadows didn't come across too strongly and the shape of the spine and folds of the brain could still easily be seen. I also managed to improve from my last attempt as I took into consideration the contrast of the dark graphite and the white backdrop. This meant that I could perform measures while shooting to stop the loss of detail on the surface of the graphite in the original shot saving me time later when editing the file. Because the finished piece was larger than just the spine before, it became more difficult to shoot as I need to be further back to get the entire sculpture in the picture which was difficult with limited space, however, I did eventually manage to find an angle that worked nextimeI will find a bigger studio to shoot in.
Thursday 6th April
In order to show the before and after effect that I showed in my exhibition design I need to have two sculptures of the central nervous system that are 'identical', both created and displayed in exactly the same way - the only difference being that one has been burnt. Today I spent the day making the spinal chord for this second sculpture. For the second time using soft clay for the armature and supports worked well as it allowed me to mould a fluid shape on which I could lay the solid graphite. I again soaked the graphite in PVA and left it to dry this time, however, I put more PVA on the sculpture as I knew that when hit by the blowtorch some would burn away leaving the sculpture brittle. Again while watching it dry I added more detail and built up the graphite along the outside to create the diagonal pattern of the nerves and to add structure and support to the shape. I did not spend as much time on this spinal chord as I did the first because as I use the blow torch on it the pieces of pencil led will move and I fully expect to have to add more graphite during the burning process as some fall off. I felt happy with this outcome, although I dislike how messy this second one has turned out in comparison to the first. I do however think that this is only a short-term issue as once I have put it through the burning process it will have a more filled out form and will also follow the lines of the nerve endings from neck to tail.
Friday 7th April
I then had to make the second head and to do that I needed to split another 3 packets of pencils to finish this second sculpture. I then began making the second clay armature for the head. Having done it once already it made the task a whole lot simpler and faster as I knew what I needed to do and did not have to spend any extra time correcting any mistakes. I soon began to pour the pencil leads into the hollow armatures for the brain coating them in layers of PVA. I waited for both the top and the bottom half to set at the same time. I again added a thicker layer of graphite to what will eventually be the back of the brain for extra support to the structure and where the two separate parts of the sculpture, the spinal cord and the brain, will be joined.
Unfortunately, this did not turn out much like the spinal chords did so I did not spend as much time on it as the original sculptures. This meant that the halves of the brain did not fit together in the way that I had planned them to and the brain fell apart. I have concluded that this is because the brain is a spherical surface and it is not strong enough to support ts self there for I will be displaying the spinal chords on their own.
Saturday 8th April
Before moving straight on to my second sculpture I wanted to practice and experiment with the techniques involved with using one. I put together a small sample of graphite glued together with PVA in many layers, just like the same method that I have used to create my sculptures. I spent a few minutes getting used to using the tool adjusting the flame and temperature before I got going. I Tried out a variety of methods and found that some worked far better than others. I found that only a small volume of gas was needed creating a low flame as this gave me more control. It meant that I could heat the sample slowly reducing any risk of sudden temperature change which I discovered to cause the pencil leads to explode. I found this annoying at first as very quickly multiple pieces of graphite started to shatter but it made me realise that when presented with any type of heat that the same rules should be applied - everything I had discovered with my circuit experiments was still relevant and accurate. By burning this sample it made me realise that I needed to change my method of applying heat to a sculpture. Next time I need only a small intensity of heat spread evenly across the whole surface - any type of 'sweet spot' where the flame is held over one area can cause the leads to burst.
Sunday 9th April
Using what I had discovered in my sample run I used the blow torch to burn the second spinal chord that I created. I moved the torch across the surface of the sculpture distributing the heat evenly from top to bottom while using only a small amount of gas and the lowest flame possible. At some points, I may have lingered because a few pieces of graphite did shatter. I also found that when I dunked it in the cooling bucket the water watching away the burnt glue made several others fall off. I am still pleased with the overall effect that the blowtorch has produced on the spine I particularly like when texture it has created along the surface of the sculpture creating the colour change - this will probably be one of the most noticeable differences between the before and after sculptures. I dislike the way that it has bent and disfigured. This surprised me as I thought that this would only add to the image but it has instead only warped it so it no longer stands on its own but needs extra support as it now falls to the side. I also find it annoying that the spinal chord unexpectedly shrunk. This means that the whole process will take twice as long as I thought because extra time needs to be taken to split more pencils, add them to the sculpture and then burn it again. Although time-consuming I still maintain that this is the most effective way of pursuing my aims. Given the chance to do it again I would have built the spine up with more graphite from the beginning while adding several more layers of glue to add extra security to the form.
Monday 10th April
Having learnt from the first time with the spinal chord I added extra pieces of graphite to the brain before I burnt it with the blow torch. This meant I spent less time having to go back and forth between the workshops and the studio. I did struggle to create an equal and even heat across the brain due to is a shape which meant that whenever I heated one side the other just beyond was also affected. Therefore there were lots more pencil leads that 'exploded' under the extreme temperatures as they never got a chance to cool slowly. I am fairly happy with how the brain turned out. Again, it doesn't look as good as the spinal chord but together I think they will work well. The join should be especially needed as the extra used of glue and heat should mean that the separate halves warp together. I am disappointed at the ends of the sculpture where only singular pieces of graphite were shown as they were less affected by the heat and the colouring of the burnt glue making the sculpture seem more renovated. I found it satisfying watching the shape changes as the glue melted away and the structure became more mangled I did struggle however to get the balance between being melted and having enough body to still be identified as a brain.
Tuesday 11th April
Having finished my two sculptures it has given me time to thoroughly consider my exhibition from all aspects. Looking back over my plans has allowed me to think through the smaller details of my plan and has helped me come up with solutions to some issues and problems before they have occurred. For instance, when making my final sculptures, I realised very quickly that they are incredibly fragile wich makes they particularly difficult to transport from my home to the workshops. However, my solution to with was the use of a large box, some placement styrofoam and bubble wrap. I think it's a solution that will work well however it does have one issue that I was only able to obtain one so each part of the sculpture will have to be transported individually. Next time I hope to consider this earlier on in my project so that I can be prepared when the time comes.
Wednesday 12th April
I found my space in the exhibition and spent some time redesigning how I wanted to present my work. My space was a lot thinner than I had originally planned for which meant that I could no longer hang both sculptures and my light box along the same central line. I have readjusted the light box to be lower down as it is not key for this to be a central element to my work, also allowing me to slightly increase the size of the frame that I am planning to make. I am pleased with my redesign as it has meant that I am showing my two 'before and after' sculptures side by side, with no dividing element through the middle. I prefer this to my original design as it allows me and the view to compare and contrast the works to the full extent, without having to readjust to accommodate the third piece.
Thursday 13th April
I designed and then redesigned the frame for the light box. I am disappointed with my redesign for the lightbox frame. Due to low funds, I was only able to purchase a set amount of wood. Therefore, I had to sacrifice some detail – using a Butt joint instead of a Mitre joint – lowering its overall standard. From this experience, I have learnt that money should be set-aside for any unexpected costs. I did, however, find it a particularly satisfying part of the process putting the finished product on the light box for the first time. I enjoyed this because it allowed me to finally see the finished product. The absence of any unnecessary light escaping from the edges of my picture really provides it with a strong precise finish and allowing the eye to focus on the soft detail of the heart in the middle.
Friday 14th April
I have been going over my work and proofreading my documents and workflow. To help me with this I created a to do tick list to ensure that I have completed everything that I needed to.
Monday17th April - Friday 21st April
The last week:
Finishing off my sketch book:
I have spent a lot of time this week going through my sketchbook and adding some finishing touches. I have done this by reprinting faded or unclear pictures. Using a permanent adhesive for elements of my work where I had only used blue tack. I also added a few extra pages as I was working through the transportation of my two sculptures and the heart image with the lightbox. Going through this process I realised how important it is to keep your work up to date as you go in order to maintain a high standard throughout the sketchbook. In areas where I had done this the work was more substantial and of a better quality than those areas where I had left information out. The best thing about my sketchbook I felt was the drawings at the beginning and the planning towards the end. I feel that these are more genuine parts of the project as you can see my thought processes where my pencil has moved across the page, bringing my ideas to life. The areas that do not work so well are the photographs of the hearts the ideas work well and some images are good but I feel that if I did these again I would produce better quality pictures, using bigger files so I could get them professionally printed.
My portfolio:
To create my portfolio I selected my best pieces and laid them out in the way that I felt was best appropriate to present them. My favourite piece is the acetate photocopy of the heart which I placed over a silver foil sheet. I find it especially satisfying how the light surrounding the piece collects and bounces off the image creating a greater depth to what we can see on the page. I am frustrated with the heart images as I feel that they are no to the highest standard that they could be and therefore detract slightly from the rest of the portfolio. If I were to re-edit these photographs I would make sure when I cropped them I would keep the Images size the same in all of the pictures. This creates a uniformity and a professionalism that I have not achieved here but hope to create in the future.
Final Piece:
The process of creating my final piece consisted of splitting over 700 pencils in order to get to the leds. I followed this by creating an armature and leaving the pencils to dry as a solid structure once coating them in PVA. After this, I had to use the blow torch to burn one of the sculptures creating a 'before and after' effect. It then took several hours to add detail to the sculptures. It was these finishing touches which made the sculptures look so life and human. The detail is what made the shape of the spinal chord especially so effective. I did, however, find it frustrating how when I put the second sculpture through the burning process most of the glue burnt off meaning that the sculpture fell apart and I had to remake it. Because only parts of it fell apart, once I recreated it the shape changed and the structure was no longer even but lopsided, falling over unless propped up. Overall this meant I spent a lot of time remaking what I had already done. Having learnt from this experience, next time I will test a larger sample before I move on the actual thing as it would be a more representative scale of what I am going to do.
Overall I am pleased with my final piece; however, I think it could be greatly improved by the display of the process as part of the exhibition. Currently the before and after’sculptures only show the results of applying electricity, whereas, if I had found a way to make the graphite glow while on display then my piece would be the embodiment of an electrical impulse, not just a representation.With more time and access to electrical tools, this would bee my next step.I am also disappointed with my lightbox frame. Due to low funds, I was only able to purchase a set amount of wood. Therefore, I had to sacrifice some detail–using a Butt joint instead of a Mitre joint–lowering its overall standard. From this experience, I have learnt that money should be set aside for unexpected costs.I am particularly satisfied with the form of the spinal cords. The pencil leds -a solid structure - appear to have the fluidity of a human organ.The same shapes can be seen when looking back to my research and the first still life drawings of the central nervous system. As the sculptures are openly hung the contours can be fully appreciated – whereas if I were to have a live open current in a public exhibition(to make them glow)they would have to be contained.This would not only disrupt my work but the works of those who are next to me in the exhibition.
I am particularly satisfied with the form of the spinal cords. The pencil leds - a solid structure - appear to have the fluidity of a human organ.The same shapes can be seen when looking back to my research and the first still life drawings of the central nervous system. As the sculptures are openly hung the contours can be fully appreciated – whereas if I were to have a live open current in a public exhibition(to make them glow)they would have to be contained.This would not only disrupt my work but the works of those who are next to me in the exhibition.
Exhibition:
In designing my work as part of an exhibitionI learnt new skills. The experience taught me to consider other people's work and how to compare and contrast it to my own. I enjoyed designing my space and thinking about which layout would maintain the essence of my work without intruding on those next to mine. I have also developed technical skills in creating a professional show open to the public. The works must be hung neatly and securely, to a deadline, and in a way, that will not intrude on the finished pieces while also being able to withstand transportation and the public's presence. Unfortunately, in the process of setting up the Exhibition, I came across some difficulties with this area of technicality. Because my sculptures were so delicate I had several incidents when objects feel and the spinal cords broke. I then had to spend the majority of the time fixing them wich intruded on any time left to proof read all my documents.
Monday 24th and Tuesday 25th April
Since Friday I have made some additional changes to my exhibition. I removed the frame as I decided that it looked tacky. I also feel that this reinforces the body part theme as it begins to look like a doctors scan. I also raised the image to the same level as the sculptures to keep it in the correct eye line.