It’s been a long time since I’ve posted art, but I’m going to make it a regular practice again. I’ve found it difficult to be creative since the pandemic started and felt less connected with the work I’ve been making. It’s important to keep creating, though, especially when feeling uninspired. I’m not sure what direction I’ll grow in, but this is the art I was working on before the future felt so uncertain.
The project is sculpting breasts onto store-bought decorative foam fruit and veggies. Technically, it’s a great color/ texture matching challenge. I enjoy matching the flawed finishes, putting a perfect handmade detail on something clearly fake and mass produced. Conceptually, I’m interested in how women’s bodies are often compared to fruit, in playing with the juxtaposition of still lifes and naked women in art.I’m still deciding on a series title. So far, I’ve got Feminine Fruit or Breastables. What do you think? This Granny Smith has already sold, but there’s more fruit in the works. Would folks be interested in prints in the future?
Progress on a flower sculpt with my new dust collection set up. ? This one is so close to being ready to mold!
Check out these photos @wondergoblin took of the Mega Galactic Void! At 11 AM ET today the Void goes on sale in the Wonder Goblin webshop with all the unsold inventory from the Kaiju Cult art toy show. Set your alarms! ?⏱
After I finish a sculpture, I photograph it from as many angles as I can. It’s a great way to explore perspective and composition.
Rainbow pearlescent on top of black and white, before varnish.
I’m going to paint the Skullfish a soft sparkly white/ grey. The paint gets applied in several layers. I’ll start with a flat black primer, followed by a base coat of black urethane paint. I’ll go back in with white to create a range of tones. The rainbow pearlescent goes on top of that, followed by a clear coat. Each layer of paint gets applied by airbrush in several passes.
Sanding the fins smooth before adding scales ☠
Filling in the gaps between bumps and adding ridges to the fins. Once I have most of the sculpt roughed out, I’ll go back with a rotary tool and sandpaper to smooth the surfaces and add more details.
The sharpie dot marks where I’ll add the next fin. I’ll start by drilling a hole so I can make sure to get the most solid bond possible between the fresh and cured clay.
When photographing tiny art, I use a large piece of card stock as the background and set up a few lamps to balance out the lighting. I try to photograph things right after I finish them, otherwise it’s hard to stay on top of it.
None of my brushes stay clean.