Space

Self Portraiture

Using My Face to Sculpt

Using my face this time, (as I have done previously for drawing) I manipulated the cube structure, going at it with the ridges of my nose and chin and pushing it with my cheeks. This is a release of ego because you have limited control or prediction of what mark these parts of your body will make against the material. I think this is a fascinating way of working because it is abnormal and produces abstract results. Exact same concept with using other parts of the body as I have done...

Mair Judd

http://www.juddfoundation.org/marfa.htm

http://www.ski.org/CWTyler_lab/CWTyler/Art%20Investigations/C20th_Space/C20thSpace.html

http://channel.tate.org.uk/media/29807699001

I have now become concerned with the concept of space for my works, and how they are going to relate to a proposed space. Gormley and Judd's works are very much to do with the space they are within. It is what makes them what they are.

Using My Body Cont.

http://www.tonyorrico.com/

B. 1979, HINSDALE, IL.

MFA, UNIVERSITY OF IOWA. ORRICO IS A VISUAL ARTIST AND PERFORMER CURRENTLY WORKING WITHIN A SERIES OF BILATERAL CONTOUR DRAWINGS TITLED, PENWALD DRAWINGS. HIS WORK HAS RECENTLY BEEN COLLECTED BY THE NATIONAL ACADEMY OF SCIENCES IN WASHINGTON DC AND COMMISSIONED BY FLUX/S AT STRIJP-S IN EINDHOVEN, NETHERLANDS AND DANCE THEATER WORKSHOP IN NEW YORK CITY. ORRICO IS A FORMER MEMBER OF TRISHA BROWN DANCE COMPANY AND SHEN WEI DANCE ARTS, AND RECENTLY PERFORMED IN MARINA ABRAMOVIC'S RETROSPECTIVE AT THE MUSEUM OF MODERN ART IN NEW YORK CITY.

ORRICO'S COMPOSITIONS ARE OFTEN REALIZED THROUGH SPONTANEITY OR WITHIN CREATED STRUCTURES AND VARIATIONS. WITHIN HIS PENWALD DRAWINGS, HE DEVELOPS STUDIO COPIES OF HIS DISCOVERIES AND THEN SHARES PERFORMED VERSIONS OF THESE WORKS WITH LIVE AUDIENCES. HE REFERS TO THE VISUAL ARTIFACTS OF THESE DRAWINGS AS THE FINAL CONDITION OF HIS PERFORMED PROCESSES. THIS SERIES CONSIDERS EXPLORATIONS OF SYMMETRY AND BIOMECHANICS ALONG SIDE THEMES OF MEASUREMENT, PATHWAY, GRAVITY, ENERGY, CHAOS, EFFICIENCY, ENDURANCE, LIMITATION, REPETITION, AND ISOLATION.

Letting My Body Go....Well.... Quite Mad with Clay

I wanted to use my body as I have previously, and the thought of starting with a cube of clay can be related back to the Minimalist artist I have been looking at, Donald Judd. I think it is important to start with a simple structure in this piece because the process throughout the duration of making it changes drastically and almost comically. The way I am working with the clay is inspired by Morris Imprints and Body Casts. Although it is not identical. Still trying to keep with the idea of releasing the ego throughout the work I went to the clay with parts of my body with little thought and possible repressed emotions. This is actually really interesting and pretty funny as well:

Goshka Macuga: I Am Become Death

Train drawing performance kings

Tony Orrico: complex fraction, 2009

Morris and Gormley Inspired Sculptures

Ovation TV | Donald Judd's Marfa Texas

I like the idea of having a permanent exhibition, placing my art in an area where it will never be moved or touched, maybe even an area where rarely anyone will ever go.

Turbine Hall

Is this where my sculptures could go? In a way that would be fantastic but I can't help thinking about Judd's way of presenting art. Place it in an environment that complements the subject.

Making a Gormley / Morris

Idea for a Work

It has occurred to me that all of my work so far in this project has been, in a sense, self portraiture. Robert Morris' Self Portraits (1963) and his Imprints and Body Casts (1963-64) has clarified this for me and influenced me to move on from the drawing and focus on sculpture. I can use my body to manipulate clay as Morris has done in his imprints and body casts. Of course I cannot make any cast at this time as the workshops are closed.


Idea for a Morris/Gormley-like piece for the Tate Modern.
Invite the public to produce a small sculpture for me involving their body e.g gripping and squeezing a small volume of clay with their foot. Invitation letters to take part in this project will be given out to a large population of Britain. Whoever wants to take part will send back a notice of clarification either by post or internet. I would like to think a very large population of the country would like to be involved as their very own sculpture will be involved in this piece and it will be placed in the well known turbine hall of the Tate Modern. A small volume of clay (wrapped up and kept moist) will then be sent to each applicants house. They will then follow my simple instructions and then send the sculpture back which will be paid for by me (government grant). My hopes would be that enough sculptures would be produced to fill the turbine hall of the Tate Modern. If this was to succeed I feel it would be a beautiful piece to witness and be apart of. Like Gormley's, the sheer presense of material will create an atmospheric space. It relates to self portraiture and the concepts of the ego I have been looking at throughout the last few weeks. It would be a pretty special sight to witness thousands of these individual but similar sculptures filling a gigantic space.