Detailed shots III Ganondorf

(Yess I made an even 70)

Detailed Shots II Link

Detailed shots I Zelda

Complete!

DONNNNNNNNNNNNNNNNNNE.

In every sense of the word jesus fuck I'm done with everything.

Oh my goddd

I'm in so much pain right now.. my back.. I haven't been to bed in a week and I hurt so much from sitting in my chair at my computer working on this fuckin' project. Somebody better like it, holy shit.

Preview VII

SO FAR!

Seriously getting there and oh my god am I happy about that..
Got some coffee and energy drinks and I will not stop until this is finished.

fuuuuhuhuhuuuck

At least my lines are done.. I'm getting there!

But right now I am seriously the definition of 'done' with everything

like my life

wat am i even doing with my life

i have no idea

wat

This is seriously one of those 'it seemed like a good idea at the time' sort of things..

Fecteau Paper

Natasha
11/12/12
ARTZ 106

              

               Vincent Fecteau, a San Francisco born sculptor made his name in the art world with his unusual yet ordinary use of objects used for his work. Things like foam core, cardboard, seashells, string, rubber bands, paper clips, kapa board, walnut shells and Popsicle sticks are used most often to create his beautifully crafted sculptures, which are usually done over the course of at least a years’ time. Fecteau takes his time to ensure his sculptures are things of beauty, layering his materials and textures to reveal a painstaking creative process. As alluring as these works of his are, it was actually the piece he had in the exhibition in Berlin that drew me to his work. Since the 2000s, Fecteau has been working exclusively with papier-mache`, turning them into complex pieces usually placed atop pedestals for viewing. However, in 2012 Fecteau showed a cycle of sculptures that were mounted on specially-made hanging devices so they would be able to be viewed from any angle since the front, back, top and bottom were all reversible. What’s even neater is the fact throughout the exhibition the sculptures were taken down and rotated to show off different aspects.

               Fecteau’s works in the Berlin exhibition show really are a sight to behold. Each piece is beautifully crafted and has numerous shapes and curves throughout it that really give it some eye appeal, though I do have a thing for curves so I may be a little biased. But really, these are incredible pieces full of cool colours and depth, angles jutting inward and outward, twisting around or bending back into each other, all of them folding together so perfectly and neatly into one package that you can’t take your eyes away because you’re so focused on where one of the pieces will go, where it will come out, where it may stop, if it stops at all. From every angle there’s something new to look at, and there’s no way to soak it all in at once, it needs to be explored. It needs to have the chance to show what it has to offer, and the only way to do that is to really explore it, look at it from every angle; from the side, from the top, upward, downward, and angled. Every way possible, because these really are so interesting and beautifully made it’ll leave you speechless in the sense you have no idea what’s going on with it... but you don’t care.

               What really attracted me to Fecteau’s work was the sheer fact that his sculptures are so weird. They are, they really are, and I like that. There’s always something new to look at with them, and his use of low saturated cool colours really works with them, and cool colours aren’t something I’m a huge fan of, but for some reason in these they work. I think something else that may have drove me to choose him was that many people would probably not understand them, hell I don’t even understand them, but these are the kinds of sculptures that it’s okay if you don’t understand them, because they’re so beautifully crafted it doesn’t really matter. You’re just enjoying looking at them.

               Fecteau’s dominant 2D elements in this work would definitely have to be non-representational, non-objective, complex patterns and colour, and all in one. These all really just look like blobs of geometric – yet organic – shapes and patterns that all fit together in a very non-objective way with lovely colours to compliment them. What’s interesting too about the way he paints his work, is he doesn't do it in an “artistic” way, but rather in the way a house painter may paint the walls of a home or the outside. Fecteau relies on bold stripes of colour and emulsions of paint on his pieces. Any kind of shading or spatial effects are actually the result of permitted dirt and stains that have derived from the repeated layers of paint Fecteau uses before he settles on a final palette. An even more interesting fact is that when Fecteau is creating the basic forms of his pieces, he actually cuts them up and re-assembles them to create the shapes and flowing movement shown in his final pieces.

 I really would recommend anyone to take a look at Vincent Fecteau’s work, it’ll take two seconds to look him up and it’s definitely worth it. His works have everything; fantastic eye appeal, complex patterns and shapes, and leaves you really questioning it and yourself as to what it is, and why do I like it so much.

Ranch

So these are from a field trip we took last Wednesday to a Ranch! Pretty neat, not really my thing but hey if that's what you like then awesome!

Have some random facts I learned:

• Cows can be re-branded
• Calfs can be branded around February, Older cows in March
• 3 acres are needed per cow
• Automatic feeders help to feed cows more efficiently
• Before placing the hay in the feeder the wire needs to be cut away
• Bales weigh 1300 pounds a piece, and 2 1/2 of them will feed 150 cows a day
• Pregnant cows eat even more
• Before Hay can be used as feed it needs to be cured and dried (also away from the cows because they'll jump fences or tear them down to get to it!)
• Calfs are fed pellets for nutrients
• When cows are ready to birth they're taken to the barn (shown above)
• Calves are pulled out head-first with chains around the legs and hook wenches to pull them out (when the mother is pushing as well, of course)
• After the calf is born something needs to be shoved up the nose to get the mucus out
• Newly born calves need to be checked on every two hours to make sure they're eating, if not they need to be bottle-fed every half hour on the hour
• Calving takes around 15 minutes from start to finish
• Older cows sometimes have complications
• Calves gain 8-10 pounds a day

And that's about it! Pretty neat, actually.. aside from the almost stepping in cow shit all day. But y'know.

OKAY.

I. Have made a decision.

As upset as I am, I think I'm going to just make this my final project and not do the painting. Why? Because there is no way. No. Way. That I can finish this, write a two page paper, make stencils and apply them, and make a full painting all in less than a week. There is so fucking humanly possible way.

I haven't gone to bed in five days.. all I've done is lay my head on my desk for an hour or two at a time.

So I'm thinking I'm just going to make this my final (I'll print it off on poster paper too, I made sure it was of a high resolution so that I could make a nice-sized poster), and really make sure it looks good because I don't want to rush it and have it turn to shit after all the hours I've put into it. I might even make a background, like paint the Temple of Time in the back floating in the distance? That'd be neat.

But yeah. No way, I really took on more than I could take and holy shit is it catching up with me.

Deal with it!