10.19.2009

Rock Castings


Experimenting with plaster over the foam bridge. I like the 5 or so minutes you have when plaster is between a liquid and setting, the point where you can mould it with a knife....

Also, I broke the excess out of the pouring bucket and smashed it around with a hammer a bit, giving me some good extra rocks of various sizes....


Experimentation Results

More experimentation today. The foam/ plaster combo gave me some pretty good looking rocks. Messed around with acrylic paint, spray adhesive, the wire foam cutter, and fake foliage for a mossy effect.

Foam seems to give me the best armature for a base, but what to use on top? I really like the look of the paper mache rock (the round one partially covered by moss.) I sprinkled foliage on it after I took these photos and really liked the result. I don't know if paper mache will make good carved stone though.... Might have to keep up with the plaster.


My best rock (plaster chip and acrylic paint)


Foam bridge, rocks, foliage/ moss


The round paper mache rock (hard to see in the pic, but it has a great texture)


My dining room table. Thanks to my housemates for putting up with this for a couple days....

10.15.2009

Museum of Natural History

Today in studio was experimenting with plaster and foam, trying it out at various stages of its hardening onto foam, carving/ texturing it, breaking it, etc. Pics of those results once I do paint tests on them. For now, pictures of beautiful shadowboxes at the NYC museum of natural history (check out the viewing window of the nautical one- it establishes an interior viewpoint with an external window):



10.14.2009

New Home Set upse


Got my new 2nd display today: it's unbelievable.

At studio today, I did a ton of researching on materials and their uses, including things as standard as plaster and paper mache to fake aquarium plants. I am discovering that terragenesis.co.uk is becoming a very resourceful site for me, with lots of techniques to get me and my diorama-building skills off the ground....

10.12.2009

Norse Cosmology/ Shamanism

During a discussion with my Norse mythology professor today I came across some really interesting material that will likely fuel my research for not only her term paper that I have to write, but for my IP as well....

We were talking about comparative/ psychological schools of thought and how the New Age ideas of Campbell are not too respected any more (at least, anyone following in Campbell's footsteps doesn't hold much weight in the academic realm). This is a little discouraging to me, because I love the concept that narratives/ mythologies are universal and driven by the basic, psychological desires of humans.

The root question, though "why do myths share similarities across cultures?" is still interesting to me, even if the answer isn't some deep, spiritual thing. We got onto talking about the conflict between the gods and giants, and the war between the warrior gods (Aesir) and the fertility gods (Vanir) and why such a mythological system would be in place (and why, for example, is there also a god-giant conflict... god/ titan... in Greek Myth). The answer was rooted in the structure of the society - the struggle for power of the 'producer' class of farmers (represented as Vanir) and the warrior/ priest class (represented as the Aesir).

Since the warrior/ priest class was more dominant in these indo-european cultures, this seems like a good reason why the Aesir are much less mysterious in their names and family tree (Odin, Thor, Balder, Heimdall....)

That led to a discussion on why the cosmology of the Norse universe existed the way it did - the 9 world concept with a central tree Yggradsil (an Axis Mundi). This is what really intruiged me. While the Aesir/ Vanir/ Giant conflicts can be traced to class structure and seem to evolve as indo-europeans spread across the continent, the concept of an Axis Mundi linking the heavens and the earth exists pervasively across the world.

Professor Gull explained to me that this concept has its roots in Shamanistic thought/ practice, which is a form of religion much older and much more universal than Celtic, Greek, or Norse mythology. Kind of like "layer 1" in the build up of Norse myth, which can be rooted in psychology and exist across the world because of the innate desires of humans. Shamanistic practice (the way I understand it) often involves separating the mind from the body and sending out one's spirit to communicate with the gods/ the dead/ animals/ etc. Yggdrasil, or any cosmic world pillar, serves as the channel/ path to connecting between the worlds is traversed by these few who are capable of separating mind and body.

I think this concept, of separating mind from body, may arise as a result of the phenomenology of dreaming, which is a highly influential aspect of most (all?) world cultures/ religions.

I've already been diving into research with some interesting results, and I'm looking forward to examining other Axis Mundis from other world religions/ mythologies/ etc....

10.11.2009

The Sun Myth


This isn't diorama specific work, but this piece (from the 'execute a concept 3 ways' exercise) informs my world building and visual style that is developing for the dioramas.... It's another way of telling the Sun Myth that I depicted in a digital painting earlier.

Terrain Test


Sloppy craftsmanship, but the point was to just experiment with some rock castings, sculpey, painting, and liquid resin pouring (for water)....