The stack of books on the table to my right were ones that I actually used in my research for both senior seminars. They are stacked together, the history mixed with anthropology, as a nod to the two sides of the work I was engaging with. Clutched in my left hand is Beauty Shop Politics by the historian, Tiffany Gill. In the early months of the history senior seminar, the professor asked, “What would you consider to be your holy grail source?” Beauty Shop Politics was that book for me and played an important role in my research which is why it is highlighted and separated from the others. I wanted my self-portrait to be intentional in the placement of the objects, the setting, and the positioning of myself.

I used the projector to outline the basic shapes in the picture and to mark the grids on the paper. I then used the photograph I took as reference for the shading. Inspired by the midterm project, I mostly used the HB and Ebony pencil to keep the drawing light and to avoid going too dark which I have a tendency to do when using charcoal. I used the blending method and used a kneaded eraser to draw out highlights and layered slight hatching marks to mimic a wood grain on the rocking chair. 

The window and the folds of my sweater are the biggest success in my opinion. The shading of the window and creating the reflection turned out better than I had anticipated. After seeing so many people draw fabric I kind of studied their work to create the texture on the sweater which turned out well.

The bricks were the hardest part of the entire project. Making sure the lines were not skewed, shading the bricks, blending them, and then creating texture took quite a bit of time. I would say that the floor of the porch would be the least successful element in the piece. I still think that the vine charcoal was a good choice considering that it blended well and I could easily remove as much of it as I needed. But, I would go back and try to change how I used it. The floor just does not match the control seen in the wall and the body. Also, making sure that each element would be distinguishable was another challenge. I wanted to create depth and make sure that the books did not bleed into the table and that the viewer could see where the rocking chair began and where my body stopped. 

During the process, I did underestimate how long it would take me to finish the piece. I think the bricks and the time I took on those did throw me for a loop and pushed me back from starting other sections of the piece. The shading and blending and layering definitely made this drawing take a bit longer, but I think the effect was worth it in the end. 

My main goal for this project was to become more creative and to learn how to play around more in terms of techniques and materials. I noticed that I tend to gravitate toward realistic styles and I wanted to move away from that. I just feel like I play it safe most of the time, especially when I think back to ART-160.

I liked the self-portrait I finished in that class. However, when I looked at my peers who took greater risks using different techniques for each square, I liked their pieces more and wished I had done the same. For the series, I had room to experiment and could do so without worrying about having to start over.

The process was long and sometimes frustrating for me because while I wanted to be freer in terms of style and material, but I still had some hesitation with some of the pieces that I did. I have to say that the pieces that I did later in the process are some of my favorite ones, especially under a time crunch. I became a lot less worried about the end product as much and more concerned with variety and if I was challenging myself enough. I started experimenting with different size paper and different contours of paper.

I would say that creating texture with different mediums and learning how that worked was a success of mine during this process such as the texture of my fluffy coat and different hairstyles. Also, mixing different mediums. Pen with India ink, oil paint with watercolor, ink with watercolor, and collage. I broke out of my comfort zone with a lot of these and accomplished my goal of getting more creative. Some pieces were broken into several drawings that were distinct but came together to create a whole.

Some were more experimental such as the ones where I used wrapping paper. It connects with me as a person (my spirit animal is decidedly a llama) and adds greater visual interest when looking at the series. One is even more interactive with the wrapping paper slightly obscuring the face, but you can also lift it up to view what is underneath.

However, not all were successes. The white pen drawing with white charcoal on purple paper was my least favorite overall. I tried to be more gestural but I did not like how it turned out. The drawing lacked key structure and proportion. Additionally, the first two drawings that I did with white charcoal were good with learning how to engage with the material, but the outcomes were not intentional. Proportions and trying to balance them without a grid was more difficult than I thought it would be. I was trying to get better at drawing portraits and faces, especially since I know proportions are a bit harder for me. So some drawings are more accurate than others. If I were to go back and do some over it would be the earlier pieces.

Throughout the process, I have learned several things. Drawing without a grid also connected with the goal of being more creative and more flexible during the process. Along the way, I found a different method of planning out the proportions such as blocking it out roughly with simple shapes like rectangles and squares and then going back in to fill out the details. I also got a better sense of working with ink and learning patience with the medium. I took Professor Emerson’s advice and started just going where the ink took me, and those were the pieces that I am proud of. You can really see a progression from the very first ink drawing to the last one I did for this series.

Overall, I am happy with the pieces that I have produced and would like to continue to experiment with different styles of drawing.

Two self-portraits compose the piece and are placed side-by-side with a white frame around them. A white line separates the two individuals and gives them both a distinct setting that contrasts with each other. Both scenes contain organic lines that outline the human form which stands in contrast to the lines which define the space around and between the two figures. Uneven distribution of space and power can be seen between the two scenes. The portrait on the left has more space in the composition and towers over the right side portrait in scale. The portrait is drawn using a mixture of graphite stick, HB pencil, and Ebony pencil using a blending technique to achieve a smooth texture. The figure on the left carries a peaceful, calm expression on her face bringing lighthearted energy to the portrait. The eyes are closed, not tightly, but resting in a relaxed manner which blocks her gaze from the viewer. It gives the impression that she is unaware of the looked upon and that the viewer is seeing a snapshot of a moment of contentedness. Her head tilts backward slightly in a motion that exposes her neck and elongates her frame, the eyes following from the neck to her arms which rests across her chest. 

    Though containing the same subject, the portrait on the right stands in direct contrast to the portrait on the left. The right side portrait is placed in a narrower space than the figure on the left giving the impression that the figure is confined. Though confined to a smaller space, the right-side portrait captures attention through its darker tone rather than scale. While the portrait on the left reveals her face to the viewer, the portrait on the right blocks her face with her hands which dominates her scene. The only visible parts of her face being her eye which gives nothing away. The downward tilt of her hair adds to the sense of hiding and lacks the openness of the left-side figure.   

Although greatly contrasting in expression and tone, the two figures relate to each through position and subject. They are literally showcasing the same person and focus on the same body parts of the person. Additionally, the lines of the hands and arms line up and follow from on side of the page to the other which merges across the white line that divides the page. In the work, I wanted to explore the concept of openness and closedness and expression. The left side has an openness and vulnerability that the right side lacks. The neck and face are exposed and the subject is blissfully unaware of her surroundings. The right side holds mystery. She is closed off and painfully aware, staring into the gaze of the viewer. She seems to be closing in on herself.

I enjoyed the process of making this piece and the concept of pairs. I believe the areas of success were the face and hands. The proportions seem to be even between the body, face, and hands. I am also proud of the shading of the neck on the left portrait. However, there are areas for improvement. The texture of the hair on the left side portrait lacks the highlights and depth of the hair of the right-side portrait. The nose of the light-side figure could use more blending especially across the bridge of the nose. Though mimics the darkness of the photograph, I wish I had added some highlights to the eye on the right-side portrait to make it more realistic. The draping of the fabric on the t-shirt of the left side figure is a little messy and lacks depth. I intended for the left side to be a bit lighter and I should have used more of the HB pencil rather than the Ebony pencil. Despite the areas of improvement, I would still classify this piece as a success.

The piece is black and white composed of black India ink and charcoal. The scene shows part of the staircase that gives the sense that the viewer is looking up from the bottom of the staircase rather than from the top of it. The stairs are situated to the right of the frame in a diagonal line receding into space with the stairs closer to the viewer being bigger in size than those that are farther. The railing of the stairs draws the eyes upward to view a landing platform positioned to the top left of the page, the railing from the landing drawing the viewer’s eye up and out of the frame. The dramatic shadows and marks from the charcoal pencil give the piece a sense of movement. Additionally, the spaces between the stair railing and the stairs themselves allow for the viewer to see between them and gives a sense of space. The white wall giving depth by dragging itself further into space which can be seen through the stairs and railing. Shadows compose the emptiness below the stairs.

The stairs is the main focal element of the piece that engages the eye of the viewer. The positioning of the stairs which starts in the middle of the bottom of the frame, ends on the top right of the frame. The sense of space and ascending nature of the stairs draw attention. The railing and handrail creates a triangular space of focus which connections the elements in the top left to the stairs. Because of the heavy shadows presented, the mood of the drawing is a little somber. As if the scene was captured on a cloudy, rainy day. The linear lines and lack of a natural form adds to the somber tone through the absence of life. The shadowed empty spaces below the stairs, at the end of the white wall, and at the top of the stairs adds to the tone and separation from life. The use of stairs as a subject captures the idea of light, line, and space in that the linear lines of the stairs guide the eyes around the page and divides the space. The use of India ink and charcoal to create intense blacks adds to the overall characteristics of the drawing. The simplicity of the subject allows the lines to truly engage with the viewer.

Because the lines take center stage in the composition, it becomes apparent that they are not completely straight which adds more character into the piece but distractions from its intention as a study of architecture. The spacing of the stairs is also problematic because they do not line up with the actual subject. The darkness of the drawing also adds more drama than originally intended and could be fixed with a lighter hand and the use of a different drawing medium. Lighter values would have allowed for a greater chance for detail of the texture of the stairs rather than the smoothness that they are. The composition of space and the inclusion of more humanistic elements would breathe life into the piece. Instead of the shadows to fill the emptiness, the inclusion of some objects seen in those spaces would have enhanced the drawing. The texture of the white wall also leaves something to be desired, however, the lines of the shading adds movement to an otherwise static subject. The mini set of stairs at the top right side are the best in terms of shading and linework. The mixture of the India ink and charcoal worked well in this corners and would be amazing to see replicated throughout the entire piece.

I came into the wareHouse looking for “Enchanted” by Enrique Martinez Celaya. But the sheer amount of houses was amazing and my attention was pulled in several different directions. Although I did find Celaya’s piece, I was more drawn to two other works instead. Situated in a room by itself stood Hans Op de Beeck’s A House by the Sea, 2010. It was a dollhouse made from a variety of materials with little furniture. It was attention-grabbing because this big beautiful house is a light gray structure with at least four stories and a basement. There were multiple rooms with miniature furniture and some lights that were lit inside the house including on at the very top–almost like a lighthouse. However, there was something off about the dollhouse. The front deck had a chair and wine glasses knocked to the ground, doors were left open, furniture upturned, a bed without a mattress, and the dark and seemingly empty basement. It told a story and served to give an almost eerie sense, something has happened and we as the viewer do not know what took place. The desolate landscape does not yield any clues and its coloring mimics the color of the home.

When we talked with the curator she told gave us some insight into the space. The house is placed in its own separate room with a darkish, dusky purple color on the walls with crown molding on the borders. A photograph of an ocean scene rests to one side which makes sense when she told us that the house is influenced by beach houses in Belgium. The whole room, she said, was designed in a room to give off the impression of being in a room in the house. The space added to the mystery while simultaneously giving context, an interesting and complementary mix. This work, in particular, has given me some inspiration of my own. It reminded me of building a dollhouse when I was younger, and I think I would like to build a similar structure with the same sense of mystery that Op de Beeck gave their work.

Huot’s smallest book he made, just a little bigger than a thumb nail (excuse my nails)

Walking into Huot’s shop was very exciting. As soon as I saw the antique cast iron book presses and shelves of bound books, I was excited. Hearing Huot enthuse about book binding and seeing him present some of his work re-enforced my interest in bookbinding and conservation. I have been interested in book binding for over a year now, and to be able to walk into an actual workshop was an amazing experience. Huot gave us a tour around his shop while introducing the tools of his trade and the machinery he used to create his prints. The whole thing was remarkably packed with cool information, and I was particularly interested in his work restoring and conserving older books like family bibles and beloved books.

                             We even got to handle the proof press machine and create our own print.

Translation: “Agnes Scott College went out the perimeter to visit big River Bindery”

Proof Machine

Huot’s background in art and conservation is one that visibly comes together in bookbinding and book restoration. Like creating prints, the act of conservation is an artform.  Bookbinding and conservation is really delicate work where decisions are being made in order to transform parts of something in order to create a whole which really delves into what art is about. The act of creation in any form evokes some sort of connection with artistic expression. I would like to try my hand at binding my own book, and from examining Huot’s work, there are so many ways to expression yourself in the act of bookbinding. Hopefully, I will be able to take Professor Beidler’s bookbinding class senior year. I can see why we went to see Huot’s workshop because physically walking into the space sparked so much conversation and inspiration.  

“Sibling Rivalry” Nathalie Miebach

Weatherwise, Otherwise

I work in the Dalton gallery as a gallery assistant , and because of that I usually get to see how the pieces are installed and sometimes even meet the artist. Nathalie Miebach’s “Sibling Rivalry” caught my eye immediately. I got to help her install her piece in the space, and talk to her about her work. The more she described her work and inspiration behind it, the more I grew to appreciate the layers of meaning she placed in her work. She constructed the racehorses, ships, and  dominoes in her pieces into a visual representation of hurricane data. Her work to me represent the intersection between science an art. Science has never been one of my strong suits, but Meibach’s work helps me to understand and make sense of the weather data that I can relate to.

“Sibling Rivalry” Nathalie Miebach

Bruce Bobick’s “Patch for the Hole in the Ozone Layer” also caught my eye because it is this beautiful watercolor piece of a scene of penguins in their habitat, but with a out of place element. The work highlights the contrasting beauty of the environment with the overlay of the ugly reality.  It was a really great way to catch the attention of the viewer. I love the exhibit because it shows that climate change is not just a scientific problem with only scientific way to respond. Art has the power to touch and capture the attention of people that science might not be able to.

“Patch for the Hole in the Ozone Layer” by Bruce Bobick

The High

On November 12th the High Museum was having a free day and I just had to go. Of course there were a lot of other people there to take advantage of the opportunity especially since Making African and Civil Rights Movement Photography exhibit was there. I had been to the High Museum before as a field trip during my junior year of high school, and yet I still forgot how massive the museum really it. There is just so much to see that it was exhausting by the end. I did find I few pieces that was drawn to. I mostly like art from earlier periods, but there were a few modern pieces that I liked.

The Portrait of Bessie by Albert Herter

I found myself drawn to a painting by Albert Herter entitled Portrait of Bessie. It was painted based off a painting down by James McNeil Whistler in which he composed a painting mainly using whites. I really like the by Herter because he used different tones of white to to distinguish the dress of the woman from the the fur of the bear and the background. I enjoyed seeing how he also used his brush strokes to further distinguish the figure of the woman from the fur of the bear. The dress is using smooth brushstrokes while short and noticeable brush strokes are used to give texture to the fur of the bear.

The Madonna by Ikiré Jones

Blood On the Leaves by Ikiré Jones

I really liked the pieces by Ikiré Jones from the Making Africa exhibit. The pieces mixed Renaissance conventions with West African elements. It provided a great visual and I love that time period, and I loved how she brought back black figures into that historical context because often times there is this erasure of black bodies from history which is what his piece made me think of. I also loved a photograph from the Civil Rights Movement exhibit called Mary Parker and  Caela Cowan by Dawoud Bey. It mixes past and present by depicting a woman who had grew up during the Baptist Church Bombing of 1963 and a girl around the age of the girls that died in the bombing. It was just a great juxtaposition.

Mary Parker and Caela Cowan by Dawoud Bey

Since it was a free day, practically everyone was there and there was just too many people in the museum for me. But, I still encouraged by trip to the High and I am glad that I got to see the new exhibits.

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The Finished Product

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I started off the 3-D project with more than a little trepidation. I am more used to, and comfortable with a 2-D medium because for me it is easier to manipulate items in a 2-D space than a 3-D space. I was originally inspired by the Dome of the Rock and the Pantheon, but as I went along I became more inspired by the arches in the Agnes Scott symbol and triangular shapes. I knew I wanted to construct more of a building rather than a sculpture because I tend to work more from concrete ideas and objects, and the concept of a sculpture just seemed too abstract. But, I found myself having to let go more and more from the original plan because measuring is not one of my strengths. One of the biggest problems that I ran into was measuring and cutting the foam core. I would measure three times and all the sides or pieces I needed would still be different sizes, so I found myself having to work around and respond to those problems. What I ended up with was something a little less like a solid building and instead, I gained something a little more whimsical and something that actually enhanced the look I was going for.

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I knew from the start that I wanted the viewer to be able to look inside of the structure, but I had not thought beyond putting card stock squares on the floor to provide something to look at. As I began to work I started playing around with cutouts and layering strips of paper to add some character, and using the scraps from the cutouts to add to the structure. Finding gold paint revolutionized the way I operated because it changed the way I was looking at the piece. I liked that that the gold paint was reflective and I began thinking about capturing how the light played on the gold accents. That is what made me use so much gold on the inside because it was that hint of a surprise that I wanted and it was less gaudy to me on the inside. I created texture along the inside walls of the piece using gold paint and dabbing it on with a napkin, then I gold dusted the floor to give it a hint of sparkle and painted the inside on the roof gold so that it would not be visible from the outside.

The greatest success and what I am the proudest of in the piece would be the dome. I wanted to replicate the shape and material of the Dome of the Rock, but I also wanted to add the hole at the top like the oculus in the Pantheon. Finding an appropriate template and cutting out the pieces and constructing it was a pain, but it turned out better than I had hoped. Finding what to cover the inside walls of the dome was a trial and error process. At first, I had painted it all black and I was going to put gold-dust as I did with the floor, but that did not work out, so I took some cardstock and layered that within the dome. All in all, I did enjoy building the piece at times and I am happy with the results, but I think I will stick to 2-D mediums.

For the final project I wanted to design more of a building than a sculpture. I want to mix some of the architectural and design elements of the Dome of the Rock and the Pantheon with the arches of the Agnes Scott logo. The main body of the piece will be in the octagonal shape of the Dome of the Rock, but the dome will have layered rings seen on top of the Pantheon along with the oculus in the center of the dome where one can view into the piece. The arched opening will be layered and open so that the viewer can see through the piece. There will be three portals with the middle one being the largest and on the floor will be gold designed card stock. Card stock will be utilized throughout the piece  because there will be card stock panels that make up two sides of the octagon as well as on top along with the golden card stock that the dome will be made of. The colors are mostly going to be black with gold accents, but I also want to utilize some blue floral card stock that has gold accents for the panels. The concept is not so rigid, and it is mostly a guide at the moment. I want to be open to deviating from the plan if I think the piece should go somewhere different, or if something does not go according to plan. The images below are of a test dome that I did. I wanted to see how big the dome would be, how malleable the card stock would be, and to experiment with cutting a circle into the top of the dome.