1. Mass Mass suggests that something is solid and occupies space Mass can suggest weight Mass does not necessarily imply heaviness ; a volume is solid and occupies space Our perception of mass is derived from imagination/ experience: experience with smaller objects or nature e.g. metal piece, rock, brick etc.

2. 1.41 Rachel Whiteread, House, 1993. Concrete. Bow, London, England (demolished 1994)

4. PART 1 FUNDAMENTALS Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Rachel Whiteread, House Whiteread: British sculptor/ produce sculpture taken from casts House: scheduled for demolition as part of extensive redevelopment Filled the interior space of a house with tons of concrete The house was transformed as a kind of mold or cast turned into a temporary sculpture Suggests great weight and solidity

5. Texture Texture is the tactile sensation we experience when we physically encounter a three- dimensional form When we think of texture, we mostly rely on the impressions we receive from our hands e.g. Sandpaper When we look at a surface we can imagine how its texture feels (soft, rough, sharp…)

6. 1.44 Méret Oppenheim, Object, 1936. Fur-covered cup, saucer, and spoon, 2⅞” high. MOMA, New York

7. PART 1 FUNDAMENTALS Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Méret Oppenheim, Object Méret Oppenheim (1913–85) used subversive texture to contradict the conscious logical experiences of viewers The artist counts on our tactile memory to conflict with the actual experience The fur texture contradicts our previous tactile experience Artists and designers use the contradictions and contrasts of subversive texture to invite viewers to reconsider their preconceptions about the world around them

8. MASS & TEXTURE Due date : 4/18 This project has two parts. Both MUST be non-representational. You will have three days to work on the wet clay: 4/4, 4/6 and 4/11. One day in class to work on the surfaces: 4/13 Due / Critique day: 4/18

9. Process Choose a set of words from the following list. Create sketches and find images to use as inspiration to create 2 clay objects of MASS. Sketch different pairings of words to discover something you feel strongly about making. Share these pages with professor.

10. Process cont. A set) growth -----decay B) expansion ---- constriction C) physical ----spiritual D) introvert ---- extrovert E) geometric ---- organic F) maternal ---- paternal G) solid ---- liquid ***DO NOT share with your classmates the set of words you have chosen so that you get more useful comments while working and during critique.

11. Process cont. 2. Slice a 10 lb. bag of clay in half (any direction) and using equal amounts of clay, create two nonrepresentational forms of mass that represent your set of word. You must follow class instructions on working with clay so that your clay does not break while drying process. Each object should be able to stand on its own with integrity, but the set should begin a dialogue based on the pair of words. You will use the subtractive process. The subtractive process is when an artist starts with a mass of material larger than the finished work and removes material to create an image. For subtracting, tools can include fingers, wires, metal and wooden tools, etc. Some additions will be possible if huge errors are encountered.

12. Process cont. Eventually, the clay can be no thicker than 1”. There are 2 ways to hollow, depending on the form: 1) carve from the bottom, to about 1/2” thick 2) slice in half with a wire, hollow each side to about 1/2”, recombine with score/slip. Both approaches will be demonstrated on day two. 3. You will have one day in class to create a surface for the works. You may use any kind of found materials such as dirt, coffee grounds, bird feeding seeds, fur, fabric, graphite, luster, glitter, etc.

13. Grades will be based on the following: Craftsmanship and solid clay construction Understanding mass Principles of design Presentation Content Originality Presentation at critique

14. Henry Moore, sketches, and Two Forms