Pass It On Exercise

In this exercise, which can apply to virtually any art project you create, the goal is to let go of the need to perfect something. Instead, you are given permission to work quickly, make spontaneous decisions, and move on from your initial ideas.

What makes this such a valuable lesson is that it is sometimes very difficult for an artist to get out of the obsessive trap of overthinking. When we start questioning every detail or focusing too much on the outcome of a project, we can easily become frustrated, and slow down the process of creating.

Instead, when you receive your traded casting, think of it as the kernel, a jumping off point for a new idea. Let the objects speak to you to feed a new concept. This is the equivalent of finding a stone or block of wood that inspires the artist to create from its inherent form. It then is your task to bring your aesthetic eye into the work, and transform it into a viable artwork.

When work is high-stakes, it can be a challenge to even begin. Instead, this exercise places things in a low-stakes environment. That said, it is still important to apply the concepts of the Positive-Negative Project diligently... while also not worrying, and having some fun.

Process

  1. You will spend one to two class periods on your cardboard molds (2-3 forms). This includes lecture time on making a functiuonal and sturdy mold.
  2. You will learn to estimate volume, mix plaster, fill your mold properly, and when/how to release the casting from the mold.
  3. Once your objects are cast, you will have an opportunity to look over what everyone else is doing. And in the interest of berevity, if you are way ahead of others in the class, help someone else get their objects cast too.
  4. There will be a random draw of who gets what cast to work from. After the draw, you are welcome to swap among one-another if you like, as long as you don't end up with your own castings!
  5. Once you have recieved the pieces to transform, study them carefully. Put some time and effort into this, and look for qualities you like about them, and those you do not. Try not to be too critical, as I expect you to leave aspects of the original form as a witness to its history. You can change it quite a lot, but not completely. For example, there may be a contour you like, or you may stick with its outer boundaries, etc.
  6. Work to relate two or more pieces to one-another so that the result is one final sculpture that describes the concept of positive-negative.

What is Due

  1. Create two to three cardboard molds, ready for casting.
  2. Make two to three solid-cast objects ready to swap; the molds will be destroyed/discarded.
  3. Complete a finished sculpture that incorporates your acquired objects into a satisfying composition fitting the concept of positive-negative. These must be ready for group critique.
  4. Grades are based entirely upon participation, experimentation, and having a ready sculpture to critique. The topics of critique include your experiences with the concept of both positive-negative, and how you responded to "passing it on". We will talk about the aesthetics of the work, including form, volume, texture, shadow, light, positive and negative space, implied movement, color, contrast, and intent or meaning of the work (if any beyond its aesthetics).

Further Resources

Here is a useful read on not letting your work be precious: https://messyeverafter.com/self-employed-journey/dont-let-your-art-be-too-precious/