Form (Revisited)
Update: so I wasn't happy with my previous form; it felt too forced, like the basswood wanted to go one direction and I said, "No! We go this way!" I also felt it lacked consistency (it looked complex but didn't feel connected), was too representational (as a cityscape), and was fixed on a sheet of plexiglass which restricted its viewing angles (and went against the intent of the project, which was to use only basswood and glue). So I did another one. It's not perfect, but I like it much better than the previous one (which you can see here). Without further ado, I present to you the Form (revisited).
Matthew Ritchie's "Self Portrait in 2064" is the inspiration for this three dimensional piece constructed solely from basswood and glue. As a transitory process, we focus here on the translation from a flat, 2D object (the self portrait) into a 3D form.
Thoughts, Words, & Concepts
As I mentioned in the Introduction, Ritchie's piece speaks to me of duplicity, both as deviousness and duality. "Duplicity," as a word and a frame of reference, served as my starting point in developing my three dimensional form.
I began by searching for obvious dichotomies in the Ritchie painting; these are listed below, grouped as dualities of process (procedural) and appearance (visual):
Dualities of Process
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Dualities of Appearance
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From these dichotomies I began to think of "duplicity" itself as being dual (e.g., it has a dual definition). Duplicity then came to represent two halves, chaos and order, primitive and civilized, figurative and representational: "Dupli" and "City."
The idea for the form began to materialize here--it would be dual in nature, with halves representing these dichotomies. But it would also be slightly devious, in two ways: first, by having the word "duplicity" itself deeply embedded in the structure, and by calling into question the separateness of the dichotomies it represents.
Preparation: Sketches and Experiments
From three main divisions in Ritchie's piece (straight/curved, light/dark, order/chaos), I started sketching some pieces that reflected this tensions:
After visiting the Blanton Museum of Art I was further encouraged (by the pieces) to explore divisions of light/dark and thin/thick. I made these sketches from some things I witnessed while there:
I came back to my studio to "commune" with the rest of my basswood, and try to do a better job of listening to it. During the session I realized that arcs and angles were very important to me, as were space, engulfing curves, framework (skeleton, structure), levitation, surface, and the verb "to soar." Out of that session was birthed my next form.
The Basswood Model
As a whole, the form is composed of many arcs. Smoothly ascending and curving lines all branch outwards to their individual destinations, but maintain a consistency in their ascension. Sharp corners and right angles exist in the piece, but are not immediately visible from a distance.
There is a sharp competition (cooperation?) between straight/curved, light/dark, and presence/absence in the elements of the form. The ascending arcs sprout from a solid mass and end up distant from each other and spindly. The thin arcs are offset by the solid curving centerpiece and the square plates in the center (which are in turn intersected by thin, straight lines.
Undergirding the entire form is a series of boards reminiscent of floorboards or rafters. Their linearity belies the smooth arcs that exist above them. Similarly, the acute angles where the thin arcs meet their straight supports creates a sharpness (especially in the shadows) that isn't present at the apex of the arches.
Finally, the monolithic rectangular edifice in the center resists compartmentalization (even though it itself is a compartment) in several ways: it is penetrated by three beams, but they do not actually pass through; it is solid, but hollow; it is straight, but angled and off-center. The attached spiral casts a shadow that is distinctly out of place (above). The light-play in these next three images reflects the complexity and duality of the form.
The Duality of Process
A final note on duality and duplicity: the design/creation process itself, as a verb, is dual in two more ways. First, in contending with material resistance, any artistic vision is directed and guided by the abilities of the media being used; the artist creates art between the pull of vision and the pull of material capability. Secondly, in most real world settings, the designs are created explicitly for another (instead of the self), and as such the artist's path runs between personal vision and client desires. The looming question from duplicity asks: are these truly dichotomies, or do they support and enhance one another, eternally cooperating in tandem? Are they in competition, or cooperation?
Additional Photos
Here are a few more photos of the completed basswood form:
