(John and Salome, 1894)
(Remorse) and
(Salome: The Climax).
I was inspired in particular by the hair and flowers in the pictures above, and from that i made my 4 pieces.
For this picture, I had this major internal debate with myself over whether to use this or the other 8x8 I had made, which was a diagonal view of a naked girl with her hair swirling all around her. I chose this one simply because I liked it better. Since this was my movement piece, I wanted the focus to be on the movement in her hair, whilst appropriating the way Aubrey Beardsley did hair. I do think that it is a bit centered and straightforward, and it wouldve probably been a better showing of movement if the face were tilted up..or potentially placed not exactly in the center as a profile, which i realize is already a static image to begin with. Other ways I thought to express movement were in the shape of her eye along with the lines below it, the upturn of her nose, and the flower headband. I really wanted to see what I could do with this piece, and it definitely helped me in the craftmanship area.
This was my balance piece. I was completely obsessed with Beardsley's Remorse, and so i took the skeleton from that image. I wanted to convey the idea of these organic shapes shooting from the bones of the skeleton. I thought it was an even placement of black and white on the picture, as well as being indirectly symmetrical in that the skeleton is balanced physically by the white shapes coming out of it. Also, conceptually, it kind of displays a balance between the organic shapes of life and the skeleton (death). I wouldve liked to make the skeleton a tiny bit more detailed because all of the detail didnt quite come across when I cut it out, but I decided to leave it as it is to keep the style of Beardsley.
This was my repetition piece. I fell in love with the flowers in the first Beardsley image i posted, so i decided to use a bunch of them together, and keep the gothic atmosphere with the drips coming off of them. I didnt necessarily want it to be blood, but moreso rather, wear...if that makes any sense. I also wanted to challenge myself with the task of cutting out zillions of little circles. Criticism in class was that it was a bit too situated on the left side and left the right side too blank, but I approached this project with a resistance to the conventional repetition filling a page type of thing. The flowers kind of blend together and spiral inwards when you look at them, which is exactly what i wanted. I wanted it to be a (once again) organic looking form with repetition as its core element. I did consider the white space on the right as a potential problem, but I ended up deciding that it acts in the piece as an absence moreso than a blankness, and it adds a silence to the piece that i think wouldnt be there if the whole page was filled up. If i could change the project, i think i would make a design with the flowers that would cover the whole paper -- it would be an interesting contrast to what i have now.
This terrible quality photo is my emphasis and economy piece. I had to take it super close because the details didnt come through on Neidy's iphoneeee. I took the flowers from the third Beardsley piece i posted. I wanted to make a simple piece, and I flipped the piece around so that it would add an element of what else flowers could look like. I know its very simple, and because it's centered (or at least looks that way), it becomes boring compared to a lot of the other pieces that were made in the class. If i could redo this piece, I would make an intricate pattern with the flowers intertwining, down the left side and coming up diagonally to the right up about a quarter of the piece (if THAT makes any sense haha). I'd also vary the sizes of the flowers more...originally the piece was planned to be three of the tulips side by side and all the same, which i realize now would have been super ultra boring instead of just plain boring.
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