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Thursday, March 19, 2015

SCULPTURE: HUMAN BODY REQUIRED

SCULPTURE: HUMAN BODY REQUIRED

LAURA MONGIOVI
ASSOCIATE PROFESSOR
DEPT. OF ART & DESIGN

FLAGLER COLLEGE
ST. AUGUSTINE, FLORIDA

lauramongiovi.com





























Above Images, Body and Form Performance, Crisp-Ellert Art Museum. 







Kelsie Claremont, Plague Mask and Bunny Ears
Masked Identity Assignment, Student Work
Concepts, formal qualities and symbols. 





Kelly Austin, Coming Undone, Photo Series
Masked Identity Assignment, Student Work









Ali Botet, Photo Series
Masked Identity, Student Work

Kailey Jewell, Masked Identity, Student Work




Kailey Jewell, Tennessee, Masked Identity Assignment, Student Work

Kailey used personal memories from her home town in Tennessee to guide her ideas for this assignment.

Christopher McMachen, Masked Identity, Student Work




Christopher McMachen,  Masked Identity Assignment, Student Work

Inspired by  ideas about concealing, revealing and emergence.
Music "Wake Up Call (Datsik Remix)" by Steve Aoki and Sidney Samson

Alex McNutt, Masked Identity, Student Work



Alexander McNutt, Recurring Creature, Masked Identity Assignment, Student Work

Alexander's concept inspired by "Meshes of the Afternoon" by Maya Deren (1943), action figures and the sea.


Wednesday, March 18, 2015

SCULPTURE: HUMAN BODY REQUIRED





Key Russell, Wrapped Human Body, Student Work

The bandages symbolize keeping emotions together during a relationship and mending after a relationship ends. I posed the model to touch different parts of the body. These body parts are important, as each area is symbolic. The head represents a person thinking logically in a relationship and attempting to rationalize emotions. The heart represents feelings you cannot choose; cannot rationalize. I think the heart is where feelings form even if they are not expected or wanted. The pelvic area represents sexual desire. Covering the chest, head, or torso may allow for the other two to express themselves more openly.







James Mattson, Wrapped Human Body, Student Work
I covered my body with a surf sock. The aim of my pictures are to portray organic shapes with little resemblance to the human body. My main focus was to capture postures that would prompt the viewer to ask, "What is that?"




Hannah Chittum, Poetry Garment, Student Work

This poem touches on the seductive side of a relationship. I wanted my garment to have an alluring quality. My initial plan was to cover the required 90% of my body and leave just a small area, on my back, exposing my spine. I feel as though this particular area of the body is the most sensual. I was pleasantly surprised when I put myself inside the paper form for the first time. My body expanded the paper form. The exposed area of my spine was now framed by the curves and folds of the paper, taking on added qualities of sensuality.


i like my body by E. E. Cummings

i like my body when it is with your

body. It is so quite a new thing.

Muscles better and nerves more.

i like your body. i like what it does,

i like its hows. i like to feel the spine

of your body and its bones, and the trembling

-firm-smooth ness and which I will

again and again and again

kiss, i like kissing this and that of you,

i like, slowly stroking the, shocking fuzz

of your electric fur, and what-is-it comes

over parting flesh...And eyes big love-crumbs,



and possibly i like the thrill

of under me you quite so new







Conrad Kane, Poetry Garment, Student Work

The Vine by Robert Herrick
I dream'd this mortal part of mine

Was Metamorphoz'd to a Vine;

Which crawling one and every way

Enthralled my dainty Lucia.

Me thought, her long small legs & thighs

I with my Tendrils did surprize;

Her Belly, Buttocks, and her Waste

By my soft Nerv'lits were embrac'd:

About her head I writhing hung,

And with rich clusters (hid among

The leaves) her temples I behung:

So that my Lucia seem'd to me

Young Bacchus ravisht by his tree.

My curles about her neck did craule,

And armes and hands they did enthrall;

So that she could not freely stir,

(All parts there made one prisoner.)

But when I crept with leaves to hide

Those parts, which maids keep unespy'd,

Such fleeting pleasures there I took,

That with the fancie I awook;

And found (Ah me!) this flesh of mine

More like a Stock, than like a Vine.










Melissa Yearwood, Student Work, Statement for Poetry Garment (images above)
For this project I was inspired by a 19th century poem, Spirits of the Dead by Edgar Allen Poe. I wanted the garment to resemble a mourning dress from the 19th century because the poem is about death and loss. I also made a paper Mache death mask; I thought that adding the mask to my piece would give it a more solemn look, I wanted it to appear as if the woman was a statue or dead; with her face locked into one expression that is also still somewhat beautiful. I thought that by adding the mask to my piece it would give it that extra boost of beauty and darkness that my piece needed. I used blacks and greys because those are the colors most associated with mourning and darkness. I also added gold accents to symbolize the beauty Poe saw in death. To give the paper texture and make it less stiff I crumpled the paper and rubbed it together to make it appear more like fabric rather than paper. For the under skirt of my dress I used black ink mixed with water and dabbed it onto the paper to make it appear like stone; I did this to symbolize the tombstones Poe talks about in the poem. 
Thy soul shall find itself alone
’Mid dark thoughts of the gray tombstone—
Not one, of all the crowd, to pry
Into thine hour of secrecy.
Be silent in that solitude,
   Which is not loneliness—for then
The spirits of the dead who stood
   In life before thee are again
In death around thee—and their will
Shall overshadow thee: be still.
The night, tho’ clear, shall frown—
And the stars shall look not down
From their high thrones in the heaven,
With light like Hope to mortals given—
But their red orbs, without beam,
To thy weariness shall seem
As a burning and a fever
Which would cling to thee for ever.
Now are thoughts thou shalt not banish,
Now are visions ne’er to vanish;
From thy spirit shall they pass
No more—like dew-drop from the grass.
The breeze—the breath of God—is still—
And the mist upon the hill,
Shadowy—shadowy—yet unbroken,
Is a symbol and a token—
How it hangs upon the trees,

A mystery of mysteries!






Visiting Artist Workshop, Florida School of The Arts, May 2014
Photography by Aly Schaper