After my PDP with Jon Pigott yesterday, I have considered the advice very thoroughly and have decided to take it further with my mounted plaster hands. I am slightly familiar with the process of Lazertran, after looking it up online, as I once made ceramic glass tiles and decorated them with image transfers in college – at the time, my tutor gave no indication of what the process was called but it was Lazertran.
As I am using a lot of symbolism in my work for Cited, I wanted to move away from that if I was going to apply this process to my mounted plaster hands. Instead, I had the thought of newspaper articles from the 1940’s during World War II. I plan to save a quantity of them, print them out on A4, splice them up and create varied collages to be image transferred by Lazertran onto the plaster, the metal rods and the wooden bases.
The reas0n I am doing this is because I originally cited the world horrific events of the Holocaust, and as my project developed, the main focal point moved away from the suffering, torture and death of humanity, re-aligning with the concept of hope. I began considering the sculptural pieces in a monumental light and went from there. As an artist, I am interested in the human anatomy – the human body – and one of the main things I cited from the Holocaust was the mass build-up of bodies that were treated in the most inhumane way. Just objects scattered around. From this, I started narrowing down the field and primarily started focusing on the use of human hands – they could symbolise peace and hope. This is when I started to extend materiality experimentation, ranging from wire-framed sculptures, plaster, rubber gloves, tissue paper and PVA, as well as paint and colour theory.