Exhibition Text:
In Society, there are very specific standards to what is beautiful and what is not. What is accepted and what is not. When someone does something deemed unacceptable or ugly, Air heads blow their hot breath their way, trying to hide the pain with a sweet face, without realizing what they do is worse. Most crumble, but some brave few have iron skin, and stand against the wind.
This piece was inspired by the works of Odilon Redon and the Poems of Edgar Allan Poe.
In Society, there are very specific standards to what is beautiful and what is not. What is accepted and what is not. When someone does something deemed unacceptable or ugly, Air heads blow their hot breath their way, trying to hide the pain with a sweet face, without realizing what they do is worse. Most crumble, but some brave few have iron skin, and stand against the wind.
This piece was inspired by the works of Odilon Redon and the Poems of Edgar Allan Poe.
| Critical Investigation |
Hot Air was inspired by two artists of two different mediums; Odilon Redon of the Artist World, and Edgar Allan Poe of the Literature and Poetry World. Two of my absolute favorite mediums. I wanted to make something dark and surreal; since we would be working with black ink on paper. So my research into them was mainly aesthetics, and not much of message. Odilon Redon's artwork was very surreal and dark; almost something you'd see in a horror novel, which I adored. He loved to draw heads specifically, which I wanted to incorperate in my work. Edgar Allan Poe, however. was my inspiration mainly because of his use of symbolism; specifically the Raven, in 'the Raven / Nevermore'. His other works have a dark aesthetic and typically work with dark tones, which I wanted to reflect as well.
| Inspiration |
Odilon Redon was a Symbolist artist, born on April 20th, 1840 in Bordeaux, France. Since he had bad health, presumed now to be epilepsy, he was sent to live with his uncle for most of his childhood. His works were inspired by many, one of which was Edgar Allan Poe, my other inspiration.
Many of the artworks he created in his mid-life was dark in theme. Many of his works portrayed Floating heads and some disturbing imagery. He lived and worked with dark and harsh lines. I wanted to use this kind of style and Imagery because not only is it interesting to look at, but it makes the viewer uneasy and want to look away, but it is interesting enough to keep studying. |
My other Inspiration was Edgar Allan Poe himself.
Edgar Allan Poe was born on January 19th, 1808 in Boston Massachusetts. Both his parents died when he was three and he proceeded to be raised by Foster Parents, which is possibly a reason why he had a dark view on the world. His poetry inspired me because of the dark tones, symbolisms and settings in them. One of his most famous is the Raven, or Nevermore. I wanted to include this major symbol, because it relates to death and sorrow, like what women do to themselves because of society. |
" ....“Prophet!” said I, “thing of evil!—prophet still, if bird or devil! Retrieved from https://www.poetryfoundation.org/poems/48860/the-raven
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| Planning Sketches |
My First Sketch (On the Left) Dfinitely drew inspiration from Odilon Redon aesthetic-wise. I wanted it to be dark and jagged, like most of his works. The main Focus of this version was the "Anorexic Head" Floating on the right, with a less detailed girl on the left. I wanted to get a Surrealism feel to it all, and wanted something that was also Aesthetically pleasing.
In this sketch I wanted to get a lot of emphasis on the wind blowing not only the hair, but how the lips moved when blowing on something (Like a lit match or on a piece of paper). I had to study many references from others online and around me to get it correct in the sketch. I also played with the idea of Doll heads or Human ones to get more symbolism and a disturbing aspect to draw more from Edgar Allan Poe. I later decided to replace it with something famous of his: A raven. |
In both sketches, the younger woman in the dress is holding a sword behind her back. This is supposed to show resentment and the notion of fighting against the unhealthy "status quo". The blade was enlarged to make it more noticeable, and to potentially give a larger wound.
In my second sketch (On the Right), I had zoomed in more to get a more uncomfortable closeness between the two women in frame. I've also introduced the Raven. I did this because the Raven in Poe's poem was a 'mournful, never-ending remembrance' symbol. I wanted to use this because in a way, women these days practically kill themselves to become perfect, that ravens - birds of death and sorrow - appear. I've also added a spinal cord to the head (Further emphasizing Anorexia) and a more 'old woman vibe' to the head, referencing how elders are also sometimes the one to push these unhealthy behaviors on the young. The zoom in also gave me a chance to give a deceitful face to the young woman, who knows what she is about to do with the blade.
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| Process |
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1.) Take the 'block' and set it on my paper, and trace the borders to set a box to draw the sketch in
2.) Create the sketch to trace onto the plate. Afterwards take the plastic off both sides of the plate 3.) Take a dry point etching tool and scratch the design on the plate. 4.) Cut Watercolor Paper a little larger than the plate and get a tub of water. Set the paper in the water for Eight minutes, then take out of water. Set newsprint down while this is soaking to keep area clean. 5.) Cut extra newsprint into strips. 6.) Grab a case of intaglio ink, a palate knife, and a squeegee. 7.) Place wet paper in a rag to let dry. |
8.) Then put on gloves and using the palate knife, scoop a small amount of the intaglio ink onto the top of the plate. Then, I use the squeegee to pull the ink across the plate. Any extra ink scrape back into the container.
9.) Once the whole plate was covered with intaglio ink, take the strips of paper and use them to rub the extra ink off. Scrub in circles to rub off more ink
10.) Once the plate is finished being cleaned of extra intaglio ink, go to the etching press (with no gloves off to keep press clean) and lift up blankets. Place a piece of newsprint under the blankets, place the plate with the ink-side facing up and wet paper on top. Then Place Blankets back down.
11.) Using both hands, roll the press over the plate and then back. Note: Keep a smooth tempo when rolling so you can have a smooth print. Roll the etching press back to its starting position. Lift the blankets up again and carefully lift the watercolor paper off of the plate and put it onto the drying rack.
12.) Clean Residue in work area with Mineral Sprits.
9.) Once the whole plate was covered with intaglio ink, take the strips of paper and use them to rub the extra ink off. Scrub in circles to rub off more ink
10.) Once the plate is finished being cleaned of extra intaglio ink, go to the etching press (with no gloves off to keep press clean) and lift up blankets. Place a piece of newsprint under the blankets, place the plate with the ink-side facing up and wet paper on top. Then Place Blankets back down.
11.) Using both hands, roll the press over the plate and then back. Note: Keep a smooth tempo when rolling so you can have a smooth print. Roll the etching press back to its starting position. Lift the blankets up again and carefully lift the watercolor paper off of the plate and put it onto the drying rack.
12.) Clean Residue in work area with Mineral Sprits.
| Reflection |
Overall, I wish that I had spaced out my time better with this project, so I could have done some experimentation with my block print and maybe have added colors, but alas that is my fault as is the tides. However, I think the hardest thing out of the whole process was inking the screen. The rubbing of the ink with the scraps of paper was so tedious and I was scared the ink would stick in the cracks and harden on the print if I took too long, which was very concerning. However, I do feel that everything else was a success, all things considered. I especially loved carving into the plate; It was relaxing and not too hard, a stark contrast to actually inking with the plate.
I do wish that I had more aspects from Edgar Allan Poe, however; I feel like I could have embraced more of the dark and odd topics he would write about in this art piece. Regardless, I feel like I captured most of what I had wanted from Poe and Redon in the end. So, overall, I would call this a success.
I do wish that I had more aspects from Edgar Allan Poe, however; I feel like I could have embraced more of the dark and odd topics he would write about in this art piece. Regardless, I feel like I captured most of what I had wanted from Poe and Redon in the end. So, overall, I would call this a success.
| ACT Questions |
1. Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your art work?
My inspirations have affected my artwork by having a meaningful physical affect on my work. Poe was reflected in Symbolism in my work with the ravens and Sword, while Redon had a impact with the floating head and rough scratches in my print.
2. What is the overall approach (point of view) the author ( from your research) has regarding the topic of your inspiration?
The authors really went in depth about the history of the works rather than about the physicalities of the work. Which was hard since I was only using them for (mostly) physical aspects.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I have discovered that few people - especially in the past - really focused on the more depressing or strange / psychedelic side of things. Which is why both artists are very special in their own way - they focused on something dark that many may not want to see.
4. What was the central idea or theme around your inspirational research?
Mainly my theme was physical attributes and symbolism of the work. The dark tones and edgy works really inspire me.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
Life is unforgiving and treacherous for anyone and everyone. Being 'pretty' is another word for unhappy and unhealthy nowadays, and it is just part of society and not much can be done about it since it has been around for so long. Society wants to control us whether it be from controlling how we look or think of ourselves.
My inspirations have affected my artwork by having a meaningful physical affect on my work. Poe was reflected in Symbolism in my work with the ravens and Sword, while Redon had a impact with the floating head and rough scratches in my print.
2. What is the overall approach (point of view) the author ( from your research) has regarding the topic of your inspiration?
The authors really went in depth about the history of the works rather than about the physicalities of the work. Which was hard since I was only using them for (mostly) physical aspects.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I have discovered that few people - especially in the past - really focused on the more depressing or strange / psychedelic side of things. Which is why both artists are very special in their own way - they focused on something dark that many may not want to see.
4. What was the central idea or theme around your inspirational research?
Mainly my theme was physical attributes and symbolism of the work. The dark tones and edgy works really inspire me.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
Life is unforgiving and treacherous for anyone and everyone. Being 'pretty' is another word for unhappy and unhealthy nowadays, and it is just part of society and not much can be done about it since it has been around for so long. Society wants to control us whether it be from controlling how we look or think of ourselves.
| Citations |
“Edgar Allan Poe.” Find A Grave, www.findagrave.com/memorial/822/edgar-allan-poe.
“Odilon Redon Most Important Art | TheArtStory.” The Art Story, www.theartstory.org/artist-redon-odilon-artworks.htm.
“Odilon Redon's Life and Legacy.” The Art Story, www.theartstory.org/artist-redon-odilon-life-and-legacy.htm.
“Percy Bysshe Shelley.” Poets.org, Academy of American Poets, 6 Oct. 2015, www.poets.org/poetsorg/poet/edgar-allan-poe.
“Odilon Redon Most Important Art | TheArtStory.” The Art Story, www.theartstory.org/artist-redon-odilon-artworks.htm.
“Odilon Redon's Life and Legacy.” The Art Story, www.theartstory.org/artist-redon-odilon-life-and-legacy.htm.
“Percy Bysshe Shelley.” Poets.org, Academy of American Poets, 6 Oct. 2015, www.poets.org/poetsorg/poet/edgar-allan-poe.