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final piece

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Drawing a lot of inspiration from Julio Gonazales, the idea of putting a mask on a podium or a rod to display it arose. As I thought more about my general idea, how I was going to integrate my inspiration from Gonzales' piece, and how to convey such emotion through my piece, I came up with the idea of creating a mask with some sort of facial expression. As a starting point, I created a mask with an expression of grief. Below is the step by step showing the mask in its different stages of completion. When I created my final piece this step by step is what I followed.  For my final piece I came up with the idea of hiding emotion - putting on a 'persona' in order to appear outwardly different. In order to convey this I created three different full face masks - one happy, one sad or grief stricken - following the mock up - and one neutral. To me the piece represents our disguises or 'personas' the neutral mask represents the true us, and the happy and sad masks...

venetian influence

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From researching the artist Sergio Boldrin, I chose to create some Venetian style masks. For these masks, I used modroc using my own face as a mold. I briefly created a base using my face, then removed the cast and refined it further. I used this cast as a base or template for others, placing cling film over the top so the new layer of Modroc wouldn't stick to the template, and created new masks.  I noticed playing cards and jesters were a common theme among Boldrin's work: I took inspiration from the common theme and decided to experiment with a more extravagant style of mask. I used the initial template to create a separate mask, then layed sheets of Modroc out in a square shape around the mask. After the mask had dried, I painted a heart onto the face, inspired by Boldrin's Heart card mask. I think the mask turned out successful in an experimental sense, and I enjoyed the creation process, however if I wanted to use the mask as my final piece, I could...

african influence

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I modelled my African influenced masks mostly out of clay, following a wooden African mask I had purchased. I also used photoshoots of authentic African statues, faces and more to influence my work. Following from my mistakes with my previous clay mask, I slammed this lump of clay against a hard surface to prevent it from cracking and during the drying process, I brushed the mask with a white vinegar mix. This successfully stopped the mask from cracking. Alongside this, I used an african american face to structure a Modroc cast. I wanted to focus mainly on the features on the lower half of the face such as the mouth and nose, hence why this sculpture has no forehead. I think the piece turned out successfully.

initial experiments

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As a starting point, I decided to make a modroc cast of my own face. I feel my first attempt - pictured above - was unsuccessful because I was inexperienced - modroc as a medium was new to me. The surface was not as smooth as I would have liked it to be.  I then experimented with clay, creating an African style mask inspired by African statues I own - pictured above (which I photographed and added to a contact sheet in my evidence folder) however being my first experiment with clay, the mask cracked and eventually broke into pieces. I think the mask would have been successful if it didn’t crack during the drying process. I had planned to add paint to the masks to give them a tribal appearance. Overall I found working with clay and sculpting to be easier initially over working with Modroc, as I found getting the Modroc to be smooth difficult. However at first I also found preventing cracks in the clay to be tricky. With further experiments I overcame both ...