Organic Vs. Industrial
Exhibition Text:
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Critical Investigation
Artist Inspiration
Isamu Noguchi One of the most important artists of the twentieth century, Isamu Noguchi (1904-1988) expanded the traditional notion of sculpture to include the creation of dance sets, gardens, playgrounds, fountains and furniture. Within this range of spatial environment Isamu Noguchi's Akari lanterns hold a unique place, expressing his Japanese's American heritage in works designed to enhance the quality everyday life. Isamu Noguchi was the son of an American mother, Leonie Gilmour, and a Japanese father, poet Yone Noguchi. Born in Los Angeles, Noguchi spent his childhood in Japan before returning to the United States for his education. As a young man he traveled to Paris to work with sculptor Constantin Brancusi, and he went on to develop his own unique career as an artist in New York. After visiting Japan in 1931 Noguchi began to integrate elements of Japanese art with Western modernism. Throughout the 1950s Noguchi spent a great deal of time in Japan, embracing Japanese forms for the design of gardens and sculpture. |
The fabrication of Akari in Japan at Ozeki Company since 1951 follows the traditional methods for Japanese Gifu lanterns. Each Akari is hand crafted beginning with the making of washi paper from the inner bark of the mulberry tree. Bamboo ribbing is stretched across wooden molded forms, which resembles sculpture. |
The washi paper is cut into wide or narrow strips depending upon the size and shape of the lamp and then glued onto both sides of the framework. Once the glue has dried and the shape is set the internal wooden form is disassembled and removed. The outcome is a resilient paper form, which can be collapsed and packed flat for shipping. The Akari package includes Noguchi's patented metal wire stretcher and support system. |
Planning and Journaling
Sketches:
I researched different shapes used in different parts of the world for lanterns. This gave me an idea of what to go for when beginning to build the skeleton for them.
Process and Experimentation
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Reflecting:
It was a bit difficult trying to create the skeletal forms due to the glue being very runny and stringy, as well as the fact that the materials were extremely fragile. It was tedious to try and create three dimensional forms out of toothpicks. I also had to consider size, weight of the candles, and stability of the structures. I also had to clear off the strings and globs made by the hot glue. A few times, my structures broke, so I needed to rebuild them all form scratch, proving to be very frustrating. However, once completed I was satisfied with the results. I am overall pleased to know that my structures did not break with the weight of the candle, and using geometric shapes like boxes, and organic shapes like the spheres. These shapes were to reflect simplicity, and weightlessness.
It was a bit difficult trying to create the skeletal forms due to the glue being very runny and stringy, as well as the fact that the materials were extremely fragile. It was tedious to try and create three dimensional forms out of toothpicks. I also had to consider size, weight of the candles, and stability of the structures. I also had to clear off the strings and globs made by the hot glue. A few times, my structures broke, so I needed to rebuild them all form scratch, proving to be very frustrating. However, once completed I was satisfied with the results. I am overall pleased to know that my structures did not break with the weight of the candle, and using geometric shapes like boxes, and organic shapes like the spheres. These shapes were to reflect simplicity, and weightlessness.
Critique:
Similarities within my artwork and Isamu Noguchi would be the creation of these lanterns through using industrial materials. We both had a similar process of creating the lanterns. The skeleton was created first, and then it was wrapped with a kind of paper. I had created the skeleton in a similar way. My inspiration pieces and my own art both contained organic shapes made from geometrical shapes, or were.
The materials that Isamu Noguchi used and I were one thing that were different. He used bamboo for the framework, while I used toothpicks to create much smaller structures. He also used paper made from the bark of Mulberry trees, while I used Craft Paper. I instead decided to leave the framework. We had a similar process, but not everything was the same. The framework was removed in Isamu Noguchi's lanterns, but I kept it so that it would be sturdier in place because the paper lacked that sturdiness.
The materials that Isamu Noguchi used and I were one thing that were different. He used bamboo for the framework, while I used toothpicks to create much smaller structures. He also used paper made from the bark of Mulberry trees, while I used Craft Paper. I instead decided to leave the framework. We had a similar process, but not everything was the same. The framework was removed in Isamu Noguchi's lanterns, but I kept it so that it would be sturdier in place because the paper lacked that sturdiness.
Connecting to ACT:
Clearly explain how you are able to identify the cause and effect relationships between your inspiration and its effect upon your artwork.
the geometric and organic shapes that Noguchi used to create his lanterns, and used similar ones within my own lanterns.
What was the overall approach (point of view) the author (form your research) has regarding the topics of your inspiration?
Noguchi used examined Japanese art and western modernism to implement it within his piece This shows the draw to his own ethnicity.
What kinds of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
As humans, we often are driven back to what we know and what makes us comfortable, whether it be things like race or light. Using this to create something can be very rewarding.
What was the central idea or theme around your inspirational research?
The central theme was the need for light and ways to use it in a beautiful manner using industrial materials and organic shapes.
What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
Man has an inclination to light. Its what gives us comfort and also what gives us warmth. Exposing that need for light is what makes the lanterns seem all the more special.
the geometric and organic shapes that Noguchi used to create his lanterns, and used similar ones within my own lanterns.
What was the overall approach (point of view) the author (form your research) has regarding the topics of your inspiration?
Noguchi used examined Japanese art and western modernism to implement it within his piece This shows the draw to his own ethnicity.
What kinds of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
As humans, we often are driven back to what we know and what makes us comfortable, whether it be things like race or light. Using this to create something can be very rewarding.
What was the central idea or theme around your inspirational research?
The central theme was the need for light and ways to use it in a beautiful manner using industrial materials and organic shapes.
What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
Man has an inclination to light. Its what gives us comfort and also what gives us warmth. Exposing that need for light is what makes the lanterns seem all the more special.