The Box

[rika]

Testing the waters with something conceptual. It involves a whole lot of thinking about every element as they seem equally important. Composition seems to be the dominating factor. Also tried to use what I like and learned about figuration and assemblage. Opinions welcome, as I have no idea how I did.

[bottegin]

I find this work interesting!

[evaldart]

Nicely composed little scenario. Reminds us sculptors that we arent as far from theatre as we wish. Very George Segal (except violent). Doesnt need the blood, though; neither the narrative nor the formalities (the red stuff immediatedly makes it about horror and gore....and nothing else).

[grommet]

Evaldart has an interesting thought there that you could utilize in your thought process. If there's something you wish to emphasize, you need to "spot-light" it in a sense, like dramatic lighting. Instead, you will downplay elements that assist in composition and concept but aren't the star or focal point. Make them fade away a bit. Emphasize or make more dramatic the important player or feature or concept. Scale becomes a tool, like someone speaking from their gut to make themself heard. You don't have to overdo it, just modulate the focalpoints. THEN you're getting visual, and not just dramatic.

[craigktx]

Find away to make the spikes appealing with color maybe.

the lady does her best to stay off them but cant resist impelling herself.

[rika]

Thanks for the suggestions. I agree the smudged red is too obvious, but it has to be red. I'll just paint those areas solid red. G, it wood be cool to spotlight the figure, I'll try it. I like the theater reference, but theater without a story? The piece is all about the story...nobody curious what the story is about? I was kinda hoping someone would ask what the heck is this about?

[craigktx]

Originally Posted by rika

Thanks for the suggestions. I agree the smudged red is too obvious, but it has to be red. I'll just paint those areas solid red. G, it wood be cool to spotlight the figure, I'll try it. I like the theater reference, but theater without a story? The piece is all about the story...nobody curious what the story is about? I was kinda hoping someone would ask what the heck is this about?

Well ?

[mantrid]

Originally Posted by rika

Thanks for the suggestions. I agree the smudged red is too obvious, but it has to be red. I'll just paint those areas solid red. G, it wood be cool to spotlight the figure, I'll try it. I like the theater reference, but theater without a story? The piece is all about the story...nobody curious what the story is about? I was kinda hoping someone would ask what the heck is this about?

That time of the month?

[craigktx]

Originally Posted by mantrid

That time of the month?

Ouch, you are in for it now.

[rika]

Originally Posted by mantrid

That time of the month?

No, a myth.

[Biomorph]

I'm also surprised that people didn't jump on the meaning first off. The Greek word would presumably solve it all, but, alas, I couldn't get it. I might have commented on the meaning, but it seemed so evidently grossly sexual that modesty restrained me. But then, so much looks grossly sexual to me. I do like it.

[rika]

Hi Biomorph, that's the Greek word for hope, one important clue. If I say it's about the Greek myth Pandora's box, the narrative is more obvious. But I wanted to pick up the storyline where the ancient myth left it off. So no sexual undertones whatsoever in my intentions, though now you made me curious...

I love Greek-Roman mythology. The classical story itself tells about the first woman who makes a terrible mistake by opening the box that was given to her by Zeus with specific instructions to keep it closed. Curiousity makes her open it, thus unleashing perils on mankind. She closes the box, but it's too late, only hope remains on the bottom of the box.

[grommet]

gees, you guys think she's a sex slave?

you beat me (with your post) Rika!

[craigktx]

I was close if you leave out the myth part.

[cheesepaws]

Good effort but you are spoon feeding your viewer. You don't need the text or the spikes to have this piece illustrate your concept. Self-editing is often our biggest challenge, but like so many things less tends to be more.

[rika]

Cheese, if you feel you are being spoonfed, I challenge you tell me what do you think the concept is? Just give a general idea.

[evaldart]

wow. I didnt notice the text. It shouldnt be there....or in any sculpture for that matter (okay, maybe a discreet signature if you care to bother about the documented future).

Put the words in the statement orin the titles that go on the label on the gallery wall NEXT-TO the sculpture.

And Rika, it should never be a puzzle for anyone to solve. Deciphering and interpreting are very different things. You are worrying too much over the story that inspired you...the sculpture is bigger than that...leaves that stuff behind, becomes something new.

[GlennT]

The concept is clear: The three-pronged attack on Americans by Obama, Harry Reed, and Nancy Pelosi seeking to exterminate individual liberty by putting us in a box of liberal fascism, and not content with that, trying to destroy the material structure (The US economy-symbolized in gold paint) with which the box is surfaced, through socialism and bankrupting the future with unparalled deficit spending that does nothing to help the poor lady in the box.

Or something like that.

[sculptor]

so
if hope is all that's left in the box

just what in hell is she afraid of

the concept doesn't support, nor comport with, the myth

but your concept piece could readily tell another story

[craigktx]

We should make some new myths, the old ones are old and stale.
More of the same, if you look its the downfall of mankind even though we have to look.
Since the gods are said to be all knowing and they cant seem to figure this out, makes me wonder
if they have any intelligence.

the writers have failed

[evaldart]

yes, they have, Craig.

[jOe~]

The concept is clear: The three-pronged attack on Americans by Obama, Harry Reed, and Nancy Pelosi seeking to exterminate individual liberty by putting us in a box of liberal fascism, and not content with that, trying to destroy the material structure (The US economy-symbolized in gold paint) with which the box is surfaced, through socialism and bankrupting the future with unparalled deficit spending that does nothing to help the poor lady in the box.

You DUNCE! It's obviously Sarah Palin tortured by her lies, misdeeds and remorse for abandoning the last elected position she'll hold.

Sorry Rika. I can never resist thumping Glenn on the noggin.

I was kinda hoping someone would ask what the heck is this about?

That never works here unless you are a glutton for abuse and arguments. I've never been that hopeful or masochistic.

[GlennT]

Originally Posted by jOe~

You DUNCE!


You pin-headed weasel!

Okay, your turn!


That never works here unless you are a glutton for abuse and arguments. I've never been that hopeful or masochistic.

Wow, name-calling...interesting tactic for avoiding abuse and arguments!

[cheesepaws]

Originally Posted by rika

Cheese, if you feel you are being spoonfed, I challenge you tell me what do you think the concept is? Just give a general idea.

Rika, regardless of the specific story or concept you want to convey, you are using visual devices that evoke violence, fear, and loss (or potential loss). Your sculpture yearns for sympathy.

The damaged box that contains your sad vignette suggests this triad of emotion all by itself. It looks like the kind of box that one might stow away love letters, valuable memorabilia or other nostalgic tokens. It has – or had – warmth, both in color and suggested by its size. This accentuates the sense that the violence enacted upon the box is both a violation of the personal (the body, the home, security), but also the potentially more sacred memories of others. That the damage originates from the exterior in a frenetic – perhaps desperate, perhaps gleeful – rage underscores the fragility of relationships as they slip away from us – be it by design or by default. I quite like that the box itself has no hasp to other mechanism that would prevent casual entry, skirting the possibility that such invasive and/or destructive acts are unavoidable or (though unlikely) even courted.

The text, the shish kabob spears, and the figure all simply spell out what the primary object in your assemblage is already doing. This is the “spoon feeding” I was referring to. The text is esoteric and aloof. I instantly thought of the common phrase, “it’s Greek to me” and thought maybe this was some kind of critique of assemblage-based art in general. The pointy sticks are just far, far too literal a symbol for violence (especially decked out with the fake blood/red paint). Lastly the figure – which is the thing I would cut first – robs the viewer of a primary relational experience (encountering the box as a familiar object, scaled to the viewer) by making the whole piece a narrative diorama. We, as viewers, tend to relate very differently to a kind of cowering, third-person imaginary character/doll than we do to a first-person, self-reflective experience brought about by a encountering a familiar and "real" object in new context. Also, modeling the figure to appear to literally be afraid - as if to say, “I am threatened” – is the very definition of “spoon feeding”. Ultimately, the text, the figurine and the sticks strike me as humorous (at best).

All that said I think you are on to something with the box. Did you find it that way or manipulate it yourself? I like the idea of scratching away at it (like you did) in addition to the more violent acts. Perhaps try and keep the manipulations a tad less decorative.

Hope that explains my earlier comment. I have been enjoying your more recent efforts. Nice to see you keep pushing!

[rika]

Ok, Cheese, I'm disarmed, can't argue the points you're making. There goes my invented story, the aftermath of the myth. It seems childish compared to your interpretation.
The transformation of the box was an interesting and surprising experience. Yes, it was me who smashed and punctured and scratched and painted the box; I built the scene around the holes, but didn't think that was enough, the figure seemed more important. I can see the box could stand without the accessories, though it would be the typical work people like to put down by saying "even I could do THAT"! So what...I know.
Thanks all for the comments, lots to take away. And Joe, I say curiosity and thirst trumps it all.