Buildings in perspective

In this project the focus was on the perspective, and the way in which the objects looked in it. The work in perspective allowed me to explore the buildings located around the residence where I am currently staying. The perspective also allowed me to make a relatively precise drawing of a multi story house located on the corner of Union Square and 15th street. The building is an example of a classic New York building with the stores on the first floor, and then more residential floors above it, hence the height of the windows varies so much. In the drawing I have left the horizon line and the guide lines, in order to demonstrate how I have arrived at the final shape of the structure.

After finishing the realistic picture, I have decided to deconstruct the structure of the building into several layers. I have noticed that the building gets lighter as it goes up, as it progresses from the ground and more brown color, to the much lighter blue color on the top levels. The building also resembled slightly a childs tower toy, where the top levels are smaller and the lower levels are larger. Thereforewhat I have done is I have divided the building into sections which become smaller as you go up, and then I have coloured it, so that it starts with darker, richer brown colors on the bottom, and then when it goes up to the top, the colors turn into much lighter blue ones that resemble the sky.

Manifesto

From the ground up to the skies rises the building

From the dark  it stretches out to the clear skies

The floors of the building are like the parts of a child’s pyramid

There is a central axis running through it

And as you look up, there is a progressive shrinking

The house is like a child’s pyramid

It goes up into the air

And it feels like the floors are not attached

But they are to the ground

With strings

They do not let go

And they hold it in place

Like a sky castle

The second Bridge is a Bridge which challenges you to think about how other people work. Its is a piece that makes you analyse the way in which other people think. It is a task which forces you to ask questions and get in depth with the work of your partner. I was put in a pair with Alex Laverne, who for his first Bridge chose to create a wall banner which would demonstrate his feelings about moving to New York. This piece is a reflection of the shock of a person who moves from a relatively rural area to one of the busiest and most hectic cities. The image that he has created encapsulates this feeling perfectly. The image of a head exploding with ideas and observations demonstrate what Alex felt when he arrived here from  Michigan.

What I wanted to do was to transform his piece from a two dimensional creation into a three dimensional one. To do that, I decided to take the initial idea of the piece, and adapt it to the three dimensional materials. What I ended up with was a skull filled with sealing foam that has a building, a goodzilla and a bomber embedded into it. It is topped then with the top side of the head, and furnished with paint in the outside, that resembles the one that Alex had.

The hardest thing for me was testing the materials, as it was incredibly unclear as in to how would the foam interact with the skull, and what would happen to the objects placed into it. It was also very difficult to find the paint that would work with plastic, and would create the drooping effect. What came as a surprise to me, was the fact that the one which worked was acrylics, that was not my first choice.

I think that during the translation process I managed to lose such aspects of the original as the eyes, and in my eyes, some of the complexity, due ti the fact that it was near impossible to fit in as many objects as there were in Alex’s piece into the three dimensional space. On the other hand, the translation brought the details out in the piece, for example the plane, and the Godzilla. It also helped that in three dimensions the shape of the head is more visible, and the foam re-creates the mist, but this time, the objects are not placed onto the mist, but instead they are inside it, and actually stickup of it.

In the critique I have learned that my piece lacks in surrounding, as in there was a lack of sense that there is something on every side of the object, and the rear seemed neglected to some people. There were also suggestions that the presentation of it could be different. People felt that the piece looked bad on the table, and that it would be beneficial if it was presented on a stand of sorts, something that would bring it out from the surroundings, as a piece on its own.

In my opinion, my piece was successful in translating the piece from a two dimensional one to a three dimensional one, keeping the spirit and the idea of the original. I also think that I have managed to create a  visually engaging piece that grabs the observers eye. On the other hand, I don’t think that I managed to get all of the details into the piece, and therefore I could have done more on the detailing, and also on the presentation. If I could, I would change the way in which I demonstrated the piece, as I think that int lost a lot in the way that it looked. I would also change the composition slightly, in order to make it seem as if every side of the head is equally important.

Treasures of the Russian Tsars

There are many items that the Russian creators have made, but few can compare with the crown regalia and the items that the Tsars wore and possessed. These items always demonstrate the highest levels of craftsmanship and skill. These items are the most beautiful and represent the Russian culture, and that is why I have selected to research these items as my decorative arts project.

Monomakhs hat is one of the most important items in the history of the Russian Tsars, as it always was the sign of status and power. It still remains the most iconic known jewel, only rivaled by the Orlov diamond. This cap was meant to be the pinnacle of luxury and craftsmanship, and it should have existed for years to come, as a sign of the eternal dynasty of the Russian Tsars. The cap was created in the commemoration of the sons of Ivan the 2nd ‘The Red’ Dmitry Donskoy and Ivan Kalita. I have personally observed the hat int the Kremlin Armory this summer, and I have got a deep impression from it. The hat showcases the best artistic skills of that time from the jewelers and the fur makers. The cap is a great example of craftsmanship and artistic skill, and to this day is an impressive example of a regal sign.

Some historians have different opinions about the origin, but the fact is that the base of the hat is created from Golden plates possibly scavenged from the helmets of tsar Ivans sons, and it was then covered with an elaborate ornament made on it. Then the hat was covered from the sides in a pattern of different jewels, including emeralds, rubies and spinel. Its is interesting that these stones are not cut, as that technology was not developed yet, but instead polished, and the stones were made to look like mirrors. The base of the hat is made out of fur for comfort, and the top is ended with a cross embedded with pearls. The shape of the hat is meant to be a symbol of sun, as it is semicircular, and the cross on the top of it is meant to connect the ruler to the gods, and legitimize the ruling.

We can see this type of jewelry  carry on through the ages, with the dress made for Tsar Nicolas II, the last Russian Tsar. Nearly five centuries after the creation of the Monomakh cap, the young Russian tsar had a cap made in the style of the cap of Ivan The Terrible. This hat is also made from a golden silk lining, golden top, and a fur base. The cap is decorated with emeralds, gold and  pearls, just like the original. The shape of hat, although resemblant of the original, is now more square shaped. This hat was worn several times, but never became quite iconic as the original, yet it still demonstrated the continuation of Russian artistic tradition.

Images from “Magnifisence of the Tsars” by Svetlana A. Amelekhina and Alexey K. Levykhin

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