Capstone 2020

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     As a part of  Sheridan College’s Craft and Design program students are spend their final year of study researching, developing their work and ideas into one final project known as the Capstone Project. Students are expected to document their process, and write a research paper, in addition to recording the filar results of their explorations.

    For my project I really wanted to dig deeper into myself to try and figure out why I was so drawn to creating and depicting humans repeatedly from drawing and crossing over into glass sculpture. One thing I did know, and something that had shocked me into almost giving up art was that throughout all the drawing and painting I did I was always trying to depict myself through other people. I have always struggled to communicate with others, and yet those unspoken words needed to be addressed.

    In order to answer these questions for myself I researched identity, and body image, and how these two different topics overlap and relate to one another, as well as the historical context of the body and it’s depiction throughout art and history. I looked at other artist who have grappled with the same questions and how they grappled with the topic in their work, to help me reach a conclusion of my own.

On this pages you will find my research, my inspirations, and the work that I made as a result.

Disquiet

Valour

Inverse

Pride

Control

Harmony

Conclusion

   I’ve come to realize the reason I am sculpting in glass to understand what being female means to me, and the ideals and expectations that are placed on me because of my body and physical appearance. One of the main reasons creating different body types, and unique sculptures is important to me is because it’s how I challenge the preconceived notions of body image ideals that I have and struggle with. I see my work as part of a conversation I am having with myself, trying to make sense of all the different messages, and emotions that I am experiencing daily.

 

   By deciding on a colour pallet that suits the mood or feelings of the piece; I can then layer the colours, and change the posture in a very spontaneous, expressive manner. The patterns I carve into the sculptures afterwards is a secondary process that is controlled and meticulous; allowing for analysis of the emotions I have expressed. By using opaque layers of colour, I can change the mood of the piece based on how I carve into it, and which colours get revealed.

 

   On their own each sculpture makes for a beautiful object, but somehow feels lacking. By placing the individual sculptures together based on similar coloration the sculptures then being to relate to each other and speak to the collective effect of these experiences and emotions, and how these small individual feelings have a larger impact overall.  When the sculptures are placed together as one piece, it also speaks to a shared experience between individuals.