MODELS: We are still doing "open studio" for male models interested in volunteering to become art. This means no interview is necessary. Text or message to confirm a slot. Tourists are especially encouraged to visit during the 2023 Mardi Gras season.
VISITORS: Tours of the studio are always available. Text or message if you'd like to see what was LITERALLY created from the ashes of Hurricane Ida.
(These updates are posted daily)
Contact InformationSend text messages to 504-874-2908, Instagram @GreyCrossStudios, Twitter @GreyCrossStudio, Facebook Grey Anatoli CrossGrey Cross Studios1920 4th St, New Orleans , LA 70113Email: firstname.lastname@example.orgTwitter: @GreyCrossStudio
Tuesday, December 22, 2015
Artists Creating a Body of Work (Show Prep 101)
I admit I have a headstart to the process that began six months ago when I started working with driftwood. It is logical that I should go into overdrive for the next 3 months in order to create some phenomenal sculpture work to go along with the pieces already created. I've not had to put a lot of thought into it because I already had the concept and some of the work created. Now its time to put my best creativity forward to complete enough pieces to form a show around.
I've always created work in series but its not necessarily been a conscious act. I am an experimental artist at heart and when I find something new to explore I usually do so for a period of time that allows me to really get a grasp on what I am creating. So 6 months or a year later I've compiled a body of work involved in that particular technique. I think this is important for new artists to note because the experts will tell you to focus on the same thing over and over again. I tend to disagree. Be as diverse as possible yet bring that diversity back towards one technique for a time. And when you tire of that technique then move on. This creates bodies of work that use that technique.
I am fond of taking a technique learned and then blending it into an earlier technique to create again something new. This is in essence the heart of Assimilation Art. The constant regurgitation of something new from something old and the blending of ideas over and over again to always produce something new.
One of the end results is that you always have a body of work that encompasses diversity but commonality.
So I will be using driftwood as that common element and technique for this body of work. In planning out pieces for this I will not rely on the same techniques but to try and create as diverse as possible a series of pieces that show the driftwood medium in as many forms as I possibly can before March.
So lets talk about some of the pieces already completed and which may end up in the show.
This is the Assurian Matrix. It will undoubtedly be one of the centerpiece sculptures for the show due to its size. It is very heavy and very large. At its peak it is 6 feet high. Because we have access to a large courtyard for the show, this will be a perfect center piece for it. It is not yet completed but 80% is done. Another week and it will be ready.
This is Bedlam. It is 5 feet high on a 2 foot tile base. It was just completed and I consider it the first of the new pieces that will be part of the show.
These are a whole series of smaller sculptures created with driftwood. You can see the diversity in each which makes them perfect for this show.
So these are just a few examples of already completed work. Now the real task is to continue on this path for the next several months. My goal is to finish up by February 1st on the actual building. My guess is that after that time I will be too busy to much into actual creating. But we shall see.
You can keep track of posts directly related to the show by watching for posts tagged as SHOW PREPARATION. I hope other artists will follow and pick up information helpful for putting together their own shows and welcome comments and suggestions as we move along towards March.
This series is continued in article #2 - Creating a Team