ARTIST RESEARCH

Kvetoslava Flora Sekanova

 Kvetoslava Flora Sekanova Born in Slovakia.Growing up in communist Czechoslovakia and witnessing the political changes and country separation in 1989. Lived in UK, USA and Australia. In 2007 settled in New Zealand until 2012 when she moved to Germany



Her performance work relationship at the material she uses. Her major works of this series is the use of laminated newspaper. Based on the experience of old newspapers to arouse everyone's culture and personal memory is very subjective reactions. She was very interested in the formal qualities and illusory effects and patterns variegated surface. She repeatedly laminated recycled newspaper, and then carved it, it layers, hollow out and rebuild it, manipulating its surface.



Where they have been collected from different countries writing and printing paper, so that they maintain their originality and their origin feeling. Newspapers kind of painterly effects produced on the surface of parts to be used, each piece is dedicated to a particular country from file to print their personality in the "visual texture", which is based entirely on the construction of a unique country. Flora unify them all through, she has chosen a specific and recognizable shapes of butterflies and their symbolism share a similar fate because of the butterfly with a newspaper while in their life and vulnerability.

Butterfly represents the flight. This also represented her country with different newspapers mailed to produce brooch. Then on the back of each work in different countries show the text, so that we know exactly the source of the newspaper, I do not think this idea than just, creativity and ideas of this work makes me feel very weird. This is what I need to learn a lot of thoughts and ideas from different artists

WEEK 4 - RESEARCH

  Red Paper and Silver brooch by Clara Breen

paper earrings by ukrike hamm 

paper rings by kiwon wang (born in south korea, lives and works in new york, usa)

paper bracelets by angela o'kelly 

paper jewelry by nel linssen

paper pendant and necklace by mette saabye

paper brooch and necklace by takehide ozaki 

paper brooch and necklace by Li-Chu Wu

paper brooch and necklace by Luis Acosta

By Mariana Acosta

by Elena Salmistraro

Alice Matsumoto

Jeremy May

Paper Jewellery -  Ana Hagopian

Tithirut Kutchamuch - paper "DIY" rings

Liangchao Shao

Angela O’Kelly: “Tufty Necklaces”, hand dyed paper cord, felt, wire

Hippie Kingdom

Origamic textile studies by Anna O’Neill

by Elena Salmistraro

by Tine De Ruysser

WEEK 3 - RESEARCH

ARTIST - RESEARCH

Rebecca Horn

Rebecca Horn (24 March 1944, Michelstadt, Hesse) is a German installation artist and film director.While Rebecca Horn's more recent work has been determined by a poetical deployment of mechanical constructions, this object belongs to 'Performances II' (1973), a film in which Rebecca Horn was preoccupied still with extending her own body into space. Besides the 'Finger Gloves', body extensions also figured in the performances 'Einhorn' ('Unicorn'), 'Kopf-Extension' ('Head Extension'), 'Weißer Körperfächer' ('White Body Fan'), 'Meine Hand kann fliegen' ('My Hand Can Fly'), 'Gavin', 'Hahnenmaske' (Cockfeather Mask'), 'Bleistiftmaske' (Pencil Mask') and 'Kakadu-Maske' ('Cockatoo Mask')

 Arm Extensions 1968
Finger Gloves 1972 

Pencil Mask 1972 



She also began to slowly broke her self-imposed isolation and began creating sculptures and strange extensions with balsa wood and cloth. Her first body sculpture. Then her goal was to overthrow her "communication loneliness. Filled with bandages and prosthetic body extension in the form of the body, using the extension of the body. Additional objects in which she and means to human, as well as her theme of a man, he Contact or her environment. Rebecca Horn opened up a vast space, pulled her to redefine the dimensions of the installation requirements. fragile installation and implied unspeakable.'s presence, we can only feel what is a unique, constantly work on this new artist every single installation is complete toward breaking the boundaries of time and space.

ARTIST RESEARCH

Anzac poppy

The red poppy has become a symbol of war remembrance the world over. People in many countries wear the poppy to remember those who died in war or who still serve. In many countries, the poppy is worn around Armistice Day (11 November), but in New Zealand it is most commonly seen around Anzac Day, 25 April.

A French woman conceived the idea of Poppy Day.Moina Michael's initiative became a reality at an event in 1920 when The American Legion made the red poppy an official symbol of remembrance. Madame Anna E. Guerin attended the event and conceived the idea that selling fake red poppies could help raise money for veterans, their families and those children orphaned and in poverty in northern France due to the war.

The present poppy design is 36-years old.The New Zealand Returned Soldiers' Association changed to its present flat, Earl Haig design in 1978.

I do not understand the origins and causes of poppies at the time I arrived in New Zealand in the Anzac Day on the street to see people wearing the poppy brooch, but I still remember the first time I saw this brooch because we see a lot of people wear, I thought it must be representative, symbolic brooch. The poppy brooch design simple, bright colors red, black dot in the middle of a flower exhibit, followed by green performance ye'jing. Highlight is its simple design, although only a very simple shape and colors, but it is obvious to see its intentions。

AFFILIATION PROJECT

SILHOUETTES

 

I found on the website of these silhouettes, while I was browsing some Chinese websites above to find these interesting silhouette. I have tried everything.