Postmortem for my Second Design Project
The prompt for this project was maddeningly broad. As a class we were simply let loose with the instructions, “Create something that fits in a 7x7x7 inch cube that wants to be touched.” As you could imagine, countless revisions and scrapped ideas later, I came finally came up with a concept.
Early Stages
From the start, I wanted to make something that beckoned the viewer using some form of expression of the human body. My initial idea was to have a sphere with a handprint on it that would react to touch. After some toying around, I came up with a totally different idea altogether. The central concept, however, remained creating a “prompt” of sorts that would motivate the observer to touch the object, however this time I chose to create a figure with a look of distress.
My initial idea was to create a figure with a somewhat horrified expression with an outstretched hand sitting in a box. My thoughts were that this would motivate the viewer to try and “help” the figure. I then had to make the figure appear as though it were in distress somehow. I chose to do this by packing the box with black feathers. This decision was three-fold: firstly, it served to obscure the figure and allow me to be a bit more creative with the unexposed part of it. Secondly, the feathers create a feeling of darkness in the box, but are also pleasing to the touch. Lastly, continuing in a similar vein to my first project, I wanted to characterize the darkness in the work. Black feathers worked very well for this as they are associated with crows and ravens, both of which are almost universally tied to death and the afterlife in mythology.
Creation/Completion
As for most of the other materials, the box came pre-assembled from a hobby store, but was close to the size I needed. The paint came from Home Depot on a gamble and actually turned out to work pretty well, as it had an amazing texture and at once absorbed light and sparkled. Upon reflection I also realized that I should anchor the figure into the box somehow to help the viewer realize that it belongs there, both for practical reasons and to forward the meaning of the work. Thusly, I decided to use a silver jewelry chain as it was both somewhat ornate and on the scale I was working with.
For the figure itself, I used a Crayola modeling foam that air dried. I liked the concept of this because finished product was still a bit squishy and had some great tactile properties like softness, which would also gratify the user when touched. It helped that it was exceedingly easy to work with. I chose to give the figure’s eyes and mouth a hollow, ghostly look to add to the aura of unease surrounding the piece.
While mocking up different figures, I also managed to create a figure that didn’t look distressed at all… it looked almost sinister. I was originally going for an old, decrepit-looking man but ended up with an ominous, birdlike figure. This, of course, worked perfectly with what I already had so I chose to paint him the same color as the box to create a unity with the figure and said box. This also served to increase the vulnerability of the unpainted figure as it would then appear nude in comparison.
As I put the finishing touched on the work, I wrapped a chain around the distressed figure’s leg and anchored it to the bottom of the box, and wrapped one around its arm for looks. I then realized that I wanted the box to remain propped open, so I sunk a silver nail in one side , through the chain on the figure’s arm, once again anchoring him to the box. This edge made a perfect resting place for the second, ominous figure, and I extended his arm to the nail in order for him to have a more stable perch and to insinuate that he is the keeper of said box.
Meaning/Inspiration
The idea and inspiration behind this piece was somewhat morbid. Specifically, darkness and death. While I wanted this piece to be somewhat creepy and unsettling (much like the subject material), I didn’t want it to be terrifying. The chains around the figure signify that there is no escape from the darkness. However, when viewing the “darkness” in this piece, it is simply feathers, similar to the kind of feathers that people stuff pillows and comforters with. The other figure, while somewhat ominous, also has a smile from certain angles and is just as soft as the trapped figure. He could be Death just as much as he could be a symbol for aging or your kindly old grandfather. I wanted to create a harmony between images of darkness and mortality and materials that were pleasing to the touch, as ultimately these things are unavoidable and even comforting to some. The terror on the trapped figure’s face is, of course, indicative of humanity’s fear of the aforementioned.
Reflection/Post Creation
I’m ultimately fairly happy with how this turned out. I’m torn on whether or not I should’ve used a more substantial compound for the figures, as they tear easily, which discourages the user from touching it and playing with the pieces. I found this out as I was attaching the chain. I wound it a bit too tight and it tore off the poor fellow’s leg. However, due to the malleability of the foam, any damaged or detached limbs can be replaced or repaired by attaching them to the figure with toothpicks.
The feathers actually worked far better than I had anticipated, as they shift and claw out of the box as if they were indeed tendrils of darkness. The paint also worked far better than anticipated and mirrors the silver accents I used while remaining largely black — keeping the ambient light to a minimum while mimicking the foreign, cold glare of starlight.
My only major regret is the box itself. I would’ve like to have made the box myself, possibly putting a plexiglass window in it so people could see into it and want to open it. However, had that happened, I’m not sure it would’ve turned out how it did, and the second figure that adds so much to the piece might not have been made at all.