STUDIO WORK: SHOOT 3

For this shoot i did some prior planning. All my housemates helped me out a lot. I issued the camera from photography department in the university and could not get tripods because they were out of stock. Two of mine friends were playing with lights and another friend was taking pictures. I took a black bed sheet and spread that over my couch. Also used a whole tangled wool of black thread. Took around 70 pictures from which i preferred only some which are below. The shoot went for like 3 hours. They actually turned out good and delivered the message which i wanted to (WOMEN AGONY).

STUDIO WORK: SHOOT 2

After my first shoot still i wasn't satisfied. Did my second shoot at a friend's place. She wrapped my face completely in threads continuing a bit onto the shoulders as well. One big whole wool of thread was around my face. Actually my initial idea was to wrap myself completely in threads (the whole body), but that was not working in practical and was also taking too long.

STUDIO WORK : SHOOT 1

Giving actual meaning to something becomes really important at a particular point of time. Because i was working with threads, now i wanted to discover a new scenario out of it. We had to prepare ourselves for our final studio practice. I definitely wanted to work with thread, but this time not just a big piece on wall. After a bit of research, i thought to do some shoots with thread. For this shoot, my housemate helped me out a lot. I did that in my room, hanging threads between two of mine cupboards. I did not had any concept behind it at that point of time. But after that shoot, i realized that i opened a new door for myself. WOMEN AGONY is something which i discovered from it. They grow through torture and seek for a fresh light which they might not get throughout their life. It was not really a big thing, but i think it provided me with new ideas and a way to carry my studio practice further.

EVA HESSE

• Jewish German-born American sculptor.
• Her pioneering work in materials such as Latex, fiberglass and plastics.
• A dynamic and Multi-faceted communication of two-dimensional and three-dimensional work can be experienced.
• Moving around her sculpture, one senses an optical and dynamic correspondence to chamber music, in which each melodious line is expressed by a single player.
• Associated with the mid-1960s post-minimalism anti-form trend in sculpture.
• Her art is often viewed in light.
• Led the move from minimalism to Post minimalism.

Eva Hesse. Right After, 1969.

• Comes to be floating in space.
• Piece tends to be caught in between of two adverse forces; the effect of gravity could be experienced through the delicate curve of the wires as they descent downwards, while invisible wires keep the sculpture suspended in the air.
• No loose ends, giving a sense of continuity and completion.
• Associating a light source into the structure of the artwork.
• Made entirely of bright lines hanging in loops from dark mental hooks, these blend into chaotic bunch.
• Using lines as an approach of constructing, disconnecting and assembling.
• These drooping lines of her mark shapes are apparent in wide range of her work.

SOME OF HER OTHER ARTWORKS-

BRIDGET RILEY

• English Painter
• Foremost exponent of Op Art.
• Currently lives and works in London, Cornwall and France.
• Seductive use of colors and shapes.
• very persistent work with firm definite qualities and themes of patterns, repetition and sequence. 
• Stare long enough and her work actually bulge and move and they seem to come growing.
• A sense of movement, pattern and organic feel.
• One tends to go hot and cold while analyzing her work.
• Her work tends to glimmer and move, catching viewer's visual tension.
• Looking at her work gives you a feeling that a painting is not always constant.

Fall, 1963, Bridget Riley

• In her painting "Fall", she was taking a single form and was analyzing its essence.
• This painting of her opens the door of perception, sucking you into another proportion where nothing is so sure and all is repeated.
• A great visual effort is required to browse the shape of the strips, as they get dense towards the bottom.
• For her a curve actually is a rise or fall of a straight line.
• Because of repeated abstract marks and optical sensations, your eye does not know where to rest.
• I often end up seeing color even though they are painted in black and white.
• Connection between 'stability and instability, security and insecurity'.
• hypnotize the eye.
• Using of repeated forms and lines depict her work.

SOME OF HER OTHER WORKS:

STUDIO WORK

Got permission to work in the corridor of the studios!! Might have been a pain to many people though. Anyways, after my previous installation (in the installation room), tutor told me to use different spaces around the studios to create some interesting installations. Did not actually plan before doing it. Don't know why but  somehow this particular place forced me to do something like below. Every corner, wall has its own uniqueness.This installation might not suit any other wall as it does to this one (according to me). The lines though were black with a white background, looking at it for a longer time gave a feeling of color in them. Very intense shadows were formed by the lines.  It took me around 8 hours at a stretch to install it .