Following on from the idea of filling the tree full of leaves i began to investigate different techniques for making the leaves and different possible materials. Using different paper, fabric and wire to create the most appealing creation. I found out that i must not only consider the aesthetics but resilient as nobody wants floppy leaves. Using the coloured crepe paper meant that i could recreate the act of the leaves in autumn turning from green to yellow which is a spectacle in Japan. Bunches these leaves together making them more sturdy as the crepe paper is flimsy were the leaves presented on their own. I also like the brown paper leaves if they were possibly coloured yellow just with them having more structure to them. Moving on from this i intend to make more of both the crepe leaves and the brown paper leaves hopefully making a branch to attach them to to asses the model before committing to a certain idea.
Performance artist Marina Abramovic adopts a territory where both audience and artist coincide throughout the entirety of her performance. Abramovic’s early career commenced during the 1970’s an era where performance art was ridiculed, only fuelling her aspirations to prove critics wrong. Abramovic’s rhythm series, which constitutes of five individual performances from 1973 to 1974, scrutinizes the tensions between abandonment and control. At the forefront of Abramovic’s rhythm series is Rhythm 10 (Abramovic, M. 1973). Rhythm 10 consisted of Abramovic recording herself stabbing between the fingers of her left hand with 10 knives, as fast as she could; changing knives every time she cut herself. When all knives were used Abramovic would rewind the tape and playing it back, she then began re-performing the actions to the rhythm of the tape. Abramovic wilfully or not, subjected her performance to a rhythm over which she had limited control. Abramovic claims each cut manifesting itse...
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