sculpture shoot // PART D, gallery 2

A continuation of the last post, with the second part of the gallery.

sculpture shoot // PART D: TRANSLATION--WEDDING INSPIRATION

sculpture shoot // PART D: TRANSLATION--WEDDING INSPIRATION

The next phase is the translation phase. From all I observed and read about, from my notes, from my play, I extract what I think that may actually look like if transformed into something bridal.

I bring in other vendors to collaborate at that point, but still keep it small and concise as a group.

These were my vendor friends this time around:

Photos + Florals + Styling: @pavanfloral

Paper goods sketches: @jenny_sanders_

Model: @marissaborovay

Dresses: @sweetcarolinestyles

Wood pedestal: @surclewood

Silks + ribbons: @froufrouchic 

Cake: @thegoodcookies

This was the first time I've used black and white film, and I wasn't sure how those would turn out, but they were some of my favorites this time around. It forces you to look at shapes and contrasts, and creates a sort of timeless mood, which I like since I drew so much inspiration from pieces created centuries ago, and I would hope that some of these would stand the test of time as well. I really wanted to study the body in poses similar to sculpted models...it's usually a pose that looks slightly uncomfortable to hold, but shows the various angles and contortions our bodies are capable of bending to reveal muscle tones in subtle ways. I used to only photograph people with the intention of sketching them later...so I really like highlighting these areas since that's something I still draw ideas off of for sketches in the future too.

This is what I translated the ideas into the final part of the series...there are a lot of favorite moments, so this is gallery 1 of 2.

sculpture shoot // PART C: PLAY

sculpture shoot // PART C: PLAY

After observation and note taking, I play around with ideas. Without other people...no other vendors, no other voices, just the thoughts in my head of how something I saw might translate into work. I put on my Pavan playlist, which consists of inspiring movie scores and other music compositions that orchestrate and set the mood for what I want my work to evoke. To listen to samples of what I'm talking about visit our page here.

One of the writing concepts I loved learning in college was that we should describe and tell what isn't there as much as what is there. So some of my play is with negative space, some of my play is without human interaction, but maybe implies it was there at one point. And the way I capture some of those ideas is by photographing it for my records as another form of notes for later on to reference. What works, what doesn't...did it translate on film the way it did in person or in my head? This is the phase where I can ask all the questions in a quiet space and sit with the ideas to mold them a bit more. And then I throw on a dress and jump in the shots and have my husband capture what I'm trying to work out in the process. I can ask him for feedback, and no longer be alone with my thoughts. 

As a lifestyle we created a sort of bubble of art for ourselves. We are very intentional about our creative process, our influences, sharing what we are working through and the struggles we encounter on the daily basis of working through what isn't working or connecting us to the final product we want. We don't allow for many outside factors to come in too early in the creative process so that our intentions are as focused and pure and grounded as possible...if that makes sense? So I don't bring other people in for feedback until I'm at a certain place of fleshing out an idea...which is why I bring my husband in before other vendors. He can come into the room with a small footprint and help me see what I'm making just a little bit more clearly.

Here's what I did for the play day:

I played with photo angles, composition, textures, negative space, background colors...etc.

sculpture shoot // PART B, NOTES

sculpture shoot // PART B, NOTES

I take notes... I'm a writer, so most of my ideas are through words in my head that connect with colors, textures, and stories. This is how my brain works, and how I connect with things and people in the world. This is what I wrote down after my observation day:

"-Back to roots...(my roots as a studio artist)...

-Study the body and body movement ...

-We sculpt, we sketch, we photograph ...

-Florals recreate + mimic movement ...

-Florals translate it to romanticism ...

-Florals, movement, clothing, fabric movement = wedding inspiration ...

-Florals symbolically marry the two concepts of movement: body + cloth...it incorporates sensuality and we add more senses...smell, sight, touch, taste (cake), hearing (music)...which sets the mood before I create. 

-All of these create memories. Experiences. Life worth living."

sculpture shoot // PART A: OBSERVATION

sculpture shoot // PART A: OBSERVATION

The inspiration behind my fascination with sculpture really is in the process. With sculpture, the artist has to think backwards...imagine what he wants, chips away the unwanted, but be flexible with the error of chipping too much. Sometimes they'd make models of the inspired sculpture on a smaller scale, and place them in a container and add water to reveal only the parts they were working on chipping away as a guideline. This allowed them to see a negative block next to them in the water to figure out what angles to chip at next. It was a meticulous process, often only completed because there is a commission, so there is a lot of pressure to finish proudly. Today, as a general rule, we create and then hope someone will buy it. But it was a different standard when the arts started. But somehow the slow chipping process led to smooth surfaces with seemingly perfect finished edges. But the process embraced more of a “lean into your mistakes” approach than it lets on. Embracing imperfection and leaning into the flaws to see beauty is still as a general rule, my personal approach to creation. 

Nothing about weddings goes perfectly, but when you lean into the changes, they still end up being some of the most beautiful and memorable experiences. 

And moments of life after a wedding— the intimate dinners, the traveling, the traveling with a toddler and the stages of life that follow after the wedding day…those are all beautiful moments chipped away to create this individual sculpture that is your life story. 

And that's what I want to capture through my art and personal projects. And for me, all of those life moments include a lot of flowers and candles. And what I live out with my family is reflected in my work for my clients. So that is what I want to share more of. 

For this sculpture inspired series, there will be multiple parts. Starting with where I draw my inspiration, moving into how that translates into wedding inspiration, and then lastly, how it all ties into real life living.

The first part of this series is done in observation. Taking in what was done centuries ago, and learning their creative process. Studying their forms, their shapes, their composition. And just letting it sink in. No other intention. Just allowing instincts to be drawn to what I personally find beautiful, without trying to overthink it. Without judgement. Without intention of turning it into something concrete. In the observation phase, I don't collect my thoughts of how I want to execute my inspiration necessarily...so I'm not collecting in an intentional pattern--even though a pattern can be extracted.