Presentation feedback - 13/03/18

After presenting my work so far to my mentors and peers yesterday I have some further ideas and thoughts about the project. I want to try using the skin to cover further objects - particularly a nicer chair, as the one I used before was very basic. After I explained my idea of making a tent out of skin, we also discussed how people make 'dens' in their rooms when they are young, out of duvets and blankets and chairs. I liked this idea, as I was originally envisioning a teepee-style tent, which might wrongfully spark implications of particular cultures such as native Indians. Instead, a 'den' makes the viewer think of their youth when they likely made structures in their own rooms, thus bringing the theme of body image to a younger demographic too. Furthermore, these 'dens' are meant to be a safe place, warm and cosy and a hiding spot from the real world. This is ironic as in my project, making the den out of skin and filling it with implications of body image and appearance actually resembles the fact that really we should all focus more on the real world and less on our own aesthetic opinions or issues. This insinuates that the worry about appearance has penetrated even into our safe places and under our skin. I was pleased to hear I could use a room at uni to make a very large sheet of latex skin.  

Sebastiane reinforced Eva Hesse's motto of letting the work speak for itself rather than worrying about meaning and concepts. He and Sharon also relieved my apprehension about how much my idea has developed and how I'm concerned that I won't come to a final decision that I'm 100% happy with because my idea seems to change every day. Sebastiane simply asked me 'but is it better?' I think, looking back at my initial starting point, that my project has come on leaps and bounds in terms of concept, material, experimentation, and final outcome. Although it is frustrating that I can't seem to settle on one final idea, Sharon reassured me that all artists are never 100% happy and that they will always find problems and see room for improvement, and that it is only the deadlines we are set that force us to be okay with our work as it stands at that moment. 


Sebastiane also suggested I look at Steven Connor's The Book of Skin. While written from a philosophy point of view, and therefore a little more abstract and confusing, it raised some interesting points and encouraged me to think about new aspects. It also reinforced ideas I was already working on.

The Book of Skin - Steven Connor:

Relevant quotes of inspiration: 

• (From an Amazon description of the book:) '“The Book of Skin" shows that skin has never been at once so manifest and so in jeopardy as it is today, when, as Marshall MacLuhan puts it, each of us wears all of mankind as his skin.'

• (From the book:) 'Since human beings have their skins on display, and since their skins display so openly and copiously the signs of their health or disease, it is no surprise that there are strong negative as well as positive feelings attaching to the visible condition of the skin.'
• 'Skin markings, especially when they are associated with disease, have the flagrancy of the blatant; they blurt out what the tongue might prefer to keep decently veiled. They are shameful and disgusting, not only because they inspire fear, but also because they are shameless.'
• 'If the skin has become more than ever visible it is as the visible object of many different forms of imaginary and actual assault: tattooing, piercing, scarification, suntanning, bondage fashions that appear to cut into or segment the skin, images of calcified, metallized or mineralized skin, along with the infliction of various kinds of disfiguring marks, actual and cosmetic.'
• 'It is what we see and know of others and ourselves. We show ourselves in and on our skins, and our skins figure out the things we are and mean: our health, youth, beauty, power, enjoyment, fear, fatigue, embarrassment or suffering. The skin is always written: it is legendary.'
• '‘The skin has been broken’ (in that curious English idiom which suggests a desire to see the skin not as a fabric, of which we should say it is torn or ripped, but a hardened shell or membrane;).'

Following the presentation, feedback and further research, I began to draw diagrams to help me envision my final outcome better. 

'Viewing' chair, table and monitor playing film. Computer hidden under table.

Sheet of skin laying over the objects making a den, supported by two chairs on either side of the table.  The skin will stretch out to wrap around and contain the external 'viewing' chair too.

Front view of den with chairs on either side of table supporting latex skin sheet. Table with monitor on will also be covered in skin to hide computer underneath.

Possible addition of photographs of bodies and skin hanging from inside the den. 

Front view with 'viewing' chair included.

Covering objects in skin

Following my idea of creating my own 'skin' for the final project, I poured liquid latex and spread it across a sheet of greaseproof paper. I also tried the same with PVA glue, thinking of when I was young and used to peel dried PVA glue from my skin. They both took a long time to dry, but I did not use a hair dryer or any heat to speed up the process. I was interested in how the liquids sunk into the grooves in my floorboards to create patterns, textures and veins in the surface. 

Once dry, I peeled the latex from the sheet and was pleased to see it stayed in one solid sheet of skin. Unfortunately, the PVA glue was too delicate and thin and would not peel off in one whole piece. It also dried hard, so would crack with movement. However, the liquid latex looked good - it was translucent, elastic, vulnerable and skin-like; even with 'veins' and folds running through it. The only problem was the colour - I either need to buy some skin-coloured latex, or try painting it. 

I used Kryolan foundation in various shades and painted over the latex, blending it well and making sure to get into the creases and textured parts. I think it looks much more skin-like after adding colour. I am really happy with how the 'skin' looks, and I now look forward to creating sheets on much larger scales to create walls and covers for objects. 

I also tried using fabric as 'skin'. Cutting up two pairs of skin-colour nylon tights, I began stapling them together to cover and wrap a chair. I took photos at various stages, as I pulled and stretched the nylon, fixing it to cover more and more of the chair. What I liked was the fragility - if I pulled too hard, the staple would rip the nylon and it wouldn't stay where I pulled it. I think the skin-colour, combined with the holes, gaps and tears, add a sense of crudity as it draws the mind to think of a naked body with all of its folds, gaps and shapes. 

I then covered a mirror in the same tights. I like the idea of using a mirror because it is where a person sees oneself; it connotes vanity, insecurity, appearance, disguise and modification. 

Finally, I draped the liquid latex skin over a chair and a mirror. While the sheet of latex was not big enough to fully cover the chair, it still gives a sense of how it might look. For the mirror, I tore a hole in the latex as it was not transparent enough to see a reflection in the mirror through it. 

Following on from my small sheet of liquid latex skin, I made a much bigger sheet so that I could cover objects in it. I poured the latex out on to grease proof paper and spread it with a spatula, leaving it to dry overnight. I tried using a hairdryer to speed up the process but I found that the force from the air blowing it moved the latex slightly so I decided it would be best to let it dry naturally. Once dry, I painted it with a few foundation shades to create texture and variation in colour. I used various brush strokes to create stippled parts, smooth parts, etc. I then peeled the sheet off the paper and was pleased that none of it ripped. A few holes were left but I think this adds to the aged, decayed skin effect. I then began covering objects in the skin. I noticed a few things: firstly, the underside of the skin tends to stick to itself if it makes contact, meaning it was fiddly to keep peeling it apart; second, the more I handled it the more holes appeared. Therefore, to solve this problem, I should try to use talcum powder to prevent the sticking, and if I use sheets like this for my final piece, I should transport the sheets still stuck to the greaseproof paper and peel them off when they are ready to be used. I covered various objects; a chair, a sink, a mirror and a section of a desk/bedside table. I tried turning a lamp on behind the skin as well to create a glow. I quite like the finished results; the skin is at first quite grotesque and startling, and the fact that it is covering everyday objects points to the idea of our homely necessities that make us feel human, as though they are under our skin. 

Reluctant to lose my photography and film aspects, I played around with attaching the photographs to the skin. I think the in image below the photographs stand-out too much. Therefore, instead I have had an idea of making the floor of my 'skin tent' out of the images, all stuck together, rather than pinning them to the walls. I also covered my laptop, playing my short film, with nylon tights. This is how I am planning on incorporating my film into my installation. I will have to be careful to stretch the nylon enough so that it is quite sheer and the film is visible through it. 

Mentor meeting #3 - Sebastiane, 06/03/18

I now realise how far my project is progressing from my initial idea. Although I was hesitant to develop it away from the message about body image, social perceptions, simplicity and natural form, from speaking with my mentor I understand the importance of pushing my work through experimentation and research to create something more unique, original and innovative. My starting point, while interesting and important, wasn't something that had never been done before. Despite my reluctance to change it, I think the project I am now leaning towards can still send the same messages. With more of a focus on skin, it symbolises fragility, elasticity, translucency; a disguise, a cover; something we all share, even with other creatures, that holds us together as individuals but also unites us as living beings; a functioning organ, vital for health and survival. 

After showing Sebastiane the 'wall of skin' I created, I was pleased to see his enthusiasm about it. He like the same aspects that I liked. The untidy layout, he felt, added a sense of crudity, and the way it was pegged to chairs got him thinking about covering things with skin. Rather than a piece that my audience need to physically walk inside of, it could be more sculptural, something that they can envision themselves inside of instead. We discussed covering a chair or another object in 'skin' -  whether that is made from nylon tights, liquid latex, or something else. I also had the idea of creating sheets of skin out of liquid latex that could hang from the ceiling and be walked through, requiring the viewer to touch and move the skin. However, I still want to incorporate my film and photography. I wondered if I could place some photographs between two sheets of skin, meaning the images would be covered in skin and creating a translucent effect over them. 

I also showed Sebastiane my short film, and he suggested it felt a little like a documentary because of the audio. Instead of people speaking about their appearances, he proposed the idea of using sound effects of rustling, crackling and movement.

Later, after talking with my mum about the mentor meeting, I had some further ideas. Perhaps I could cover a sink basin and mirror with 'skin'. I thought of this because a sink, for a lot of people, is where they become themselves for the day, where they make themselves aesthetically ready for the world to see them. They wash their face and hands, apply their make-up in the mirror, and clean their teeth in the sink. This refers back to my original theme about social perceptions and expectations of human appearances. I then thought about other things that make us human - the chair we sit on for dinner, the television we watch programs on in the evening, the bed we sleep in at night. What if I could make not just walls, but a house of 'skin'? Where my audience can step inside sheets of hanging skin and enter separate pockets or rooms, where various household objects are also covered in skin? This would symbolise the feeling of necessity to possess these objects in order to make us feel human and to survive, as though the objects are a part of us, under our skin; so instead of simply capturing photography and footage of simple, stripped back beauty, actually displaying the minimalist basics we do need for human life. The television could represent entertainment, the chair could represent comfort and rest, the sink health and cleanliness, the mirror how we see ourselves and how others see us. The careful choice of objects would confront the unnecessary desire to possess further materialistic objects such as excessive household appliances or technological devices, causing the viewer to question what they actually view as vital necessities int their lives. Inspiration for this theme was taken from the documentary Minimalism by Matt D'Avella. 


Relevant artist research:

Douglas White

White is an artist of interest for my work because of his 'skin tents'. Using clay to replicate elephant skin, he drapes the material over structures and shapes to create an abstract example of an elephant carcass. Before the viewer realises it is only clay, (because it is so well executed that it looks like real elephant skin,) it is quite a shocking piece. However, once they realise it is only a replica, it carries general connotations of poaching, hunting, decay and animal cruelty. The shape and structure of the pieces are particularly effective - the first image almost looks like hunched, heaving bodies stumbling or crawling over one another. The scale of the third image is inspiring due to the capability for a viewer to walk beneath it - something I would like to do with my own work. 

Sarah Lucas

The crudity of Lucas' work is something I would like to bring to my own work. This piece below can be imagined to be a naked figure curled up in a ball. The twisted section in the middle appears to looks like an intimate body part. In actual fact, the piece is made from just tights stuffed with material. However the colour, texture and shape instantly bring far more provocative thoughts to mind. 

Eva Hesse

I looked at Hesse's work because of her use of latex. With fibreglass, polyester and resin as well, she created these thin draped sheets for her 'Expanded Expansion' piece. Again, the colour of it instantly brings to mind thoughts of the body and nudity, but the texture seems to imply dirty clothing or rags, bringing the glamour of the piece down. The way the material drapes make the sheets appear very thin and flexible - something I would like to create if possible, because of the associated fragility and translucency. 

"Several of these works have either disintegrated or are so fragile that extended display would damage them irreparably." - the way Hesse's work is so temporary adds a lot of value and preciousness. 
She said, of her own work: "Don’t ask what it means or what it refers to. Don’t ask what the work is. Rather, see what the work does." This is inspiring because I have a constant urge to find meaning or concept behind everything I do, constantly analysing my own ideas and pieces. Instead, rather, I should create something, and let the viewer interpret it how they like; let the viewer see what the work 'does'.