Around Sculpture, Molding and Installation, décember 2010
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This year, there were 27 (out of 42) students who follow the Art option, who went to the Art center La Source. They had an optimal frame of working. They were accompanied by there Art teacher and the artist Pierre Guilloteau. But moreover, they were accompanied too by Mrs Michele Garnier (Biology teacher), Valentin de Lima Ferreira (past pupil who achieved 18/20 in his art oral) and Aurélien Boiffier, another artist, who came to observe and assist us.
The topics were given on the first day in residence, so we can say that all the creations were made in 5 and only 5 days (relentless and intensive work). The students had just to come with their graphic material and the symbolical objects of their artistic process (see a subject done before in classroom).
At the last moment, Pierre Guilloteau, the artist who accompanied us, said that it was better to begin with the individuals works. The evolution of events gave him reason.
1- COLLECTIVE WORK: 2 BODIES IN SPACE
– Our Arts teacher gave us the following instructions:
– By molding the bodies limbs and fabrication of the torso (made with wire and plastered clothes), you will create the sculptures of 2 human bodies (to scale).
– Division into 2 groups (13 and 14 students).
You will think collectively about the pose of the 2 bodies and how they are positionned to each other.
– Individual practice of sketch ( 30 minutes before the sharing of works): collective choice and division of the things to do (there’s no task too small to do in a collective work...).
Creation and isntallation of the 2 sculptures. a camera will be placed on a base, which frame all the space, and you’ll have to photograph the evolution of the creation and of the space. (Finally, we had just enough time to create only one collective body. Two minutes after the end of the final installation, the bus arrived.)
MARKING SCEME:/20 – /4 Individual capacity to use time and work rythm
– /4 Individual capacity to express oneself orally, to excange with the others students and artists
– /4 Individual capacity to help others in their works
– /4 Individual capacity to take part in all of the practical aspects in the workshop (preparation of the plaster, of alginate, storage with the workshop...)
– /4 Collective capacity to complete the project and return all the practicals which were required during the stay
2- INDIVIDUAL WORK : BODY/OBJECT OF THE SCULPTURE
Continuing your personnal artistic problematic (developed in the 3 last subjects) and using the molding technique, you will associate elements of your symbolic objects with elements of the body.. This association must show your personnal artistic process (meaning, presentation, confrontation with the viewer).
So you can transform your objects of body by: addition, subtraction, deformation, multiplication, fragmentation, displacement/replacement, assembly...
–TECHNIQUE : molding and assembly
–CONSTRAINT : An individual sketch.
At the beginning, you will define the way that your sculpture wil be part of your presentation space (on the floor or not, height, occupied space...). You will take care of the works of the other students. You will photograph your achievd personnal work : two retouched photographs (centring on your object, large framing that will show the relation between your work and the two bodies).
MARKING SCHEME:/20 – /4 invention and effenceincy of the relation ship between the body and the object
– /4 technical mastery of all the steps of the sculpturing practical by using the molding
– /3 capacity to present your work in the rame of a collective installation (attention and sensibility to the characteristics of the others works).
– /5 WRITTING: capacity to describe all the steps of the works, the personnal meaning of your work and the links with the works realised at the lycée
– /4 WORK, PARTICIPATION
3 COLLECTIVE WORK: AN INSTALLATION
By an individual reflection (during this week) and collective reflection (at the end), you will consider your work and the work of the other people. You will think about some interventions in the space, to make it homogeneous.
For example, circles, one with falling leaves and one in plaster, one body in the middle of the target, one body out... but this is only an example.
–TECHNIQUES : free
–CONSTRAINTS : one sketch for each students representing the final presentation. Think about the addition of materials (colours...). The arrangement must be simple, homogeneous, and reflecting all objects which were completed during the week.
This last step was an addition if time allowed after the individual and collective production. In fact, it’s difficult to know how much time it will take to complete all of the works. This subject could not be undertaken because we had not anough time. But I think that, during the practical exercices and presentation of their works, the students understood the difference between an installation and a photographic composition.
REFERENCIAL WORKS OF ART:
The references were given on the bus before our arrival at La Source in order to waste time before classe work. The references were given on black and white pages. Here they are in colours.
After 6 years of research, Auguste Rodin is finnaly envelopping his study by a plastered dressing and obtain his famous Balzac.
George Segal had been a reference in arts for the baccalaureat of 2003 to 2005 with Movie House. He is an important artist fora contemporary pratice of molding and installation.
Proach of the Pop Art du Pop Art, Segal had been highly interested by daily bodies representation.
An other fragmentation aesthetic.
Works about Memorys.
Works of artengaged in civil rights reconnaissance.
Arman had been a reference for the baccalaureat too with Long Term Parking for 2007 to 2009. He is a referencial artist for the diversification of artistics ways to act on the object . Here it’s not a molding but even so a print.
Here with Colère, the print keep the emotion in the act.
An amazing work of art that show the sculptural process of nature.
To hope an global interaction between the sculpture and the tree growth as a sculptural process.
Related to the Arte Povera, Penone share here the interest of Arte Povera artists in poor materials.
Confront sculpture with photography.
Antony Gormley, here, isn’t using by molding but by modeling. However, it’s showing possiilities of repetition process typical of molding. The work of art become a space.. He developped it for the Sydney Biennale in 2006 with the "Asian Field" 180000 pieces.
Kiki Smith with "Train" associate a body molding with necklace of red beads in a definitivly feminist sculpture.