Do you have an exact, personalized definition of 'success' when it comes to your artwork? by godownmatthew
No, not really. I don't have a formula or a checklist. If I am successful with a piece of my work I have: faced and completed challenges I have given myself; solved unforeseen problems that may have occurred to the best of my ability; and have completed or went beyond my own expectations of myself or the work.
I'm pretty easy to please and I don't place too much pressure on most things I do. When I work I usually have an initial idea or goal, but the fleshing out comes during the process of creating the work. I go with the flow and try to make what I have work. And if it doesn't work, it gets placed to the side and I keep going.
Some pieces are more successful than others not because they are better crafted or more aesthetically pleasing, but because in the end I translated my thoughts more clearly.
This sounds conceited, but I usually like most things I make. I think because I start to actually love them like my own babies.
Ask me anything
Tuesday, February 2, 2010
Monday, January 25, 2010
Space Rocks, mission complete
My installation of Space Rocks: A Look at Far-Out Minerals has come and gone. I really enjoyed this project, from start to finish. In total, it makes so much sense to me and represents me as a creator and a human being. I'm really sad that it's over, but I'm extremely proud of myself. Everything worked out beyond my expectations and I couldn't have been happier with the outcome. Of course, a lot of thanks to friends and collaborators, who brought wonder, skills, and a lot of personality to the project.
The video is finally up!
Space Rocks: A Look at Far-Out Minerals from Madeleine Bliss on Vimeo.
If you'd like to buy a DVD, email me at madeleine.m.bliss@gmail.com.
New challenges await me, and I'm excited for what the future brings... in other words, "what the hell to do next?"
The video is finally up!
Space Rocks: A Look at Far-Out Minerals from Madeleine Bliss on Vimeo.
If you'd like to buy a DVD, email me at madeleine.m.bliss@gmail.com.
New challenges await me, and I'm excited for what the future brings... in other words, "what the hell to do next?"
Monday, December 21, 2009
Space Rocks: The Thesis Paper
Below is the thesis paper for my senior project, Space Rocks: A Look at Far-Out Minerals, which counts for half of the project. I thought it might be nice to share it with anyone who is interested in my thoughts on the work.
There is nothing more complex or more beautiful than our natural world. I use the elements from this world to tell a new story. My work invents cultures that speak foreign tongues, which have sprung from stars and rocks. Each time I begin a sculpture, I am writing a new mythology for my imaginary world. Greatly influenced by the ritualistic practices of native societies, I believe humans need to create gods and legends for themselves, and making art is my way of satisfying that need.
Two years ago, I took a trip to California and had the opportunity to drive down the coast of the Golden State. I was overtaken with amazement and appreciation for the landscape around me. Immediately, personal myths began forming in my mind. The mountains and hills were living creatures, whose enormous faces would slowly emerge from the brush to watch over the world. This was the first time I was so inspired by the sculptural elements of nature, and it has deeply influenced my work ever since.
Mythology and story-telling are an important part of making art. After my visit to California, I returned to the studio to make the images of these creature mountains that had so deeply struck me. During this time, I began reading Joseph Campbell’s The Power of Myth, in which he connects mythology to personal spirituality and to our modern world. My work entitled Watchers, four ceramic animal-mountains perched upon individual shelves, each with a shadowy root below them, was the result of diving headfirst into an imagined spirituality that only I was privy to. Watchers are the gods of heaven and Earth, connected to the sky and ground, looking over all of us, protecting us. This work was meant to be shared, but its meaning was obvious only to me. I bared my spirituality to whoever was willing to view and asked for nothing in return.
There is nothing more complex or more beautiful than our natural world. I use the elements from this world to tell a new story. My work invents cultures that speak foreign tongues, which have sprung from stars and rocks. Each time I begin a sculpture, I am writing a new mythology for my imaginary world. Greatly influenced by the ritualistic practices of native societies, I believe humans need to create gods and legends for themselves, and making art is my way of satisfying that need.
Two years ago, I took a trip to California and had the opportunity to drive down the coast of the Golden State. I was overtaken with amazement and appreciation for the landscape around me. Immediately, personal myths began forming in my mind. The mountains and hills were living creatures, whose enormous faces would slowly emerge from the brush to watch over the world. This was the first time I was so inspired by the sculptural elements of nature, and it has deeply influenced my work ever since.
Mythology and story-telling are an important part of making art. After my visit to California, I returned to the studio to make the images of these creature mountains that had so deeply struck me. During this time, I began reading Joseph Campbell’s The Power of Myth, in which he connects mythology to personal spirituality and to our modern world. My work entitled Watchers, four ceramic animal-mountains perched upon individual shelves, each with a shadowy root below them, was the result of diving headfirst into an imagined spirituality that only I was privy to. Watchers are the gods of heaven and Earth, connected to the sky and ground, looking over all of us, protecting us. This work was meant to be shared, but its meaning was obvious only to me. I bared my spirituality to whoever was willing to view and asked for nothing in return.
Wednesday, December 9, 2009
Saturday, November 28, 2009
fluorescence
Working under a black light is really spacey. I almost never want to turn it off. The paints I ordered look awesome. They mix really well together and with other stains.
I could stare at these Videorian rocks all day. The only thing they need now is their own display case, which I'm working out the logistics of... since I have to make it myself. I'm a little worried about joining plexiglass, so I'm praying it comes out presentable. Less than two weeks until the show! (Which means excitement but mostly freaking out & panicking.)
And the video is coming along too...
I could stare at these Videorian rocks all day. The only thing they need now is their own display case, which I'm working out the logistics of... since I have to make it myself. I'm a little worried about joining plexiglass, so I'm praying it comes out presentable. Less than two weeks until the show! (Which means excitement but mostly freaking out & panicking.)
And the video is coming along too...
Thursday, November 19, 2009
tour my studio
Studio Tour from Madeleine Bliss on Vimeo.
A quick tour through my studio with behind the scenes footage of Space Rocks.
Music: "The Real Wild Hearts" by Go Down, Matthew.
Wednesday, November 4, 2009
more scientists
Filming for "Space Rocks: A Look at Far-Out Minerals" (title subject to change) wrapped in the last session with two more very talented scientists. And a much more talented director. This second time around I wrote out note cards for my actors to read from and was much more prepared in general. Later in the day we snuck in a dance sequence with my friend's 3 year daughter. It looked like Yo Gabba Gabba took over the kitchen.
Besides the task of uncountable hours of editing (HD footage is a really slow bitch to work with), there are still several elements of the video which are incomplete: narration and music. Dialogue for the narration is still being written. It's not hard making up a bunch of fake science facts, but making them believable and interconnected is challenging. For the soundtrack, I'm (going to be) working with Robot Horse Productions to score the video. I imagine cheesey, typical science video orchestration but some weird spacey songs, too.
Halfway through interviewing Dr. Shaun J. Gann, Senior Geologist of Foreign Planetary Affairs, we realized he matched perfectly with a nearby houseplant. The above picture couldn't be resisted. His chemistry with the plant actually caused me to rethink rocks... perhaps botany would be more interesting?
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