Sophia Funston

Popcorn Ceiling Texture

Ceiling Texture on painted metal crutch AppearanceChunky surface irregular surface Physical ChangesExpanded the line qualityMade a smooth surface roughChanged the color (CelluClay comes in different colors).Sharp to the touch due to the way it was appliedStrongest/most stable where the CelluClay was thicker and attached to itself. UtilityPotential to adhere things togetherCan attach to a…
Jasper Johns

Target, 1961 Materials: Encaustic and newspaper on canvas Much more interesting up close. Can see layers of collage and the texture of the paint and wax. Shows possibility of utilizing the transparency of wax.
Barbara Cooper

Spathe, 1988/89 Materials: Wood Process: Weaving I love the way the texture comes from the shadow from the weaving and the different tones of the wood. Would be interested in weaving some surface treated wood; enamel, stains.
Léonard Limosin

Materials: Painted enamel on copper The enamel has a vibrant payoff and ability to be applied delicately. I have some thin copper sheets that I would be interested trying enamel on. The copper could also be engraved and sculpted, then painted on top.
Juliette Minchin

The Coffelou Sweeping, 2021 Materials: Wax, steel, wicks and LEDs Process: Covering steel in hot wax, letting it dry then melting over time Content: Ritual, facade, temporal, “plasticity, metamorphosis, growth, dissolution, destruction, deliquescence, degeneration“ Source: “Juliette Minchin | Artist on Gallery Viewer | Gallery Vi…” Galleryviewer.com, galleryviewer.com/en/gallery/384/roof-a/artists/5937/juliette-minchin. Accessed 26 June 2024. Ebert, Grace. “Inspired by…
Kevin Beasley

Untitled (Hollow), 2016 Materials: Resin, House dresses, kaftans Process: Dipping clothes into resin, forming and draping them while they dry. Ghostly figures, absence and implied presence
Celia Butler

Spunomi Prize, 2023 Materials: Synthetic hair, cast paper, plaster, foam, spackle, wax mediums, acrylic, paper straw Process: Possibly the light blue is painted foam or paper with cold wax medium mixed with a pink paint. Materials only include acrylic paint, not oil. “Treats.” Celia Butler, www.celiabutler.com/treats
Olivia Bax

All Ears, 2021 https://www.oliviabax.co.uk/?pgid=l1w0493g-43c2cdbf-d061-4669-9542-b41b65acfee2 Materials: Polystyrene, pipe, funnel, cardboard, newspaper, UV resistant PVA, paint, UV varnish Process: Unique process of paper mache. Interested in the rough texture and process of covering objects like a pipe and funnel with a uniform surface that transforms the objects.
Louise Bourgeois

Destruction of the Father, 1974 MaterialsWood, latex rubber, plaster, fabric Process“Bourgeois bought hunks of mutton and beef, decidedly on the bone, cast them in plaster and then covered the plaster with latex rubber” Latex over plaster, possibly cast onto the latex directly or adhered after the plaster has dried. Weaver, Ben. “THE LONDON LIST —…
Henri de Toulouse-Lautrec

At the Circus: The Bareback Rider, 1888 Material: Tambourine with oil on vellum The possibilities of painting on found objects. Especially a tambourine which is basically a stretched canvas.
Masako Miki

The Cat That Lived a Million Times (Book by Yoko Sano), 2023 Materials: Patinated Bronze Holographic Entities Reminding of the Universe, 2023 Materials: Patinated bronze and claro walnut wood Curious about how she achieved these patinas on bronze and would love to ask Lloyd. A nice refinement to them and they look like different materials.…
Nicole Eisenman

Untitled Materials: Oil paint on cast aluminum Eisenman applies oil paint roughly onto a surface, opposed to a smooth application that attempts to cover the aluminum. Eisenman uses the paint to emphasize the material and create an interesting texture.
Merett Oppenheim

Object, 1936 Materials: Fur-covered cup, saucer, and spoon, cup Process: Adhesive to attach fur Content: Surrealism, hard/soft, luxury Oppenheim uses fur to create a surrealist object: “a sculpture that joined incongruous parts to create an impossible, uncanny object” It brings about ideas of hard and soft, luxury and the tactile experience of using the objects.…
Chalk

Chalk on plastic wrap, rubbed on AppearancePowdery and blue. Translucent, range of opaqueness depending on thickness of chalk applied. Physical ChangesCreates a soft textured surfaceChanges color and opacityIs unstable UtilitySticks to adhesiveCan be used to change texture and color
Cyanotype

Cyanotype on plaster tape on fabric 20min exposed in sunlight Won’t stop developing. I washed out the solution for at least 10mins to try to get the solution from continuing to develop and it still didn’t work. Maybe letting it dry in the dark and then sealing it? I was hoping since the plaster tape…
Dip Paint

Dip paint on softball AppearanceObject half red with a sheen (multiple coats). Adds a fresh coat to an old object and emphasizes the degradation and original texture of the ball. Physical ChangesCreates a uniformed surfaceColorAllows texture and original form of the object to show through UtilityAdheres to most things, absorbent objects need more coatsCan be…
Reflective Glass Particles

With flash Glass Particles on plastic wrap with adhesive AppearanceEthereal and reflective. See-through with glints of glass. Physical ChangesCreates a dynamic surface w flash Changes with different lighting Has a sandy texture UtilityCan be used to create an interactive experience with the viewerCan be applied with adhesive and paint With Flash Glass Particles on plastic…
Abraham Cruzvillegas

Symbolic/Color Horizontes, 2005 https://art21.org/wp-content/uploads/2014/10/cruzvillegas-artwork-007-horizontes.jpg Materials: Acrylic enamel gloss pink paint and chalk-board green paint on approximately 400 found objects Process: Dip dye Content: Uniformity Juxtaposition of the chalky green and the glossy pink. Identity- “The pink and green reference the Mangueira favela flag from the Samba school in Rio de Janeiro, where Cruzvillegas visited in…
Karla Black

Biodegradable Coatings/ExperimentalWish List, 2008 Materials: Sugar Paper, chalk, ribbon, hair gel, nail varnish, plaster powder, paint, petroleum jelly, polythene, rubber glove Process: Coating paper in hair gel and petroleum jelly then ‘flocking’ with plaster powder and chalk dust Content: Impermanence, contingency, fragility, self care In Black’s work she uses very pastel and light colors which…
Anish Kapoor (Red Wax)

Blood Relation, 2006 Materials: Bronze and wax The way Kapoor uses the red wax in a variety of ways; melted irregular form, molded spheres, a melted puddle and a congealed wedge. This brings a variety of textures of roughness, smoothness and reflective highlights to the piece. The different states of the wax can reference transformation,…