October 25, 2023
This project focused on the art of ceremonial adornment with a focus on traditions and rituals that are passed down from generation to generation, that use memory to recall their importance and value. Assigned to create masks based on significant iconography, whether it be from our partner’s hometown or culture, we interviewed and subsequently researched the topics. Using air-dry clay as a base, we developed a mask based on the significant elements we researched and chose decorative elements based on historical and structural information. With the masks complete, we gave them to our partners and performed the chosen rituals, videoing and photographing the process.
Specifically regarding my project, my partner, Faye, chose the Chinese art of Bian Lian, or “face changing,” which is seen in traditional opera performances. The art is sacred and is only passed down to a small number of people, yet it’s a very widely known and traditional performance. It features a set number of masks that correspond to different characters who represent different personality traits. In order to capture this “face-changing” element, we decided that I would create a split mask: one side would feature the brave, loyal, and heroic red character, and the other side would represent the villainous, treacherous, and malevolent white character. A decorative headdress made out of paper would adorn the mask. Faye would wear the mask and, to mimic the act of Bian Lian, she would turn from side to side during the performance, invoking the red and white characters with each turn. As for my ritual, both the gesture and the mask related to Diwali, as I chose to light a tealight (diya) while wearing a rangoli-esque mask.
To start, I did a lot of research on Bian Lian and subsequently created a mood board for the mask I was going to create (below). I used an article titled Bian Lian (Face Changing) – Sichuan Opera’s Historical Art in order to gain more insight on the practice and its significance, and an article on the color meaning and symbolism behind the different masks themselves before deciding on using red and white.
With this information, I sketched out the mask, pulling inspiration from my mood board. With the mask done, I knew I wanted to incorporate a more decorative element, so I developed a headdress design that I would make with paper, a lighter material, to adhere to the mask itself.
With the sketches complete, I started on the clay mask. I had never made a mask before, so getting the proportions as well as the fit was a very tedious task; because of this, I had to attempt the mask twice. The first time I pressed out the mask, I didn’t have good support for the curvature of the mask, so it ended up drying very narrow, and I wasn’t able to put it around my face. For the second attempt, now knowing that I needed broader support structures under the mask, I used my first attempt dry mask and added clay on the sides of the face to widen the support under the new mask. With a new attempt in progress, and much more hope for it to turn out well, I sculpted a nose and a mouth for the mask in order to emphasize the features; I was thinking about the end goal: looking at the side profile of the mask, with a protruding nose and mouth, the split feature of the mask would be more apparent.
While it dried, I transferred my design to the black paper I was going to use for the headdress with tracing paper and carbon paper. On a real Bian Lian outfit, the headdress is very three-dimensional. They include intricate designs of cloth, jewels, and many more layered elements. In order to at least somewhat pay homage to these well-crafted garments, I needed to create a sense of depth with the headdress. To do this, I split the headdress into a front and back part and cut them out of paper separately. Decorating both with uni-Posca paint pens, I even drew on the back of the back piece to provide continuity and make it more realistic.
After the mask dried, I painted both sides with the chosen colors. This process was very satisfying to see the mask come to life. With it painted and dried, I glued the front piece of the headdress to the forehead of the mask, and the back piece to the inside of the mask to create the necessary depth, with PVA archival glue. And the mask was finished!
Unfortunately, I wasn’t able to figure out a system to attach the mask to a face, as the clay ended up being really heavy and hard to hold up. Knowing this, if I were to have more time to spend with the mask, I would figure out a way to attach either a large piece of cloth/elastic to go around the head or attach it to a larger costume/hood to further immerse the mask into a true Bian Lian setting. Regardless, it turned out really well, and I’m glad I had the experience of making it twice because it really helped push the mask to a more developed piece. Above are pictures of the mask close-ups, and below is my partner Faye wearing the mask during her ritual.
Overall, this project was thought-provoking. It was a new medium, a new subject matter, and a new process that I had to figure out. Developing a piece based on research, especially when the subject isn’t something you’re familiar with, is definitely challenging, but I thoroughly enjoyed the process, and I’m happy with the outcome. Our combined ritual video is below.