"Walk It Off"
size: 213 cm x 142 cm
medium: Mixed Media date: 9/28/17 This piece is a commentary on the general view of mental health in this country. Using graphic wounds to represent mental health issues (like depression, anxiety, bipolar disorder, etc.), students are placed in regular school environments doing daily things, living with this pain.Just because you can't see it doesn't mean it doesn't hurt. |
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Artistic Inspiration |
Caravaggio. Judith Beheading Holofernes. 1599-1602. Oil on Canvas. Galleria Nazionale d'Arte Antica at Palazzo Barberini, Rome.
Caravaggio. The Incredulity of Saint Thomas. 1603. Oil on canvas. Sanssouci, Potsdam.
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Caravaggio was the leading painter of the late 16th-early 17th centuries, famous for his intense realism and help in creating the baroque style. In contrast with other Italian painters, Caravaggio painted stories from the bible, especially those most bloody. Painting these old stories through live models he accentuated the poverty and common humanity of Christ and his followers. Caravaggio's use of Chiaroscuro, extreme lights and darks, highlight the details of faces and gestures. These excellent dramatized scenes would go on to influence a generation of artists. The use of high contrast and gore in the creation of a dramatic and deeply meaningful scene was applied to this project as well, with the creation of a bloody scene in high contrast. Also the visual of the gore juxtaposed with the calm of the subjects is in line with the storytelling through the figures in Caravaggio's work in their placement, expression, gesture, etc. One way Caravaggio's work demonstrates a deeper meaning is through the depiction of religious scenes, developed by the painter's experience at a young age with the black plague and it's effects on Italy and Christianity. Specific influences would be archbishop Charles Borromeo (AKA Saint Charles Borremeo), who preached about the resurgence of Christianity and the return to original and basic teachings of Jesus Christ, with an emphasis on the humanity and poverty of Jesus and his disciples (to relate to the masses devastated by the plague), all of which appeared in Caravaggio's art later on. This project drew on personal and wide=spread tragedy/mental health cross in today's society among students, using a dramatized scene to depict these intense and personal meanings.
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Cultural Inspiration
The cultural inspiration has to do with the current stance of (american) society/popular culture on mental health and the prevalence of mental health issues in teens. In 2008 a survey found that 8.1% of teens and 8.7% of young adults had had at least one depressive episode. A survey of public/private high school students found that 13.8% had considered suicide, 10.9% had made a plan to attempt, 6.3% had made an attempt, and 1.9% had attempted and successfully harmed themselves; from all those that would report such a thing. The validity of mental health is still questioned however, with a general misunderstanding from those who are considered "neurotypical" resulting in the stigmatization of mental health issues. There is a popular comparison between injuries of the mind and body; if [society] can't see you bleeding, it must mean you aren't hurt. This project addressed this idea directly.
Research |
The research done on this project done was largely based upon the process of the makeup being done. These tutorials were first the inspiration for the looks and were followed step by step, but laid down the ground work for basic special effects that could be applied to later looks. Later research was more support for the looks that were already thought up. Wounds like the eye wound were mostly improvised based on what was around and what specifically I wanted them to look like. The burn was only slightly improvised, but tended to follow the tutorial fairly closely if not for the different results it came up with. The Slit throat, the first look executed, followed the steps very closely. Most of these tutorials were done by established make up artists. |
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Some tutorials were not specifically about a certain look/wound. Some research had to be done into specific make up functions, such as spirit gum. I knew I wanted to use spirit gum, but never had before, and no tutorial had used it yet, so research had to be done into how this adhesive worked. Other research also detailed specifics on the safety of certain processes, such as spirit gum, latex, etc., how to detect it, and alternatives if the model had some sort of allergy/reaction to a substance used.
Planning |
The ideas that came from this brainstorming this project started with traditional subjects of horror, listing icons like vampires and werewolves, which inspired a triptych. Wanting to stray away from paint, however, the prospect of gore inspired Special Effects Makeup. From there the idea jumped to placing people with horrible injuries in unexpected places, this time the classroom, a clear commentary on mental health of students. The sketches and planning of this idea was mostly in what injuries could be done and what they could represent.
Planning each execution involved coordination with classmates, with thought into each model's personal experience and aesthetics. The research into this also had to be applied during planning |
Process |
The first step in the neck injury is to cover the neck area in liquid latex. While it's still wet, place a napkin over the area and cover that in liquid latex as well. Do this two to three more times and let it dry. To speed up the process a fan or hair dryer can be used. once it's dry setting powder can be used to make it less sticky, but it's not completely necessary. Next make small cuts into either side of the neck, and cut along the front to make the slit in the throat. Next use foundation or some sort of body paint that matches the model's skin tone, covering all of the liquid latex. Color in the inside of the cut in black to darken it, then
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apply fake blood (the gel kind), using a sponge or brush to dab it around the incision. Then apply fake blood (a more liquid-based) and let it drip down the front. The amount of blood around the cut and dripping from it it based on preference.
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The first step is to cover the spot of application in yellow and dark red makeup. Then, start creating texture with the liquid latex in a curved fashion, making some circles. The circles will be built up the most. The latex should be given some time to dry in between layers, but overall many layers will be done so to save time the intervals shouldn't be that long. then cover the whitest areas in the foundation or skin color, covering those areas in yellow and red. Start applying more red to make the area look burnt. Burn scars don't have much blood, and definitely not any more liquid-based blood that could run. The
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blood will exist mainly in the circles that have been built up. Keep alternating between foundation and the red color until it looks good enough.
The first step in this wound is to find a way to keep the effected eye closed. This is typically done using some form of skin tape, but if it is not available tape a napkin or something similar the size of the eye down so the regular tape doesn't have to touch the eye. If the taping is done tight enough it should stayed closed. This wound also used the first prosthetic of all the wounds. To apply this spirit gum adhesive was used, applied everywhere the prosthetic would be touching. Once applied the area needs to be tapped repeatedly until tacky. Then the prosthetic is applied. Liquid latex is used all around the
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sides to blend the edges into the skin. Once this dries and the fade is gradual enough this area is covered in the foundation color. Then the eye area is darkened and filled with the gel blood, some manually applied all around the wound using sponges. Then the liquid based blood is applied and allowed to drip down the face, and more blood is added around using sponged until it looks accurate.
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The last look required a cut not unlike the first on the neck, however this needed to be much smaller and more precise. Self-made prosthesis were made by pouring out liquid
latex on strips and letting it dry before cutting it and applying it to the face with more latex. After this it's covered in foundation to blend into the skin, and then covered in red and yellow to mimic irritation of the skin. Fill the cut with black and gel blood, then liquid-based blood. Use a sponge to spread this blood around the wound. Lastly press staples into the latex so they cover the wound, some open and some closed to imply they're sitting inside of the wound. |
Experimentation |
Almost everything I did with people I tested on my own first, since everything is a new process. For example, I tested methods of taping my own eye shut before I had to figure out how to do it with someone else, and I tested applying prosthetic wounds with spirit gum before seeing if it actually worked or if I should use latex or another adhesive. I also tested the application of latex, like in the burns. The texture was unfamiliar and it was unclear how to color the burns after the latex was applied and so this was done on my own arm beforehand to test these things out and get a feel for how it would go.
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Reflection
Overall I feel most areas of this were a success, despite mistakes along the way. All of the wounds came out looking semi-realistic. The placement of the injuries, the expressions and locations of the models, and the composition of the pictures all contributed well to the overall meaning of the piece, and I think that this meaning is conveyed adequately to the audience. It could be more obvious, but all visual imagery and metaphors are visceral enough. The work also provokes reaction, as intended. The work also connects to the artist inspiration (Caravaggio) very well in my opinion. I took what I learned about Caravaggio's use of form, chiaroscuro, drama, gore, etc. and applied these elements to my own work; the usage of light and dark and gore to create a highly dramatized scene (evoking a response form the audience and conveying a deeper meaning) are direct connects from this work to Caravaggio's works.
ACT Questions
1. Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork.
The elements of the artist inspiration's work (Caravaggio's) were identified early on and conveyed in the use of high contrast (chiaroscuro) and gore to convey meaning and evoke reactions.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
The author of my research on Caravaggio viewed him as an incredible influence on 16th and 17th century art, especially on paintings and the baroque movement. As for the research on special effects makeup, the artists who made the tutorials approached them as instructions to someone with little experience with makeup or that particular look.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
Many came from researching the influences of Caravaggio, and I learned that disasters of epidemics that shape a society/culture (like the black plague) can shape the art that follows (ex. return to roots of Christ's teachings, portrayal as a peasant to relate to the people, etc.)
4. What was the central idea or theme around your inspirational research?
The inspirational research focused on the most important components of Caravaggio's work, from formal qualities to purpose and execution of medium, while also investigating the cultural context as to what influenced these components specifically and how.
5) What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
Some of the connections between Caravaggio's influences were made by analyzing the context, such as the depiction of Christ as a peasant being a direct result of the black plague's effect on Italy. I also made connections about many of the mediums used in special effects makeup; because many of their full functions weren't specified but their use was demonstrated in at least one way, I was able to apply this in different ways based on what I needed to use it for.
The elements of the artist inspiration's work (Caravaggio's) were identified early on and conveyed in the use of high contrast (chiaroscuro) and gore to convey meaning and evoke reactions.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
The author of my research on Caravaggio viewed him as an incredible influence on 16th and 17th century art, especially on paintings and the baroque movement. As for the research on special effects makeup, the artists who made the tutorials approached them as instructions to someone with little experience with makeup or that particular look.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
Many came from researching the influences of Caravaggio, and I learned that disasters of epidemics that shape a society/culture (like the black plague) can shape the art that follows (ex. return to roots of Christ's teachings, portrayal as a peasant to relate to the people, etc.)
4. What was the central idea or theme around your inspirational research?
The inspirational research focused on the most important components of Caravaggio's work, from formal qualities to purpose and execution of medium, while also investigating the cultural context as to what influenced these components specifically and how.
5) What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
Some of the connections between Caravaggio's influences were made by analyzing the context, such as the depiction of Christ as a peasant being a direct result of the black plague's effect on Italy. I also made connections about many of the mediums used in special effects makeup; because many of their full functions weren't specified but their use was demonstrated in at least one way, I was able to apply this in different ways based on what I needed to use it for.
Bibliography
Graham-Dixon, Andrew. “Caravaggio.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 17 Aug. 2016, www.britannica.com/biography/Caravaggio. Accessed 2 Oct. 2017.
“Prevalence of Mental Health Disorders Among Youth.” Prevalence | Youth.Gov, youth.gov/youth-topics/youth-mental-health/prevalance-mental-health-disorders-among-youth. Accessed 2 Oct. 2017.
“Prevalence of Mental Health Disorders Among Youth.” Prevalence | Youth.Gov, youth.gov/youth-topics/youth-mental-health/prevalance-mental-health-disorders-among-youth. Accessed 2 Oct. 2017.
Neck Injury |
Burns |
Eye |
Staples |
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