Description of Body
1.the physical structure, including the bones, flesh, and organs, of a person or an animal."it's important to keep your body in good condition"
the physical and mortal aspect of a person as opposed to the soul or spirit."we're together in body and spirit"
informala person's body regarded as an object of sexual desire."he was just after her body"
informaldateda person of a specified type."a motherly body"
3.the main or central part of something, especially a building or text."the main body of the house was built in 1625"
the part of an email containing the message, as opposed to information such as the subject and sender."put your name, address, and daytime phone number in the email's body"
4.a large amount or collection of something."a rich body of Canadian folklore"
Searching for the Destination (2014)
The second installation was created especially for Walsall, with 400 vintage suitcases suspended with red ropes from black netting on the ceiling, cascading down in height so that some hang high above, casting multiple elegiac shadows, while others almost kiss the ground. A strange underwater reef or a fast-flowing waterfall, each suitcase packed with a lifetime of tales, the baggage we pick up as we travel through our lives. Battered and bruised on the outside, the suitcases are displaced perhaps like the artist herself, who notes she is always referred to as a Japanese artist in Europe, but a Berlin artist in Japan. Furthermore, the use of red strings is a move away from her usual black, suggesting blood flow, arteries, a life force. The structure of my dark, heavy works might seem to be the same now as it was in the past. Shiota says, but at some point I made a definite switch, going not from life to death but death to life. Even though I still make work out of the same black yarn, I started wanting to create things out of flesh and blood instead of things that reeked of death.
The Key in the Hand (2015)
The installation nearly blocks out the ceiling with its mass of crossing strings, and includes a collection of more than 50,000 keys.The piece points towards memory through its composition of materials as the keys were collecetd from thousands of people around the world. Each key holds memories of the individual through their previous daily use, and now hangs amongst the many other memory-tied talismans above the heads of passing visitors. Keys are familiar and very valuable things that protect important people and spaces in our lives, said Shiota. They also inspire us to open the door to unknown worlds I would like to use keys provided by the general public that are imbued with various recollections and memories that have accumulated over a long period of daily use. She says, In our daily lives, keys protect valuable things like our houses, assets, and personal safety, and we use them while embracing them in the warmth of our hands. By coming into contact with people's warmth on a daily basis, the keys accumulate countless, multilayered memories that dwell within us. Then at a certain point we entrust the keys, packed with memories, to others who we trust to look after the things that are important to us. In this work, Shiota will incorporate keys as a medium that conveys our true feelings. Moreover, she will place two boats in the center of the yarn and the keys, suspended from the ceiling to the floor of the space. The boats symbolize two hands catching a rain of memories (i.e., countless keys) pouring down from the ceiling. While struggling and working with the hands, the two boats will move forward through a huge sea of memory as they collect individual memories.
The exhibition;s name, Small Room, refers to the words Franz Kafka wrote in the diary he kept between 1917 and 1919: Everyone carries a room about inside them. The visitor is invited to journey through a mental space, as though entering into a brain. At the heart of the exhibition is a huge site-specific installation created from suitcases hanging by red threads. An evocation of the notions of exile and travel, these floating objects have been liberated from their primary purpose and are free to conjure up poetic and ambiguous images for the viewer. They call forth memories and emphasise absences. A series of small sculptures provide a counterpoint to the installations. Similar to doll's houses, each has its own small room tucked away inside where all the secrets are kept. Threads of black woolen yarn, stapled to the walls and ceiling, cast a net, defining an edge of the universe that contracts and expands into the architectural spaces. Her non-structural marks inhabit the realm of wallpaper, fingerprints surrounding thermostats, and the discolored patterns of framed photographs once removed. From the ceiling they darkly and fully swallow the adjacent hallway and ultimately the rest of the house. Heavy layering and crossing of string substantially darkens the remainder of the first floor. Shiotas black vectors engulf a chair and desk removed from the wall. The inaccessible spaces she creates closely hug the walls in certain areas and project out in others. These thickets conform to the body. In one room the thread forms an hourglass passage where your feet and head would most likely to touch as your dropped arms, unaware of the tangles and with ample room, naturally rest aside your body. It is not uncomfortable. Although impenetrable, the layers of black do not restrict natural movement through the space. It juxtaposes exposure and inaccessibility both spatially and symbolically.
Earth and Blood (2014)
In "Earth and Blood" Video still installation, Shiota portrays sensitivity, using fluidity to capture emotions. The colour pallet is dull and blood like suggestive anger and sadness. This reflects Shiota contemplation within her life exploring her relationship with her body, as she had a miscarriage. This arises the subject of pregnancy, which relates to my concepts but I want to capture an essence of fluidity within my work which could reflect natural organic substances within the human body and earth. These captured series stills all have a correlation as they are located in Earth, which is a natural substance, reflecting the natural life cycle. Each material looks fleshy, suggestive to the inside of our bodies perhaps Shiota was contemplating the functions of the human body.I feel Shiota has portray a sense of the life cycle within her installation, as it captures the notion of blood, highlightings circulations within the human body, an essence of veins suggestive to life or a matter of death. The blood is pure and repetitive perhaps reflecting heart beats. Having explored Chiharu Shiotas work in depth, I have researched Shiota uses thread symbolically to represent human relations, intertwining the connection, highlighting relationships through complication to broken. I feel this could highlight the relationship between the fetus and the natural human amniotic body form which intensifies a sense of protection. Shiota weaves materials creating a disoritenting cocoons, which is highlights an element of protection as cocoons are almost peaceful and calming.
1.give (someone or oneself) a different appearance in order to conceal one's identity."he disguised himself as a girl"
make (something) unrecognizable by altering its appearance, sound, taste, or smell."does holding a handkerchief over the mouthpiece really disguise your voice?"
synonyms: camouflage, conceal, hide, cover up, make inconspicuous, mask, screen, shroud, veil, cloak; More
conceal the nature or existence of (a feeling or situation)."he made no effort to disguise his contempt"
synonyms: camouflage, conceal, hide, cover up, make inconspicuous, mask, screen, shroud, veil, cloak; More
Nude bodies painted white, faces turned away from the viewer: this is how Nadav Kander (*1961 in Israel) photographed the sitters in his latest series. Accessories are minimal, as is the aesthetic, yet at the same time the arrangement makes the mostly voluptuous bodies seem baroque. In Kander?s precisely lit images, with their exquisite colors, white mice run across white skin, a small bird seems tiny perched next to an odalisque. Red hair plays a role, flowing down over doll-like bodies as if it had a life of its own. Despite the abundance of flesh on display, the images do not have a superficial sense of the erotic. The lack of eye contact and the white makeup function as barriers, and the massiveness of the limbs recalls the works of Hans Bellmer or Lucian Freud. Like them, Kander offers simulacra of sensuality and questions our images of the human body as well as the concept of beauty itself. ( http://www.hatjecantz.de/nadav-kander-5349-1.html ) Nadav Kender vuisualizes our bodies like a sculpture and in he's photographies, the bones and the roundness that we have are so emphasised in a beautiful way. When I thought body as a material, the flexibility we have can be a interesting to use.
I found another artists that uses bodies to express the wide range of possibility we have in our bodies.
They use various kinds of materials in a unique way that I would never think about it. They say, LucyandBart is a collaboration between Lucy McRae and Bart Hess described as an instinctual stalking of fashion, architecture, performance and the body. We share a fascination with genetic manipulation and beauty expression. Unconsciously our work touches upon these themes however it?s not our intention to communicate this. We work in a primitive and limitless way creating future human shapes discovering low tech ways for human enhancement.?We are inspired by Genetic manipulation but it is not our intention to communicate this in our work. In a way our work is a reflection on society and current technologies. The notion of an ideal beauty will evolve and change depending upon new technologies. This will impact on how societies and culture?s are shaped and developed. Maybe we are just reacting to what we are seeing.
Sanaz Vosough Ghanbari
Mostly the main subject of her art works is the human body ; sometimes as expressionist drawings and paintings and some other time in form of working of the bones.
Maintaining a positive body image can be a lifelong challenge. In a series of complex paintings called Skin, 19-year-old photographer & mixed media artist Rosanna Jones explores how body image whether positive or negative?can unconsciously affect identity.
The project was inspired by this François de La Rochefoucauld quote: "We are so accustomed to disguise ourselves to others that in the end we become disguised to ourselves." How we feel about our own skin color, body shape, hair, eye color, and even age can affect how we present ourselves to the world. Through the project, Jones questions ideas of beauty in regards to how a person feels internally compared to how a person is perceived by the outside world. She's an artist who distorts and tampers with her photographs to create unique mixed-media pieces that are both beautiful and disturbing at the same time. ?I love creating and capturing a beautiful moment, whether that be involving people or places, and then, in a way, destroying the innocence and aesthetic beauty of the image. Scratching away, or bleaching photographs is a way that I can relate to my images on a higher level; each scratch, tear or bleach mark symbolises how both society and the human mind have the power to destroy even the most beautiful of people or moments.
Imagine biting into an eggplant and feeling raw egg run from your teeth through its brittle shell. Talented Japanese artist Hikaru Cho has made such a bizarre experience possible by misleadingly painting these food items to look like totally different food products. Cho?s artwork is playful but well-done her work with acrylic paint is hyper-realistic and convincing. Which makes things all the more amusing when she cuts or opens the actual food product underneath. But aside from being mere eye-candy the series, on a deeper level, encourages us to look beyond what we see on the outer layers as it can be very misleading. She playfully redefines how an object is perceived by painting the exterior to appear like something other than itself. Using acrylic paints, Cho skillfully changes the outer layer of a banana into a cucumber, an egg into an eggplant, and a tomato into an orange. She first creates a deceptive photograph that documents the disguised foods. Next, she peels, chops, or cracks open the foods to reveal the truth that is hidden below the surface. Exposure of the inner layer alters the viewer?s expected concepts of reality. Through her project, Cho challenges viewers to consider the deeper meaning of all things and to not be quick to judge based on first impressions.