It has been an eventful day to me, teeming with the progression of the projects which mainly situates in the casting workshop project. There are eventualities for this project to cast objects, means to achieve the target of the conglomeration of diverted object akin to surrealism approach accordance with my former writing to expose this idea. Yet this combination of contrast objects, never is usurped or confined by that formulaic and prosaic attaching between the wax outcomes, much more competent to be extended to the conflation between readymade and the wax, through various ways like direct attachment, melting wax and the like.
Correspondingly, qua the oyster shell wax casting for paradigm, I conceive the significance of either the animate oyster itself, being of the shell and the context of its being, which initiates the ideas to place the alive torso of the oyster into my cast shell for it, akin to Picasso’s Glass of Abstine. Tenuous but amenable to both the real oyster carnation to its inhabited context of the cast oyster shell, it engenders a sense of ambiguity, as I indeed place the oyster in the correct space which is made of wax. Alike to the former project I made to place or frolic those toy cars under the urban scenes (SIP WORK NUMBER 17), preposterous and ludicrous but intriguing within a sense of questioning meanwhile, I am able to display the holistic oyster outcomes as a form of sculpture within a life in it, a familiar and estranged space for it.
In other word, both irrationality and absurdity are triggered from the overwhelming rationality I render in, as the kernel concept to expose this piece as the second part of the casting workshop project. Alongside the second part of the making for the workshop, the third part also frolickers with the comparison to the two parts, as I contemplate to melt those motley cast outcomes made encompassing toy gun, carb shell, oyster shell and other objects which I am still ruminating the kind, and whether those objects would garner a dialogue amid rather than palpably segregated.
This rumination is the threshold for the current circumstance, imputed to my ideated concern by resonating the surrealism encountering consensus but being very tepid by curtly melting the wax. Therefore, I have to hanker more correlated objects to those cast outcomes, which hampers my progression of the piece. The toy gun’s casting, though it could be one of the most auspicious casting making I have ever experienced, my only idea to bound the shells and the gun is associated with the solidity. The metallic solidity of the gun compared to the solidity of the shells, and later they will be melted altogether, renders the narrative of the fragility of different solidity between them by the final combination of that semi-liquid holism by melting, being bizarre and erratic to some extent. The permanence statement of the sculpture form has already been decimated by many contemporary artists today by the not only the rid of the plinth, usage of found and flimsy material and the concern of motion.
Thus, the exposition of the motion expression also permeates into either the melting process itself, the moving sculpture, or the plinth which I plan to melt those outcomes in the readymade objects like my toy cars that is even able to be played and moved by its functional wheels. The casting workshop project is anticipated to make more experiments and practices in the morrow.
contemporarypoesis.art.blog 