Art Taken out of Context

 I have recently seen a video where a form in a picture frame was hanging on the wall. And there was a figure on the rope in front of it extracted from the form. The concept was "Art taken out of context". When I was ready to leave a comment there I have already lost that exciting Instagram post. So I'll leave my thoughts about it here.

 The first thought which comes to my mind is that it is possible to duplicate taking out of context. Take any punching machine and scatter ten products on the floor nearby - and here is the conceptual installation. We make a silicone mold for our master models and further goes the extraction from the context.

 In nature the context is a parent with a womb. The art of a creator is not so shallow and flat. It is dragged out in time and is still unattainable, but the essence of copying is clear. However, the issue of the concept is also not so simple. There is a dilemma between the primacy of the concept and numerous copies. First of all it is necessary to create a master model, a genre, style and only afterwards to pull it out of the context, make a label and sell well overlooked new.

 In my opinion man can not be an inventor, he can be only a discoverer. It means that for the place where nothing is new under the sun one context for everyone has existed since the beginning of times for all occasions. And every pioneer enthusiastically pointing at the extraction of any form of art is an ordinary lucky guy who managed to notice what others failed to see. A new beast in the wild nature evolution or an unexpected metaphor in relevant space, it may be even a process of extraction of newborn art... not the process itself, but at least a thought that it would be nice to see how inspired emanations materialize into the contexts for further replication.

 Some properties of creativity as outer beauty and inner feelings become boring on a number of the circumstances not depending on the individual, leaving a space only for reflection about extraction... out of life experience context.

Interest in Sculpture

 Imitation of the nature sooner or later leads to creativity. Definitely it is so, because the nature and man within it are a product of someone's art, though it is not so clear and literal as something made of clay, drawn or described by words. Nevertheless it's rather artistic. Homo sapiens thus have got a piece of talent they are so excited about like a crow that found a shiny beer cap.

 The main subject to imitation is man himself. We work on ourselves, on an external and internal essence. Body and psycho bilding stir our minds. Some work on their faces and nails, others on their muscles. The nature endowed some people with poetic mind. Someone is all-rounded and does everything at once, so that the soul could have something to remember about.

 The path to the spiritual truth about the meaning of life, to the artist and critic perfection is infinately long. Sometimes there is a feeling of perfectness like orgasm. But the ideal escapes whether because of the ability to imagine or there are new defects after all... rather both supplement each other.

 Visual touch like that of ancient philosophers, who thought that invisible feelers extensively go out from eyes and feel space, explains interest to sculpture in the best way. In any art the artist has live feelings, he sincerely believes that his work is full of beauty and love, be it music, verses or pictures... The actor playing a role becomes a character, temporarily giving him his body for life, for his song to sound.

50 cm

 To see big things it's better to look at them from a distance. A miniature has its capacious advantages. The optimum size is the size of a book which is convenient for holding in hand. Take a piece, twirl it, enjoy the form and lines. 20-30 cm in length. What can be better?

 The sculpture with a size of more than a meter in length reminds a real person and is placed on the big square: halls of mansions, gardens, adjacent sites. Not everyone has such areas to place the objects of art. And the scales of production presuppose the existence of not a small workshop.

 A desktop ornament in modern realities is the most preferable. So why 50 centimeters? The size is neither fish nor fowl. Artists sometimes multiply the works in scale to work over details, to add or simplify a pattern. It is a useful experience to bring the piece closer or farther due to real transformation. The bigger the item is, the easier it is to work on details. Starting with 30 cm eyes stop feeling tension in the entire body. 50 cm is the size for a real enthusiast who can always find a place for a beautiful thing, so that it's clear that a real art admirer lives in this house. Someday we are sure to sculpt it.

Luminescent Pigment for a Sculpture

 Some people have cottages with backyards, nice places for a sculpture made of durable material like concrete or varnished plaster. You may add some photoluminescent pigment into transparent varnish. And this stone sculpture will flicker in the dark as if the ghost at the cemetery.

 We were not the first who have guessed to add luminescent pigment to plastic. Varioues keyrings glowing in the darkness, so they don't get lost, were once very popular. Today anything can be covered with the glow-in-the-dark paint.

 For someone a glowing figurine may seem like a toy. It is actually so. It's a toy for sophisticated imagination. In our concept the lines of a young body form a flower. Sincere natural beauty. The nature in imitation of the person, in attempt to imprint its precious forms in memory, in a sculpture.

 The luminescent pigment glows brighter in the dark while the eyes get used to darkness, pupils extend, and ghostly art gains transparency...

Plans of buying a vacuum degassing chamber...

 Our dream is to improve the production technology. That's why we are going to buy a vacuum degassing chamber. I had no idea that so many bubbles could appear in liquid silicone. Small bubble spots are formed near the surface of the plasticine master model in such places where bubbles can't go around the obstacle and float up.

 Well if you work with tin catalyst silicone rubber be sure to use a vacuum chamber. For one part molds it's fine without the chamber, because bubbles will definitely go off the top surface of the master model. And for the ideal surface of the whole sculpture nothing will help except the vacuum chamber, neither to wait, nor a thin stream, nor even a food vacuum container, nothing.

 If you have some extra cash, you can always donate it to us for the vacuum chamber, or buy our figurines)

Skinny of Fattie

 The more interesting are the lines of a pattern on a jewelry, the more curiousity it arises for contemplation. A body is a flower of life, the stem of which has petals of skin and muscles. The young, gentle, trembling, fragile spontaneity of expression is direct as a facetted stone. And, let's say, freaks with silicone and synthol in their sticking-out breasts and fat asses make you want to take a cleaver and remove the excess, to fit the contents into the natural form.

 The Buddhism offers a median way, when everything is counterbalanced and doesn't disturb with excesses. It works applicable to beauty as well. On the one hand "thin people are beautiful, but fat people are adorable", and body parts should bulge, so that it would be easy to grasp them. Therefore hefty models with curvy shapes are glad to have these shapes. On the other hand to increase quantity of details, transitions forming the pattern it's necessary to see the skeleton in some places.

 Anorexia doesn't make a starving person neither more beautiful, nor healthier. In our perception of beauty it is more important to see the lines forming a pattern and proportions of shapes, but not exclusive leanness with prominent bones. Look for your middle way, which will fill your imagination with eternal youth and reward you with the proper mood through the contemplation of beauty.

What Arouses the Beauty

 To understand the essence of beauty it is necessary to agree on its meaning. There are no a priori clear definitions in the world, they can change depending on a situation.

 Gravitation changes depending on the sizes of objects, and one's attitude to others depends on different conditions. Beauty is relative, in some sense. All of us like different women, actors, songs... but also there is quite specific nature around us which has accurate rules, laws in spite of the seeming variety. Under these laws plants grow, clouds form and patterns appear everywhere... They as a smile on the face are identical in all countries. So I would like to speculate about exciting ability of this beauty.

 Something that is beautiful today may stop being attractive tomorrow. Harmony can't exist without reciprocity. It means that beauty can serve as a standard of perception, arouse thus aspiration to a great feeling of mutual attraction.

 Biochemical processes in a homo sapiens adapt to external sounding. The nature is soothing.

 Art commits violence over mind, forces it to strain more than it got used to. Especially if it is degenerate art, where the viewer has to think up rich contents for the absent form not to go nuts from gloom and boredome. It's a joke.

 Art strains the brain as any other current situation where it is necessary to make the right decision, for example, to humbly throw up your hands. Comparison with a precedent is the first assessment. Classification of a form is the further attempt to isolate the expression from the general stream.

 At different times beauty arouses different thoughts. Sometimes one accidental word can be enough to get excited. Let's say "a girl", and it works, the brain responds, produces desire. It is difficult to understand where the realised reality is and where naked instincts eclipse the reason by beauty.