Having trouble with the precise positioning of Kosta's pecs, I decided to try Google. Before beginning on the life-size figures I did do a lot of research, which included borrowing medical tomes and studying anatomy on-line. However I never actually Googled a specific body part, and here at my first attempt found apparently exactly what I needed: Origin and Insertion, including details of the specific ribs these muscles are attached to and how they are attached.
This is particularly appropriate as I'm trying out a new way of putting the figures together, with all the defining muscles now underneath one skin layer. The problem of insertion was foxing me and resulting in Kosta's pectoralis major looking unnaturally high on his chest. Well, we weren't quite talking about the same thing, but I did actually find the Wikipedia article very helpful, and so did Kosta.
I'm having to work hard to stay focused on the sculptures because the Con.Text conversations are beginning to form themselves into text which is demanding visual interpretation. This, though very labour intensive, is fun and quite addictive, whereas the soft sculptures are physically painful to produce, but something I really need to do.
And then of course there is all the arts admin stuff, life, love, house'n home to keep balanced. These have to be glory days.
Out here, on the very fine edge
where pain, exhaustion, depression, are
held in precarious balance, I
risk being totally destabilised
by the ignorance of the witch-hunt
determined to demonise my need;
to expose a criminal cheat in the
monumental effort I make to
present myself as equal,
My struggle with just how to blog about the making of the new Con.Text (Creatives in Con.Text) is not in any way reflected in the making of or blogging about, the soft sculptures.
Here I am in control of the risks and I choose to be open to the opportunities as individual words, phrases or whole conversations demand attention and result in fresh insights into how to express and possibly communicate via these evolving structures.
Small changes in posture, shaping, positioning of parts, clamour for attention; eureka moments shout loud in my ear. Early impressions demand to make their mark, not to be overlooked as this particular Con.Text journey unfolds; to be included before the possibility of blinding clarity about any eventual destination; and certainly before any move towards drawing any conclusions.
All this needs to be evaluated against the original concept to retain the integrity of the figures' journey which is parallel to, but not identical with the current Con.Text. And then there are the figures themselves; like characters in a novel they assume an identity and begin to dictate their own story.
Kosta has this confident curve to his spine that owes little to the Con.Text conversations and much to his inheritance from Kouros, the original standing figure. However, the conversations are turning his head, and while he is still compliant, I sense the possibility of resistance.
Kouros became in a doorway;
as did Koure. Suspended on
brass chains, these life-size soft sculptures
waited and watched at my bedroom
entrance, unaware as was I,
of history and Imponderabilia.
I need the support of the frame
to have two hands free to create;
chance has created parallels
but I seize upon the contrast
of naked bodies who wash away
traces of people squeezing past,
and Kouros and Koure who exhibit
a record of every body who
ever comes in contact with them.