Axiomatic Object - UWMExhibition Text:
"Balance" explores the contrasting perspectives that can arise from setting the line of what is or isn't a well-balanced lifestyle. This piece was created by detailed measurements and carving cardboard, with inspiration coming from Claes Oldenburg, who sculpted every-day objects into monumental-scales. The Axiomatic Object features solely a honest material that allows a establish truth to form about the lack of function. Text: Balance
Size: 90.00 x 5.60 x 19.20cm Medium: Cardboard Completion: January 2023 |
Inspiration
Paint Torch by Claes Oldenburg
"Paint Torch" is a centerpiece sculpture that honors and highlights American Art, which achieves this through the immense scaling of the original object, and the contrast it has from the setting it's placed in. The sculpture both serves as a symbol and a function with the glob of paint on the brush being able to illuminate at night. For an axiomatic object, it must be able to make a statement that is regarded as evidently true, which makes the use of everyday objects as the origin beneficial into a audience having a immediate understanding of the sculpture presented, while allowing more in-depth analysis of the choice of form and the mass it takes up. Since my object will be constructed entirely out of cardboard, depending on what I choose to follow through with, it will lack the original use of the item, which will to taken into consideration.
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Shuttlecocks by Claes Oldenburg
Following with another Pop Art installation, "Shuttlecocks" is another sculpture created by Claes Oldenburg following the same principles, but the setting this art piece is set in is what I wanted to take a deeper look into. The four shuttlecocks are placed across and around the lawn of a neoclassical building, as it's envisioned to look as if the ground is a huge playing field, with the museum to see in the background of the photo serving as a net. I wanted to think about how specific objects when placed in a setting can change the tone of the space, such as construction tools and equipment being associated with a form of installation/improvement upon a area it's placed in.
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Planning
The first item that came to mind that can be a interesting object to enlarge was a closed pocket mirror. Playing with the idea of simplification and reflections in previous works, I thought this item would keep with that theme by having a lack of reflection due to the adaptation being entirely out of cardboard. Furthermore, since this mirror was given from a past friendship, it can represent that connection no longer carrying over/existing with the transition into a sculpture. I would make the artwork four times the size of the original (approximately 45cm), and having receiving feedback on the idea, I wanted to expand upon the function of the item, the form's ability to manipulate a setting, and how best they can compliment each other. In order to ensure that the scaling and measurements were accurate, I began observing objects that had more geometric characteristics.
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This new found mindset brought me over to a bubble leveler, and it surpass the three key points that I wanted to take my sculpture towards. For function or lack their of, I wanted to make the connection to the differing perspectives people have on what it means to be balanced, as depending on different values it can be interpreted and seen on a vast scale. Going onto form, as mentioned before in the end of inspiration, specific items can have a effect on setting, which a bubble leveler would have when ensuring final decisions/installations are leveled/balanced. These two connections complement each other for a axiomatic object, as a item that's function and form is commonly known and is scaled up allows a audience to link to similar principles I view as essential to carry through with the sculpture.
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The last part of my planning was ensuring that the measurements that I captured from the bubble leveler were accurate and were able to be scaled up easily. The dimensions I wanted was ten times the original (approximately 56.25cm), which later on as I worked on my sculpture was changed to sixteen times the original (90cm) to ensure the scale was a primary focus and more align with my inspiration. Utilizing equations that allowed me to convert units into the smaller blueprint above and the final sizing measurements where helpful in understanding the proper spacing between elements and smaller details. I would refer back/add onto this page of planning whenever I need to ensure my measurements were correct and if any adjustments needed to be implemented.
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Process
With the proper measurements done beforehand, it became much easier to begin the process of translating those blueprints onto my cardboard. Part of the reason that I leaned towards making a 90 cm sculpture was that I had large pieces of cardboard available to me for the side plates I needed to make, so it would ensure that I would have clean, consistent panel without having to glue separate parts. Therefore, I began by sketching out the basic shape/plates onto the cardboard, and I found that using a box cutter rather than an exacto knife was more comfortable for me to do long and consistent cutting, and was less likely to get dull after a few uses.
Once I cut out the panels from the cardboard, I then began making marks and lines for the more detailed parts of the plate. Since both plates were reflections of one another and needed to line up with the tunnels/openings, the outlines needed to be very precise, so this was the most time consuming part of the process, as I would make measures at each end of every line to ensure that the leveling and spacing would be consistent. Part of that consistency came from changing the dimensions from my original 10 times to 16 times so that I wouldn't get conversions that were in the hundredths. After I made the outline on the panel, I then created the bubble tubes that would be inserted inside the three tunnels at the same length that was larger than the length in order to later be able to cut them to the proper length.
After I was happy with how both plates turned out and ensured that the designs were matching up, I then cut out the rectangles and traced over all the lines I made with blade, but not deep enough where it would go through the cardboard. Originally I thought that this tracing with the blade would be more evident in the final product, but the thickness of the blade and a single slice didn't give off the effect I wanted. However I still wanted to illustrate some depth on the panels as they transition into the tunnels, so I used my blade to carefully and slowly peel off the top layer of the cardboard.
With these closing actions, I was able to move away from the main panels and work on the top and base of my sculpture. This involved taking a previously cut piece of cardboard that was 90 cm long, and trimming the edges into a triangle shape so that, once I made a internal cut to the first layer of the main panels, allowed me to make the curved effect on the end of the sculpture, shown on the left. I used a hot glue gun (which surprisingly was my first time doing so) to connect the the bases onto only one of the main panels, since I would need to complete the tunnels and bubble tubes first to make the internal components more easier to implement.
For each tunnel that needed to be constructed, it required making 12 separate walls that were measured at the exact height that would allow them to not only leave no space when connected with the final panel, but allows give support as another surface area for hot glue to be placed. All I needed to do was cut the bubble tools to the dimension based on what angle they would be placed, then begin the gluing process of the tunnels and lastly the main frame.
The final product, after having to make sure all the connections to the final frame didn't dry up before being pressed together, was actually quite sturdy than I initially thought, as the bubble tubes could essentially be used as a handle, but ensuring support was being applied throughout the sculpture helped to make sure it wasn't fragile at all. The image on the right gives a better idea of the actual scale of the sculpture compared to a door.
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Experimentation
When I was halfway through the most time consuming part of the process, which was tracing the main panels accurately, I thought that rescaling up to a length of 56.25 cm wasn't the size I initially was hoping for and thought that it would be more impactful to start over with the new and current sizing of 90cm. Although I am very happy I made that decision, I still didn't want the work I put in my first model to go to waste, so it instead became my main source of experimenting new techniques and ideas. The first one was attempting to reduce the amount of very precise tracing I had to do by taping both panels against one another and cutting the tunnel between them, however the process of removing tape could cause parts of the cardboard's surface to rip off, so I stuck with my original methods.
As mentioned in process, this was the first project where I used a hot glue gun, which after using it was much more of a stronger adhesive than any Elmer glue I had used before. It did leave strings of glue behind and often dried up when I had to do long stretches of cardboard at once, but it was a easy work around once I had practiced on this smaller sculpture.
While I didn't add all the details and cut out the tunnels, it was very useful to have a idea of how my cardboard project would turn out like, which gave me ideas on how to add more depth that can transition into the tunneled area. On the left you can see how I learned to make equally spaced slices onto cardboard to allow them to bend and create the cylindrical shape I needed. The first batch had a diameter of 10cm, which I then broke down and adjusted to make the smaller tubes used in my final sculpture.
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Critique
Similarities
- Proper proportions when scaling: With the use of proper proportions and measurements, the sculptures all share the same process of staying true to the original object and having it scaled up be the point of emphasis.
- Form manipulating setting: To follow suit, having a greater emphasis with scaling on a object allows it to transform a space when the function of the subject is in contrast with the location or other surroundings sculptures/buildings.
- Everyday/Ordinary subjects: The choice of a subject that replicates a everyday/ordinary objects allows the majority of a audience to not only instantly recognize the sculpture, but have a understanding of the setting and function associated with the object, which funnels a viewer's perspective on the purpose of the work.
Differences
- Materials true to original: While Claes Oldenburg was able to use a materials and colors that made the form recognizable to the original's texturing and character, "Balance" solely uses cardboard for it's adaptation and connects to the different application of material for a bubble leveler.
- Texturing and developing techniques: To go along with having to use cardboard, in order to showcases more depth and get the proper shape by using cardboard, I had to understand the material and apply techniques that illustrate smaller details like the curved ends and the slight leveling difference when transitioning to the tunnels on the sculpture.
- Setting Choice: Although both my inspiration and I are manipulating the setting that they're placed in, my sculpture didn't have a defined location to base off how it would transform the space, which lead to me choosing construction subject that can have it's purpose applied to any location it's placed in.
- Proper proportions when scaling: With the use of proper proportions and measurements, the sculptures all share the same process of staying true to the original object and having it scaled up be the point of emphasis.
- Form manipulating setting: To follow suit, having a greater emphasis with scaling on a object allows it to transform a space when the function of the subject is in contrast with the location or other surroundings sculptures/buildings.
- Everyday/Ordinary subjects: The choice of a subject that replicates a everyday/ordinary objects allows the majority of a audience to not only instantly recognize the sculpture, but have a understanding of the setting and function associated with the object, which funnels a viewer's perspective on the purpose of the work.
Differences
- Materials true to original: While Claes Oldenburg was able to use a materials and colors that made the form recognizable to the original's texturing and character, "Balance" solely uses cardboard for it's adaptation and connects to the different application of material for a bubble leveler.
- Texturing and developing techniques: To go along with having to use cardboard, in order to showcases more depth and get the proper shape by using cardboard, I had to understand the material and apply techniques that illustrate smaller details like the curved ends and the slight leveling difference when transitioning to the tunnels on the sculpture.
- Setting Choice: Although both my inspiration and I are manipulating the setting that they're placed in, my sculpture didn't have a defined location to base off how it would transform the space, which lead to me choosing construction subject that can have it's purpose applied to any location it's placed in.
Reflection
The experience of understanding how to properly scale a object with a self-evident truth behind it was a particular challenge to do not only accurately, but with a purpose that can be interpreted by a large audience with how simple the sculpture appears at first glance. Looking through Claes Oldenburg's pop art sculptures and how he not only had the same principle of emphasis based on scale, but knowing, in particular with "Shuttlecocks" and the Neo-classical building, by what means function and the contrast in setting had on the depth of the work. I was able to narrow down my bubble leveler idea based on the lack of function for being able to find a balance, and a construction tool that can be applied to any setting it's presented in. My greatest challenge for my project derived from having to take very precise measurements and ensuring that both main plates of my sculpture were able to line up perfectly. It was a burden when I decided to start over my project to increase the scale, which meant I had to redo the previous measurements, but I had able to get accustomed to the technique of proper measuring, conversions, and slicing steadiness.
My Block Print actually had a similar process where I wasn't satisfied with how the final outcome was looking as I was nearing the end, and decided with that artwork to also start over my scratch to refine my print. This got me more accustomed to utilizing the time I had to make revisions and used my polished techniques to make a artwork that more align with my original vision. Speaking of outcome, my favorite was seeing how my measurements and conversations carried through my process and allowed the final connections to be seamless. On the contrary, I disliked when my original equations and conversions for the initial size weren't as accurate, leading to a lot of backtracking and double checking to ensure that the scaling of each component was matching up. I hope that others are able to look at my work and make the connection with the lack of function of the bubble leveler and how balance (and the unclear line that cones with it) plays apart of their life.
My Block Print actually had a similar process where I wasn't satisfied with how the final outcome was looking as I was nearing the end, and decided with that artwork to also start over my scratch to refine my print. This got me more accustomed to utilizing the time I had to make revisions and used my polished techniques to make a artwork that more align with my original vision. Speaking of outcome, my favorite was seeing how my measurements and conversations carried through my process and allowed the final connections to be seamless. On the contrary, I disliked when my original equations and conversions for the initial size weren't as accurate, leading to a lot of backtracking and double checking to ensure that the scaling of each component was matching up. I hope that others are able to look at my work and make the connection with the lack of function of the bubble leveler and how balance (and the unclear line that cones with it) plays apart of their life.
Connecting to ACT
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
Claes Oldenburg's sculptures not only brought heavy emphasis on the scale of everyday objects, it also showcased how the function and contrast in setting had a great effect on adding upon more depth to the purpose. My artwork subject was narrowed down to a bubble leveler based on the lack of function and how it compliment a construction tool's purpose for any setting it's presented in.
What is the overall approach the author has regarding the topic of your inspiration?
The overall approach of Claes Oldenburg for scaling everyday objects as the origin beneficial is to have a audience develop a immediate understanding of the sculpture presented, while allowing more comprehensive analysis of the choice of form and the space it takes up.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
While I researched my inspiration, I found that axiomatic objects, in which it must represent a self-evident truth, were able to be connected naturally when ordinary subjects were used, in which a viewer spot on understanding of the function and purpose.
What is the central idea or theme around your inspirational research?
The central theme of my inspirational research was understanding a honest material that allows a subject's established truth to derive from a lack of function, and as I dove deeper into narrowing my ideas for subjects, highlight the contrast of perspectives when it comes to being balanced.
What kind of inferences did you make while reading your research?
Experimenting and understanding how to treat a material can open many possibilities on what you can achieve with the limitation of what you're able to work with, as my options for what I can choose for my subject broaden as I researched different ways you can form and texture cardboard.
Claes Oldenburg's sculptures not only brought heavy emphasis on the scale of everyday objects, it also showcased how the function and contrast in setting had a great effect on adding upon more depth to the purpose. My artwork subject was narrowed down to a bubble leveler based on the lack of function and how it compliment a construction tool's purpose for any setting it's presented in.
What is the overall approach the author has regarding the topic of your inspiration?
The overall approach of Claes Oldenburg for scaling everyday objects as the origin beneficial is to have a audience develop a immediate understanding of the sculpture presented, while allowing more comprehensive analysis of the choice of form and the space it takes up.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
While I researched my inspiration, I found that axiomatic objects, in which it must represent a self-evident truth, were able to be connected naturally when ordinary subjects were used, in which a viewer spot on understanding of the function and purpose.
What is the central idea or theme around your inspirational research?
The central theme of my inspirational research was understanding a honest material that allows a subject's established truth to derive from a lack of function, and as I dove deeper into narrowing my ideas for subjects, highlight the contrast of perspectives when it comes to being balanced.
What kind of inferences did you make while reading your research?
Experimenting and understanding how to treat a material can open many possibilities on what you can achieve with the limitation of what you're able to work with, as my options for what I can choose for my subject broaden as I researched different ways you can form and texture cardboard.
Citations
PAFA. (2019, October 8). Claes Oldenburg: Paint torch: PAFA - Pennsylvania Academy of the fine arts. PAFA. Retrieved January 13, 2023, from https://www.pafa.org/museum/exhibitions/paint-torch
Staff, K. M. B. C. 9 N. (2022, July 18). The man behind one of Kansas City's most iconic city symbols, the shuttlecock, has died. KMBC. Retrieved January 18, 2023, from https://www.kmbc.com/article/kansas-city-missouri-nelson-atkins-shuttlecock-artist-claes-oldenburg/40641782
Staff, K. M. B. C. 9 N. (2022, July 18). The man behind one of Kansas City's most iconic city symbols, the shuttlecock, has died. KMBC. Retrieved January 18, 2023, from https://www.kmbc.com/article/kansas-city-missouri-nelson-atkins-shuttlecock-artist-claes-oldenburg/40641782