Ryan's Process Portfolio

Concept: Addiction Sample Splattered Background

Ideas and Experimentation

My preliminary background experiment.

Artist Inspiration

Pollock, Jackson. One: Number 31, 1950.

Concept Map

My initial idea is to design a briefcase (from the inside) with a messy background of splattered paint, sticking different kinds of pills, syringes, beer bottle and cap, cigarettes, and a broken wine glass. I modeled how the splatter paint would like by using Pollock’s technique.

Pollock uses a limited and dark colour palette to convey his message, which influenced me.

Pollock’s abstract painting is based off splattering paint all around the canvas and showing his chaotic world. For the background of my artwork, I will be splattering three colours: gold, silver, and white.

Initial Sketch

My 2ND Idea Proposal

After testing out Pollock’s technique inside the briefcase, I decided to establish a new technique that would make the audience mind-blown and feel like they are inside a crazy mind. Yayoi Kusama has been mastering her own visions of Infinity Nets for years. Inside the briefcase, I use her technique and style to create a background.

Meaning

Each item of the assemblage contributes to the overall meaning.

The Infinity Nets show how an intoxicated brain is. The messy nail polish on the mannequin’s hand represents a drugged adolescent.

The pills spilling out of the hands represent intoxication, addiction, and overdose.

My digital concept map

Experimentation of Infinity Net with Paint Markers

My Photoshop Study

This study, made on Photoshop, shows how my briefcase would look from the inside.

My sketch.

This is one of my initial designs for the bottom part of the vintage briefcase. The figures above are inspired by Keith Haring.

Kusama, Yayoi. Infinity Nets [MAE], 2013.

My Infinity Net photoshop trial.

My preliminary background experiment.

Process: Assemblage Firstly, I painted the mannequin hand with a primitive peach colour (straight out of the bottle). I then mixed some white with peach in some areas. After doing that, I applied nail polish with a shiny coat onto the fingernails.

1st Attempt

My initial work.

I painted the inside of the briefcase a pure black colour and I used a roller to add a smooth effect to the plain composition.

Also, I painted it using Pollock’s style. This creates a messy atmosphere.

The syringe is filled with red-ink. I dropped it five times randomly to see where I would place it. I prefer it when it was in the bottom left corner (shown in the 2nd attempt). st

I began to glue to the pills in an unnatural position up on the wrist, so I had to model a hand, in reality, to show how pills actually fall off the hand.

1 Trial Creating the Design for the Vintage Briefcase

Infinity Nets Difficult Trials and Errors My initial configuration.

2nd Creation of the Vintage Briefcase My first infinity net trial.

My postage stamp initial designs.

Postage stamps were glued on the top of the briefcase to show how the briefcase has been travelling the world attempting to inform people about addiction and the issue of overdosing. Also, it shows that this issue is a global one.

My second infinity net trial.

Latest and most refined trial with gradient.

Critique

“The Yayoi Kusama design is more cerebral and mentally controlling vibrating like heroin in your mind. The drunken splatter of Jackson Pollock is less deadly and more sloppy drunk alcoholic just like himself. Not that we want to judge the personal character over their artwork, but it is the truth. And it is the style.” - Visual Arts Teacher

My final configuration.

The overarching chaotic composition of my first attempt highlights the life of an addict, but at the same time, it seems to be basic. The splatter paint does not control the mind like it's meant to do and the overall component is literal.

After refining the overall design of the briefcase, my new and improved design and the meaning are extremely correlated.

The infinity nets are mind-controlling and creates a nauseating effect to show the impact of overdosing.

Also, the pills smell unpleasant.

Reflecting, Reviewing and Refining: 2nd Attempt I cut the cotton paper into two parts for the background then I used black gesso to cover the cotton paper. I used black acrylic paint to go over the gesso to give it a smooth background. I then tried several techniques of creating the Infinity Nets onto the black background. I painted the same technique all throughout the cotton papers.

Infinity Nets Background

Final Background

Artist Inspiration

Nick Bantock creates artworks which have a timeless and other-worldly effect to it. His collages are based on voyages, culture, and nostalgia.On the top of the briefcase, the collage conveys my meaning further. It expresses how drug overdose is an international cause and is not only present in Lebanon.

Collage Experiment with Bantocks Works

Final Version of the Collage

Nick Bantock Artwork

My collage experiment.

My final background

Triangular

Rounder

Resolved Artwork

The difference between both of these Infinity Nets are the size of the nets and the shape of it.

Bantock, Nick. Desert 6, n.d.

My collage is based on voyage. In the centre, I have glued multiple artworks made

by Bantock. As for the frame, I stuck different parts of a map.

Reworking Collage Imagery

Final background of Infinity Nets with the hand glued with the caulking gun.

Overdose Wonderland, constructed sculpture (assemblage, acrylic paint, and collage), 38 x 45 x 50 cm.

My fully resolved collage.

My final collage consists of different artworks from famous artists. It also includes cut-out stripped maps and other “out of this” world creatures.

The three briefcases collage experiment above show different ways I could stick the cut-outs.

I placed them on the briefcase, then photographed them. They are based on Bantock’s work.

Concept: Endurance Ideas

My initial idea is to create my own butterflies by only using different shades of blue with dry acrylic paint. Then, I would place them on a plain surface. Similar to Kracov’s, the butterflies will all be moving in the same direction which illustrates movement.

Preliminary Butterfly Experimentations

Fineliner butterfly sample.

Photoshop pencil and airbrushed butterfly sample.

Pencil drawing butterfly sample.

Blue acrylic butterfly sample.

Blue paint acrylic marker butterfly sample.

Failed Dried Paint Butterfly Samples

My 3D samples.

This shows that my initial idea failed.

After experimenting with dry acrylic paint, the butterflies seem to have an “X” shape and do not resemble a butterfly. I then decided to rework my idea by designing my own butterflies on paper and cutting them out.

I wanted to represent myself as a jagaur that is leaping out of the world. I then created this digital collage. Later on, I used the jagaur in my artwork.

Artist Inspiration

Data-Driven Inspiration

“Although they live longer than many butterflies, the Blue Morpho still only has a lifespan of 115 days. By the time the adult Blue Morpho Butterfly erupts from the pupa, it will have less than a month to live.”

http://www.butterflyfactsforkids.com/blue_morpho_butterfly/blue_morpho_butterfly.html

My digital collage.

Kracov’s metallic wall sculptures focus on colours and the sense of movement of butterflies. In contrast, my artwork would be monochromatic butterflies, but they would moving in a similar configuration as his.

Meaning

Kracov, David. Passing with Flying Colours, n.d.

Concept Map

My artwork consists of several blue morpho butterflies and emphasizes on the concept of endurance and strength despite the short life of this species. Nothing lasts forever, My digital concept map. even our lives are not forever eternal.

Process: Designing, Printing, Cutting and Craftsmanship 1st Attempt

My first attempt with the dry blue acrylic led me in reworking and experimenting with materials. I chose to design several of my own butterflies out of blue cardboard paper.

Designing

I designed five different types of butterflies; however, I created them in various sizes. I wanted to show variety with with shape, size and somewhat colour. Although my butterflies are consist of only blue (monochromatic), I utilized different shades to show variation.

Final Cut-Out Butterfly Pieces

Printing

I then traced the butterfly designs from my sketchbook by using tracing paper. I scanned the four sets of tracing paper, so that I could have a plain white background. I traced the printed version with a black Sharpie. I then used the four outlined sets to print on the different blue cardboards.

Drawing Designs

Cutting

After all the printing, I had to cut out all of the butterflies. It was a challenge because some of the butterflies which I had initially designed had a complex form.

Gluing

After experimenting with multiple glues, Some of my pieces during the process. the one which worked best was the SoBo glue. It’s sturdy and dries transparent. Craftsmanship with Newspaper

Support and Stability

Some of my final butterfly cutouts.

At first, I glued the butterflies onto the net directly; however, they started to fall off gradually. I then decided to add newspaper on the back of the net so that when I glue the butterflies, they would be attached to the net by the newspaper (acting like support and stability).

Backing

Reflecting, Reviewing and Refining: 2nd Attempt 1st Refined Composition

My refined composition is an extends the first one. I extended the flow of the butterflies, I made it look more realistic like a migration of butterflies, and I made it more dense in some places.

1st Critique

“You need to make a rhythm and movement which incorporates the negative space. Your first one, the v-formation, was too static, predictable and boring to the human eye.”- Visual Arts Teacher

Photoshop Initial Attempt Composition

I scanned the different butterfly cutouts and I modeled how the butterflies on the net should be by manoeuvring them on photoshop

Photoshop Refined Composition

I drew a jaguar on the back of the fabric. To make it more visible, I traced it with a fat sharpie marker. I then applied Golden GAC400 with a paintbrush, this stiffens the fabric, so when I cut the animal out, the ends will not lose their threads.

Creating the Jaguar

Jaguar fabric with GAC400

I incorporated the first critique by my teacher in this sample. I added more butterflies to make it dense.

After cutting it out, I needed to solidify the fabric so I decided to trace it on a styrofoam board. I then mounted the fabric onto the board by cutting an extra centimeter.

Styrofoam base I ironed the extra fabric and folded it onto the thickness of the styrofoam board.

Photoshop Final Attempt Composition

Resolved Artwork

2nd Critique

I have to make further revisions to the butterfly net. I now have to fill the space between the two thin lines and make it more like Kracov’s configuration--one entire group of butterflies. On top of that, I have to make the butterflies more dynamic, create new samples, and perhaps make them pop out of the net. Even add a friendly jaguar next to the net.

Designing the Jaguar

The jaguar is my spirit animal. I wanted to represent myself in this artwork so I created a jaguar made out of cloth and fabric.

Concept: Protection Fabric

Ideas

My initial idea is to paint a figure with a mask. Through this, I want to explore the usage of masks. More specifically, the imagery I want to create is a figure who wore a mask and got assicanted. Thus, no protection was seeked by masks.

2nd Idea Proposal

The three fabrics I used.

Materials

The objects I used.

Preliminary Experimentation

Artist Inspiration

Ralph Eugene Meatyard, an American photographer, used masks in his photographs to conceal the identity of a person. The masks reflect the faces we all put once we are on camera. The background in Meatyard’s photographs were usually old and desolate houses which evoke the senses of the uncanny and provide a mysterious aspect to it..

After experimenting with acrylic paint, I chose to rework my artwork by portraying individuals with different masks through photography. The background of the photographs will be white, so the setting does not impact the meaning. I want the main focal point to be on the masks and I painted and designed the masks above. the multicolored fabrics.

Since my original idea was to paint Meatyard, Ralph Eugene.

Meatyard, Ralph Eugene.

Meaning Untitled, 1957-58. masks, I designed some of the them by Romance (N.) from Ambrose Bierce # 3, 1962.

Masks could be used for protection or as using acrylic paint and acrylic paint markers. Most of them consist of gold, a disguise. If masks are used as which signifies the elite status of the protection, then people could do illegal Luchador Mexican Masks person using the mask. The gold color is acts and get away with it due to their concealed identity. However, in the case usually associated with royalty. when masks are used as a disguise, then people would be able to get away from reality and morph into someone which they could never be (dream of being The cyclops is a someone). I want my artwork to be fictional superhero and interpreted as either masks are used for some people use his Myself wearing the masks. good deeds or illegal acts.

My cyclops drawing. figure as a mask.

Process: Photographing Photoshoot Set-Up I placed a white blanket on a blue wall so that when I start editing, on Photoshop, I would be able to remove the negative space easily. I placed the blanket strategically--the wall was empty. I created an even lighting as I wanted to have an empty negative space around the main subject. The mode on the camera, while taking the photographs, was on auto with no flash. At first, flash was on and it created a flare on the masks so I removed it.

Compositional Arrangements

Critique

“The first row has the strongest facial expressions and they appear as if the character is staring at you.� - Visual Arts Teacher

Curatorial Decision

After photographing myself in many positions, I selected the best eight pictures, which showed the facial expression I wanted. Also, I have a solid posture which shows a fierce person to the audience. I then created different thumbnail configurations.

Contact Sheet

Photoshop and Editing

Playing entirely with the photograph would mean to alter its meaning in some ways. The first thumbnail consists of the images being pixelated. The second thumbnail consists of all of the photographs being converted to grayscale.

These are only some of the photographs that I took. I had to take many more photographs because these were too dramatic and this was not the effect that I wanted.

Contact sheet.

These last two rows are compositional arrangements of the edited pictures. I felt like the edited photographs on Photoshop lost their meaning.

Process: Photographing Printing

I intentionally made the background The subject has to be centred, and white which would then make the Before framing the photographs, I printed filling up most of the space, which figure not be anywhere. This means would create the effect of looking that there is not specific location where each of them on A0 paper. They are larger directly at the viewer. people use masks--it's everywhere. than life-size which The luchador mexican masks represent creates a greater impact violence. It also masks the identity of a and see everything in person. Thus, a person would not be greater detail. recognized.

Selecting the Frame...

I had a dilemma whilst selecting the frames for my artwork. I could either have each photograph framed separately or have the three photographs framed all together. I decided to frame each individually because it would mean that each individual is living in their own world and are trapped as well.

“When I put on the mask, I'm transformed. The mask gives me strength. The mask gives me fame. The mask is magical.

When I remove the mask, I'm a normal human who can walk right by you, and not even get a "hello"� (El Hijo del Santo).

Concept: Future Territory Ideas

My initial idea is to use a human skeleton, as a base, and plaster some of the body parts and paint it with silver acrylic. In between the plastered parts and the skeletal bones, I would then add multi-coloured wires and stick old core chips to show how a futuristic human body might look like.

Concept Map

After exploring multiple ways to convey my intended meaning, I decided to create a headpiece which was birthed from the idea of the collage below with the wires around the head and the quote, “the mind is more powerful than you think.� I then created a headpiece with wires, cables, circular batteries, and bones to show futurisitc development.

My digital concept map.

Artist Inspiration

Chow, Cat. Kabloom!, 2005

2nd Idea Proposal

Cat Chow, Chicago-based artist, is a fashion designer who creates wacky clothing by using unusual and authentic materials. The clothing she creates are classified as wearable art. Kabloom! is a wearable art piece that consists of zippers.

The artwork that I am creating is an assemblage, a wearable art piece, placed on the head--a headdress. It will have a futuristic look, and incorporate raw and odd materials like wires, batteries, bones, etc...

Preliminary Experimentation

National Geographic magazine image with my words.

Meaning

For these sketches, I looked into the human anatomy.

The future is near and it is changing fastly.

Everything is going to change. By creating the headpiece, I am showing changes in lifestyle.

The anatomy of the human will also be changing due to the advancement in science (artificial intelligence) which implicates that humans might have wires and cables going through them. This is our future territory.

Process: Creating the Headpiece I needed a base I used this to start creating cable to the headpiece. I measure the used the circumference upper-part of a of my head by mannequin and wrapping it I placed a around. I metallic net. I marked a spot then folded the on the excess. net to fit I cut the excess perfectly around part off and I the head, so wrapped the that I would rest with black have a circular duct tape. shape.

I attached the wires to the plastic wrapper around the circular lithium batteries by using the glue gun. This would not only create a repeating pattern but also a solid support to make the headdress more rigid and less likely to fall apart.

I used three wires for each colour and I had to attach them together with duct tape for stability and design.

This was done neatly which shows evidence of craftsmanship.

Paperclay I needed a strong support armature so that I could glue the

front piece (“the digital crown�). I decided to create the support out of paper clay and slowly build layers. I first used the glue gun, but it was not strong enough, so then I used sobo. I used a rough brush to spread the sobo on the paper clay structure and then on the frontal piece and stuck them together.

On both sides, the frontal and back side of headpiece, I adjusted the wires to fit perfectly on my head and I tied them three times so they do not become loose.

To make it more abstract, I added different measuring tapes on the back of headdress. I also attached spinal bones to show how technology will seep into the body.

Process: Photographing Reviewing, Refining, and Reflecting

The intended media for my headpiece was supposed to be performance art.

I started walking around Beirut, When I walked in the streets of Beirut with the headdress, people mocked me and it would have been ridiculous to continue with this media. I then decided to show a contrast between the old and new. Going to an abandoned building and photographing myself with the headpiece on would be keen. The building would show the scars of the past and my headpiece would show a small segment of the near future or at least how I envision it.

Photoshoot in Derelict House

Compositional Arrangements

From the 52 photographs, I selected the best 8 which convey my intended meaning. I am standing with the alien trying to find a new home in a derelict building after an apocalypse with my designed headdress. This shows how technology can help in the process of recreation if used properly.

The mannequin that will be on display at the gallery would be only the top part.

Possible Arrangement made in PhotoShop.

Conveying Meaning

Myself wearing the headpiece (unfinished).

The different sized photographs arranged in a chaotic manner behind the headdress on the mannequin are meant to show the different thoughts going on. All together, this shows the chaos going on in the human brain, but also shows how the future is evolving.

Critical Focus on the Visual Arts: Art and Architecture Course Overview

This a two-course curricular option that provides a concentrated study of aesthetic concepts. The architecture part of the course introduces students to the visual analysis of architecture as well as its history. In the art course, students learn about art from the artist’s perspective as well as the historian one.

In the dome shaped room in the Low Library at Columbia University, there are circular designs with triangles. I attempted to draw the designs.

This particular structure connects the room to the dome. There are four structures like this, one at each border of the room.

This is an observational sketch in which I look at the entrance of a building. I used a ruler to make all the lines because I am just trying to recreate the shapes that are used to create the entrance. In a way, I am deconstructing the building and looking at how it is created.

For an assignment, I had to draw the Avery Architectural and Fine Arts Library in two-point perspective. I attempted to create an illusion of space on my sketchbook; however, I was not allowed to use a ruler.

I was asked to investigate the creation of the circle, and so I printed spirals, cut them out, and stuck them onto my sketchbook in a random manner to create a crazy-like mind.

When we went on a field trip to Roosevelt island, the instructor asked the class to sit in the park and draw a scene that they see. In my sketch, I depict the landscape view and include the various bridges.

I took this course for three weeks: June 26 - July 14, 2017. I selected it because I was interested in architecture and how structures develop throughout the course of history. Also, I wanted to refine my knowledge on art history and experience many artworks first hand at the many museums and galleries of New York City. This course helped me analyze the buildings in Beirut and how the space that they are built in helps the building. This course led me to further investigate with architecture, thus, leading to me create architectural inspired projects.

Concept: Distortion in Buildings Initial Idea

My idea for this artwork is to construct a 3D model. I want to create an irregular building and add multi-color iridescent paper behind the holes, so that light can pass through them.

Concept Map

2nd Idea Proposal

I then decided to refine my idea because it was going to be messy. I chose to photograph buildings in Beirut that were broken down due to the Lebanese Civil War. Then, I want to distort them with a kaleidoscopic lens to show the effect of the war.

Preliminary Experimentation

At first, I printed the kaleidoscopic images on a 3D shape and I folded it; I left this idea for later. Then, I played around with weaving on paper to construct the deconstructed.

I weaved two photographs together which were printed on paper.

Sketch

The sketch below is an observational one and I am exploring different ways that I can distort a building. Here, I look at the exterior of a building and reimagine it with triangles.

My sketch with 2B pencil.

Further Experimentation My digital concept map.

Artist Inspiration

Khaled Sabsabi, a Lebanese-born artist who fled to Australia during the Lebanese Civil War, developed his unique artistic style. In We Kill You (2015), he weaves different images to create a contrasting effect on four circular mediums; he creates a new image by deconstructing the old ones. In my artwork, I would like to have the same concept embedded. In my Extended Essay, I explored how he moang other artists use art as a platform for activism.

Sabsabi, Khaled. We Kill You, 2015

I printed a couple of images on transparent paper. I then cut lines onto them and weaved the images together.

Photographs of the weaved images placed on a window.

Meaning

I live in a society that has been drastically affected by the Lebanese Civil War (1975-1990)--including my family. It scared people emotionally, mentally, and physically. The reminiscence of the war are still present. Parts of Beirut’s identity has been destroyed, such as the French and Ottoman architecture. In this artwork, I look at another era and deconstruct it which means that I am creating another dimension. A habitable one, yet one that is scary to live in.

Process: Reconstructing the Destruction Deconstructed Buildings

Kaleidoscope Applications

Experimentation

The Egg.

Monot.

Artist Inspiration

Analytical Cubism

My first task for this artwork was to venture out in the city and take photographs of buildings that were broken down and abandoned due to the Lebanese Civil War. By doing so, it would give me the first layer for my artwork. On my photowalk, I went to Mar Mikheal, Downtown, Sodeco, Monot, and Beirut Souks. These iconic buildings which are still standing today are used for multiple purposes, for example, military base or museums.

Braque, Georges. Mandora, 1909-10

Screenshots of the different kaleidoscopic app.

The second step was to use the images that I took and put them in the Beit Beirut, Kaleidoscopic apps to show the digital Sodeco. age that we live in. I used three different apps. I had several options to Beit Beirut, Beirut Souks. construct the deconstructed buildings.

Sodeco.

The first application enables me to add shapes onto the buildings and the second application allows me to change the building into different shapes and create a repetition; it Souk el Gahrib. reflects, mirror, and even creates Edited PNGs of the buildings that I photographed. geometric patterns within.

Images of the photographs which were put onto the kaleidoscopic app.

Next, I assembled a collection of the best kaleidoscopic images. I printed some of them on transparent paper and stuck them on the plexi pyramid. The images appear to be dissected.

Georges Braque, an influential figure during the cubism era, looked at different ways to portray his subjects.

In this artwork, he looks at the same figure but displays it in different perspectives. He uses a limited color palette that is monochromatic. He creates a multitude of perspectives and viewpoints. The way he uses tones creates 3D shapes. By deconstructing and reconstructing, I am doing the same but through photographs. I create a new way to look at the city and my environment.

Process: Constructing the Final Artwork Experimentation on Cardboard

Creating the Maquette

Before delving into deeper experimentation, I printed the kaleidoscopic photographs on A3 paper and created a cube to see how they look together. Then, I decided to continue this idea, which led me to think about how to create the final product; I am going to print the photographs on 3D perspex shapes and stack them on top of each other.

I tried finding a place where they print on perspex, but I could not find any shop. I then had to refine my idea. I created six pyramids out of foam board. Then, I created a templates on illustrator with the correct sizes of the actual shapes. I sent the designs to a local print shop in which they printed the images on vinyl.

In the 3D triangle cut-out template, I reflected one of the photographs by using the reflect tool.

These are the kaleidoscopic images within the selected shapes made on illustrator.

Reviewing, Refining, and Reflecting I am attempting to create a 3D rectangle with cardboard and the kaleidoscopic photographs. The side of each surface is 42 x 59.4 cm.

My experiments on Adobe Illustrator for a cube.

My experiments on Adobe Illustrator for a triangle..

Experimentation on Illustrator

Before proceeding with the final artwork, I experimented on Adobe Illustrator to see how I would set up. I found an online template for 3D cut-out shapes. I then put the templates on Illustrator and created a clipping mask for the shapes and my kaleidoscopic photographs.

Folded triangular prism on paper.

After creating the triangular prisms, I made pyramids because it works better.

I tried creating triangles with a made template. I then realized that these triangular prism do not create a hexagon. I then modified my idea to making six pyramids which are laid on their side and form a hexagon.

Layers of a Ghost City, Lens Media - Photographs Printed on Paper and mounted onto styrofoam pyramids, 55 x 85 x 80 cm.

Concept: Redesigning the Traditional Initial Idea

A cupola is a dome structure on top of buildings (architecture related). Through this project, I would like to explore this idea, but with using unconventional materials to create it. At first, I thought of creating a fashion piece with a spherical structure as the bottom part, but I was not too fond of this idea. Then, I decided to link it back to my country, Lebanon, because there are many Mosques which use cupolas.

Concept Map

Preliminary Experimentation

Onion dome (my drawing)

At first, I began clipping plastic cups to each other.

The more I clipped together, the more they crumpled up. I tried to fix this problem by using smaller binder clips. Once I did that, the cups were less crumpled. Then, to further experiment, I used paper cups, they are more solid and rigid. The first two layers of the structure proved to be successful, so I continued using paper cups all throughout the way.

Through this artwork, I explore the idea of using unconventional material to create art.

Additionally, I chose to build a redesign dome--not the traditional ones that you see. I am taking an architectural concept from the past and translating it into a contemporary structure.

Architectural Inspiration Materials

Frontal view of how the cups are supposed to be.

Meaning

Having lived in Beirut my entire life, there are many mosques. Most of the mosques I have seen have a dome. Certainly, the dome size differs from one mosque to another. I was inspired from by a mosque because of the domes; they create the layers to the monuments.

Dibba Fujairah Mosque.

I used Nespresso Cappuccino papers cups and binder clips (32mm).

Blue Mosque in Beirut, Lebanon.

The plastic cups did not work with the binder clips because they are crumpled.

Jameh Mosque of Yazd, Iran.

Process: Creating the Cupola I began by creating the first layer. When I attached the binder clips to the paper cups, the cups curved which was a good sign. Thus, it formed a circular base. In order to secure each layer, I closed the metallic clips inwards--the cups stopped shifting positions.

Inner view of the dome structure.

The second layer was easier to create. I placed the first layer on a table, then added new cups to the cups of this first layer. As the layers started stacking up, the structure started creating a self-repeating pattern due to the binder clip positions. In a way, this relates back to my briefcase artwork. The Infinity Nets were painted on cotton paper and gave a mind-dazzling repetition, but here, they are 3D and give a similar effect.

All throughout the making of this artwork, I had to goto to the bookstore several times because I ran out of binder clips. Also, I went to the supermarket a few times to purchase the paper cups. I would estimate an approximate number of materials I needed, but I would be wrong.

Honestly, I did not know that creating such a structure needed this many binder clips! By the end of this process, my fingers were unable to move due to the pressure that I had put while opening the clips.

Frontal view.

Top view.

Inside view.

Concept: Architecture Collage Idea

My initial idea was to show the architecture in Beirut in a different way than photograph. Beirut is known to have diverse architecture all around such as the French and Ottoman influence that is unique in Beirut, giving its charm and character.

Through experimentation, I then found out which medium I wanted to use.

Preliminary Experimentation

I gathered images of buildings (from Google) and placed them on Photoshop. I left a lot of empty space in the composition because I could not find more images. The composition of this experiment moves downwards to upwards and shows the buildings from old to new.

Out and About

I had to walk through the different streets and alleyways in Beirut to photograph these buildings. While photographing, I encountered several difficulties because the streets were so small that I did not have enough space to photograph the entire building. Thus, for some buildings, I had to take pictures of part of them and then edit them on Photoshop.

Further Experimentation

On Adobe Illustrator, I placed some images and selected the ‘Image Trace’ button to have a black and white composition. I wanted to see what would happen if I neglected the color. I then realized that the color of the buildings is part of showing Beirut’s architecture.

Artist Inspiration

Anastasia Savinova, Russian artist, uses the roof of buildings and some buildings to create a barn house. In my artwork, I will be creating a large skyscraper-like structure by stacking up old Lebanese houses on top of each other; the artwork would be a collage done on Photoshop with images I took. She breaks down “authentic fragments and détails of architectural Savinova, Anastasia. Genius Loci series, environment” (Savinova). Upland, 2014.

Meaning

Collage on Photoshop with png buildings.

Adobe Illustrator Experiment.

Showing a photograph of a single building would not depict the diverse architecture of Beirut.

Thus, doing a collage and stacking the different buildings would be a more fair representation. Through this artwork, I am photographing the buildings, and then placing them onto a background to create a new world.

A photograph of myself taking pictures of buildings in Ras Beirut.

Process: Creating the Collage

I then had to skew and scale the image.

After that, I had to adjust the color balance of the image, so I pressed command B. To adjust the white and black levels, I pressed on command L.

Manipulation on Photoshop

After venturing out in Beirut and photographing the buildings, I had to manipulate some of images to make them suitable for the later stages of my project.

Contact Sheet

After I took the photographs, I placed the images on Photoshop to remove the negative space with either the magic eraser tool or the eraser tool. This depends on the complexity of the task.

These are only some of the photographs I took of buildings.

Reviewing, Refining, and Reflecting

After experimenting with the buildings on a full background, I felt like the buildings needed to breathe and have a background behind them. Thus, I selected a sky background with stars.

Additionally, the background serves as a contrast to highlight the the architecture of the buildings. After stacking the buildings all the way to the top of the composition, I shrunk the buildings to show the background.

Final refined image.

Sample Collage Collage of buildings that fills the space..

I stacked the old buildings on top of each other to show how the modern buildings are destroying the city and erasing the Lebanese heritage.

Concept: Distortion in Portraits Initial Idea

My initial idea was to paint distorted faces.

However, I felt like this idea was overdone, so I decided to extend myself and change the medium. Then, I decided to do it on an actual human. How? I used cling film and paint to show movement.

Artist Inspiration

Bacon, Francis. Three Studies of George Dyer, 1969.

Preliminary Experimentation Meaning

In this artwork, I explore real life portraiture. I decided to depict distorted faces by stretching a face with cling film.

I am distorting a face to show the many personalities that a person has. The distortion also shows how plastic surgery has gone wrong; many women do plastic surgery because they are insecure. Additionally, this shows that everyone is twisted in a particular way. By adding paint, I am essentially showing that we are covered with secrets.

Photographs of model.

I took a roll of cling film and placed it on the model’s head. While I was taking pictures of her, two people were stretching the role of cling film to create the sense of movement.

Line drawings of my classmates.

Francis Bacon, Irish-Born British painter, is well known for the humans he painted in a peculiar manner. In the Three Studies of George Dyer, Bacon uses a monochromatic pink background.

His artwork is presented as a triptych and Dyer is portrayed in three different positions. In each position, there is a twist to his face; Bacon plays on scale, color, as well as form. In my artwork, I will be playing with the same elements.

Concept Map

My drawing of a distorted face with different colors.

Process: Photographing the Model Setting

At first, I created an indoor setting for the model to be photographed. I placed four black cardboard with blue thumbtack on a white wall. It proved to be ineffective because the artificial light was creating a flare on cling film, which essentially ruined the images.

Initial Setting

Second attempt Setting

Thumbnails

These are several photographs while experimenting with cling film. I moved it in different directions with various pressure to distort features of the face.

After the unsuccessful attempt, I transfered my subject to an outdoor space which had natural light.

This photograph was taken in the initial setting. I am trying to distort the models face with cling film.

Stages

I then asked the model to turn her face, which appeared to be like a profile picture.

At first, I took multiple photographs of the model with cling film (nothing else was added). The people who were holding the cling film kept on moving it so that it could create movement.

In terms of colors, I decided to use bright, neon colors. The first color which I put on the cling film is this primary blue.

After adding the primary blue, I added the neon green.

Lastly, I added a neon pink. Each color is supposed to represent a different identity.

Concept: Self-Destruction Ideas

As my final artwork, I want to create a piece that ties all of my artworks together. I decided to explore drawings. But then, I decided to design something in 3D. I experimented more with bodies, which led me to do a plastered mannequin.

Preliminary Experimentation

I made several drawings. At first, I created random figures. I was also inspired by Bruno Catalano. Then, I refined my ideas to designing a body.

The body I envisioned was whole and painted in silver. It would show a robotic aspect to it.

My initial drawings.

Artist Inspiration

Concept Map

Meaning

Through this artwork, I am showing how technology (ie. humanoid robots) will take over. I reinforce the concept of self-destruction because humans are the ones creating this technology. There is a lot of awareness going on how many individuals will be jobless in the future.

This figure is inspired

by Catalano’s designs.

I then refined my ideas to creating a body.

Bruno Catalano, French sculpture, creates figures with substantial sections missing. In YVO, the figure consists of two parts: the head and left side of the body and the right leg. By doing so, it creates a sense of mystery and makes the figures blend into their surrounding.

I am inspired by Catalano’s technique because it makes the figures more interesting. In my artwork, I chose to cut out a circular hole in the middle of the body to give the figure its sense of mysteriousness.

Incorporating wires with a body.

Looking at muscles and bones.

Catalano, Bruno.

YVO, n.d.

Catalano, Bruno. La Dolce Vita, n.d.

Process: Creating the Plastered Body I selected a female mannequin to complete the plastering. I wrapped the mannequin with cling film so that the plaster would not stick onto the mannequin directly.

I had to apply two layers of paint.

To simulate the future, I painted the entire plastered mannequin in silver. I mixed silver acrylic paint with matte medium. I also had to paint the inside of the mannequin.

To simplify the process, I plastered the front part of the mannequin.

Then, I plastered the other half.

In the carved hole, I placed ten barbie dolls.

I stuck some directly on the plaster with a glue gun and others on the top of each other.

To shape the form of the mannequin, I had to cut out smaller pieces of plaster and join them together on all sides of the mannequin.

To trap the barbies inside, this represents our self-destructio n, I placed a clear piece of paper with UHU super glue on the sides and glued it on Honda Asimo Robot. the inside.

Before sticking both of the parts together, I made a circle from cardboard. I then placed it on the front and traced around it.

With a sharp knife, I cut out the circle.

When I went to Tokyo, Japan on a school trip, we visited the Honda Plaza and watched a show with Assimo. His creation also inspired me while creating this artwork. I was shocked by his abilities.

References

Bacon, Francis. Three Studies of George Dyer, 1969.

Bantock, Nick. Desert 6, n.d.

Braque, Georges. Mandora, 1909-10.

Catalano, Bruno. La Dolce Vita, n.d.

Catalano, Bruno. YVO, n.d.

Chow, Cat. Kabloom!, 2005.

Kracov, David. Passing with Flying Colours, n.d.

Kusama, Yayoi. Infinity Nets [MAE], 2013.

Meatyard, Ralph Eugene. Romance (N.) from Ambrose Bierce # 3, 1962.

Meatyard, Ralph Eugene. Untitled, 1957-58.

Pollock, Jackson. One: Number 31, 1950, Sabsabi, Khaled. We Kill You, 2015.

Savinova, Anastasia. Genius Loci series, Upland, 2014.