I have actually made a good amount of progress on my piece this week and am so far very happy with how it's turning out. This past Monday, I started by finishing my full sheet of spirograph designs, as seen as below. I actually liked how this looked on its own, but of course I knew I needed to cut it up. After I completed the sheet of designs, I used my two inch hole puncher to cut out sixteen circles. I originally planned on cutting out nine, but I decided more would be better. Once my background circles were cut out, I started experimenting with what the next layer would be. I originally had wanted it to be a very thin, organic paper but decided this was too translucent. Then I experimented with regular printer paper, but this caused the background design to be lost. I eventually settled on colored tissue paper.
Once I had my medium chosen, I cut out sixteen tissue paper circles. Then I began punching the small holes in the circles, creating somewhat of a gradient through the number of circles I punched. I still have a few more of these to do.
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This is what I have so far for my second in class project for this quarter. The current plan is to end up with 9 two inch circles that are similar yo my last project. I am currently in the process of creating the background (as seen above). Once this sheet of overlapping spirograph designs is covered, I will cut out the 9 circles. I will the take the translucent paper that I used in my last project and punch out ting holes creating a design. I will then place this paper over the 9 circles.
I chose to focus on Tony Orrico for this post because he is referred to as the "human spirograph" and I have been incorporating spirograph drawings into my pieces recently and plan to continue. Tony Orrico creates highly technical pieces that mirror drawings of spirographs, but he does it all with his own body. His art includes both the performance of creating the pieces and the pieces themselves, Tony Orrico's Website : https://tonyorrico.com/ CV Highlights (most recent): solo exhibitions 2015 Movement Toward Definition, Marso Gallery, Mexico City, Mexico (May 21 – September 12). 2014 Petrified Acts, P.P.O.W, New York, New York (May 29 – June 28). Tony Orrico, Finlandia University Gallery, Hancock, Michigan (February 27 – March 15). group exhibitions 2016 An Unnamed Need: Pattern and Beauty in Contemporary Art, The Wriston Art Galleries at Lawrence University, Appleton, WI ( January – ) residencies 2016 Resident Artist at Centro de las Artes San Agustín, Oaxaca, México. select performances 2014 Penwald: 2: 8 circles, 8 gestures, Center Pompidou-Metz, Metz, France (June 12). Penwald: 3: circle on knees, Center Pompidou-Metz, Metz, France (June 12). /Vessel for Governing and Conception/, P.P.O.W., New York, New York (May 28). Prepare the plane, P.P.O.W., New York, New York (May 27). Penwald: 8: 12 by 12 on knees, SCAD, Savannah, Georgia (February 18). collaboration 2011 Canyon, John Jasperse Company Visual Design for Choreography Harvey Theater, Brooklyn Academy of Music, NY Wexner Center, Columbus, OH Wilma Theater, Philadelphia, PA. performance history 2010 Marina Abramovic’s Retrospective MoMA, Museum of Modern Art, NY education MFA Choreography University of Iowa BS Dance Theater Illinois State University Some of Orrico's Work: Penwald: 2: 8 circles: 8 gestures (Shoshana Wayne Gallery, Santa Monica, CA. 25 panels) 2011 I was immediately drawn to this piece because of the scale and the similarities to my work. I am so impressed with the precision and level of detail in this piece considering Orrico does this all by hand. I also like the repetition and the idea of multiple circles forming one unified circle, something I have played around with myself. Lastly, whether this was purposeful or not, I really appreciation the slight imperfections in this piece, specifically the tears. Currently in my piece I am attempting to convey chaos and have been encouraged to make something messy, and I had never even considered tears or folds in the piece prior to now. Penwald: 12: prone to stand | 2011
Performance, graphite on paper 3 hours 96 x 96 inches I was inclined to feature and reflect on this piece because it is a piece done through the same technique as Orrico's other pieces, but has a different appearance. The design or drawing still appears highly technical, details, repetitive and geometric, but the lines do not form a circle. I have found myself obsessed with circles in my pieces recently, but actually really like this piece. I am aware that spirographs can be used to make shapes other than circles but have never even considered experimenting with that feature and am not sure why. Now, after seeing this piece, I am inspired to do so. Article: https://www.dailymail.co.uk/sciencetech/article-2015173/The-human-spirograph-Artists-amazing-geometric-drawings-produces-body.html This article was actually how I first found out about Tony Orrico. It talks about his style, background, and technique. I find it particularly interesting that he had a background in dance, which explains how be can be so precise with his movements throughout the making process. I also found it interesting to see how important the performance art of creating the pieces are to the pieces as a whole. Lastly, I found it interesting how throughout the performance, Orrico's pens typically run out and he just goes onto it. This shows me that you can achieve a level or detail and precision without being fully concerned with imperfection. |
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