OGR
I have to say I'm both a little disappointed in myself and feeling better than I did in the last project. Weird huh? Basically, for this first stage I have focused a lot on research, and fully developing my concept before properly diving into drawing it. This has given me a much clearer path than I found myself on in the Invisible Cities project, but has meant that I have ultimately produced fewer thumbnails than I would have liked. I felt like this additional research was necessary to ensure that I wasn't chasing my own tail for a number of days which is how Invisible cities felt at times. So, at this point, although I have less thumbnails right now (more will be uploaded tomorrow), I feel like I am in a much stronger position that I was after the OGR before.
OGR1 by Eleanor 'Nelly' Luckett on Scribd
More thumbnails tomorrow! Watch this space!!!
Hey Nelly - can you embed your Scribd presentation for me - when I click on this link I end up with Scribd notification telling me that the document isn't available - cheers m'dears! Looking forward to it :)
ReplyDeleteIts done now Phil. Hopefully you should be able to see it. :)
ReplyDeleteOGR 02/11/2017
ReplyDeleteHi Nelly,
Okay - I'm just going to say it... I'm still very confused as to your conceptualisation of Brancusi's city on his behalf. Don't misunderstand me, who doesn't love an underwater millionaire's playground - under a dome - with a secret society of researchers into the bargain! The only thing is... what does it have to do with Brancusi? It might have lots to do with him and I'm not seeing the connection, and if this is the case, I look forward to learning more... but I can't help feeling as if you're not truly in Brancusi's headspace and I think this is stemming from a mix-up in regards to his influences as an artist and his reputation in terms of Modern art.
Brancusi was a modernist, so interested in the future, in shaking things up, in creating forward-looking contemporary work - and the way he did this was by departing from the Classical proportions of sculpture etc and embrace more minimal, more essential forms (something he saw in the work of other cultures). He wasn't seeking to produce pastiches of 'old sculptures from ancient cultures' - he reframed our expectations of what a sculpture could be - he gave the art world a shock of strangeness and a gasp at the future. Just take a read of some these references:
https://www.theguardian.com/culture/2004/jan/03/1
(see the bit about conservative art students burning his effigy because his work was so alien and provocative and 'modern')
You see, I don't think for one minute that, given the opportunity to design a city (sculpture on a huge scale) - that he'd be interesting in producing elements like this:
https://1.bp.blogspot.com/-4I_F_TLPNbw/WJAec7CRRHI/AAAAAAAAE0E/rRmK-FZQzwMQvle1eV2V5V9egotLQDtOACLcB/s1600/Barakar%2BAll%2BTemples.jpg
He's be interested in creating forms like this:
https://www.walldevil.com/wallpapers/w03/899287-aircraft-artwork-buildings-cities-futuristic-skyscrapers.jpg
https://i.pinimg.com/736x/af/8a/ab/af8aab46c8db25d8e26e1d2f61d59c00--parametric-architecture-hotel-architecture.jpg
https://i.pinimg.com/736x/1c/ac/1e/1cac1ea8ea8289015285d5f2f98cafa1--skyscrapers-amazing-architecture.jpg
I'm not talking necessarily about all the glass and metal, but the monumental, sculptural qualities:
Consider this quote from Brancusi himself:
"Architecture is inhabited sculpture"
I think maybe you're a bit muddled in regard to the relationship between the 'primitive art' factor and the 'modernism' factor - so when I look at your thumbnails, I see old stuff - and sort of adobe temples and dwellings - but I can't see Brancusi's influence in those thumbnails - I can, however, see the influence of own your influence maps - but Brancusi looked at these alternate cultures to take things forward daringly...
Let me know if this makes sense.