![]() I learn something new from each piece allowing my process to open doors I would have never thought to walk through. This technique is based on a physical language by pushing the paint with my hands, I am infusing my energy into the gestures. “My paintings are not objects assembled by machines or other individuals I develop a bond and communicate through the development of each work. In his paintings, Michalski often uses his hands directly in applying the medium, building transparent layers that evoke a passage of time. Within the motorcycle community there is boundless devotion, which allows for the machine to act as a tool in eliciting genuine human interaction.” Rather than viewing the death of the biker as a careless rebel, he is considered a fallen hero, who deserves the greatest of respect. I examine the documentation of a group of cyclists traveling cross-country to pay tribute to the fallen. In order to incorporate this idea of community, I created works that also represent this aspect of motorcycle culture. Motorcyclists feel passionately about their investment in this machine, creating a strong bond between, not only the machine and its owner, but also everyone who rides. I realized that engagement with motorcycles cultivated an undeniable sense of community. In an effort to define the broad spectrum of this machine’s interaction with the human condition, I sought to understand why so many individuals crave to connect with it. Motorcycles are largely considered unsafe and rebellious in the eyes of the public because of the sense of vulnerability and danger associated with motorcycles. “Even when these tragedies strike, society often places blame on the cyclist, for they, have willingly put them selves in harm’s way. That being said, a strong design can go a long way toward overcoming the noise of an urban environment and establishing a unique asset for the city.Įducation: University of Kentucky, 1970 Louisville School of Art, 1973 Anderson Ranch, CO, 2000 & 2001 I’d like to see it in an area conducive to reflection and meditation, like a park. What would be your dream location for “Odyssey”? Teresa’s staff of three men was indispensable for a 2-week schedule. I met her at a sculptor’s conference in Pittsburgh, an event I was able to attend by a grant from Louisville’s Great Meadows Foundation. ![]() She has been developing the center as a site dedicated to addressing the need to understand that the wholeness of our relationship to nature is essential to the health of both humanity and the planet. I received a residency to start construction from Teresa Camacho-Hull, the owner and director of, an art center near La Paz. Do you worry a labyrinth will intimidate people? Are people afraid of getting lost? I see it as another iteration of the theme of humanity in harmony with the rest of nature, a theme that I first addressed with an undersea sculpture in 1995. How do you think it fits in with the themes of your past work? Or does it? How did you first hit upon the idea of “Odyssey”?Ī few years ago, I realized the synthesis of a fingerprint and labyrinth could make a powerful combination that prompted consideration of identity and our individual journeys though life. His latest project is ambitious, even for an artist who has installed a large metal sculpture on the ocean floor. I finished the cake with a message in white lettering on black to mimic the game's logo.A well-liked, long-time fixture in the local art community, Dave Caudill has several public sculptures in Louisville: at 6th & Main St, the University of Louisville School of Music, Maryhurst Alternative School, the Crescent Hill public library, and the offices of the Waterfront Development Corp in downtown. While the colors in the game were darker and unsaturated, I went with some brighter colors to avoid the risk of the images blending together. I painted each element on a separate piece of fondant so that when layered, it would create a subtle 3D effect.Since the Gothic-Victorian cityscape was important to the tone of the game, I created that as the background, and put the main character and blood moon to the forefront. I made a small mood board of the visual elements I wanted to feature and sketched out how to arrange them so they would look cohesive.I watched some videos of the game play to understand it's overall tone and what players found the most interesting. Since I had never played the game myself, I researched pictures to find the most prominent and well-known visuals from it.The Request To create a handpainted birthday cake that captured the distinct tone and visual characteristics of the video game, Bloodborne The approach
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