I have written in my previous post about the very difficult and problematic issue of needing to find a continuing theme or point of reference to use as imagery across my medals. One idea which has come to mind, and which I feel reasonably positive about, is the use of hands. Hands are something I have always been drawn to, and are something which I have spent a lot of my time drawing over the years, my own hands in particular. What I always have enjoyed about drawing my own hands are the fact that they are always an interesting and complex thing to draw, that are always with me, and produce satisfying and attractive imagery. Hands were even in fact the main focus of my medal project last year, looking at the idea of intimacy and touch between two people.
Not only this, but there is the inherent nature of hands that they are very personal and intimate things, which are not just part of our bodies but arguably one of the part we use the most, to interact with the world outside of ourselves. They are renowned for being one of the most expressive parts of the body, ranging from clear exaggerated gestures to very slight and subtle movements and gestures which directly reflect a person’s mood, thoughts and opinions. There is also the matter of relatablility, in that we all have hands and understand the nature of them, our expressions are not unique but hard wired into the nature of being human, and are common to us all. Because of this, I feel there is a strong potential for using hands as an analogue in my medals. The degree of subtlety in expression is something I feel very strongly about in my work.
With this in mind I drew some hands onto a couple of my medal tests in order to see how the scale would work in terms of the imagery
I used a medium sized and a smaller medal, in order to get an idea of how the scale effects the image. While the larger size allows for a more prominent image, the smaller medal lead to a more simplistic line drawing. I was also attracted to the fact that with the smaller medal, the user was encouraged to hold it closer to their face in order to examine the image, which is a level of intimacy between object and person that I appreciate and would like to encourage. Even with this simple open palm image, which was not representational of any topic or idea, simply acting as an example of hand imagery on the medal, is very satisfying in itself.
Thinking about using hands as a motif, and also of the idea of loss, I did some sketches to potentially represent it. A potent recent loss in my life is that of my dog, whom we had to give away to thankfully a loving home due to my mother having a debilitating stroke in the past year and being unable to adequately look after the dog, and I myself being unable to look after her due to not only due to the no pet policy of my flat, but the time and long term practicalities. While it may sound trite to say, I loved my dog very dearly and feel the void left in her absence quite profusely, and found the ordeal of having to re-home her very distressing. She was even the focus of my final major project on my foundation course where I painted a series of portraits of her illustrating the warm and loving relationship between myself and her.
In the sketches above, I am representing the transition between the state of having, and then subsequent loss, which is something which I would then look to repeat across the series of medals. This could be shown in a manner of ways, and would very heavily rely on the interplay between front and obverse sides as I have previously expressed is an important part of the medal design for me. Perhaps rather than having the subject, and loss, on the front and obverse of a single medal, it should instead transfer onto the next medal. This means that the set inherently has a reason to be viewed as part of a whole, as a continuing narrative, rather than simply a series of separate pieces which are made in a set. This is an idea I strongly feel has a lot of potential, and which I will likely look at developing.
Some of the issues I have with these designs however, is the question of subtlety. At the beginning of this post when talking about the initial idea in which to use hands as subject matter, I spoke of their strength in being able to very subtly show emotion and expression. However, when an object is thrown into the design, it forces the hand to become much more a matter of function in holding the object. While it can certainly be argued that the way in which we hold an object can indicate to an outsider your feelings about said object, the degree of care and tenderness you show towards an object it certainly is not coming across here. As it stands, the message currently strikes me as being extremely basic and limited, as “I had a dog and now I don’t and it is sad”. It is precisely what I do not want my work to be about, self indulgent pity which I spoke about in a previous post in relation to my life. This is the main issue with tackling the subject of loss, in doing so in terms of showing self development and change rather than self pity and attention seeking.
Despite this I do still think there is potential for subtlety here, it is simply a matter of working on and refining my ideas and imagery. Here are some designs which I do feel have worked well, of my hand holding my set of keys. You may not notice upon first glance, but the set of keys which I am holding in each hand is slightly different. In the left hand I am holding the key for my family home, and on the reverse I am holding the same set of keys but with the key to the flat where I am living currently in my hand. I think this works very well, representing the change and separation in my life between myself and home, independence and growth.
After literally months in the making, the bronze has finally been poured and my medals now physically exist in the world! I must say, I was having my doubts about them, the design, whether or not I even liked them any more, but now that I can see them and touch them I couldn’t be happier. This may well just be temporary euphoria, and I will most likely return to my critical self, but for the moment I am extremely pleased. It’s a very surreal experience having had an idea for so long, but having it only really exist inside your mind, and be able to demonstrate to people through drawings. While I did have physical objects in the form of the plaster and wax versions of the medals, it was still difficult to translate this into the idea of bronze, the weight, the colour, and it really demonstrates to me the inherent value of different materials. These bronze versions, although they are very rough and unfinished, are inherently more interesting and impressive to me, and it would seem to other people. Perhaps it is because both bronze and wax, while they are not things that most people would know how to work with or create, can understand the general idea and process of creation, whereas bronze is not something that people would ever consider using in day to day life and it is generally something that is reserved for industry built objects.
I had four medals on my wax tree, two pairs of medals (two male hand medals, two female hand medals), and thankfully this meant that I came out with one good pair. Although I did also end up with one “bad” pair where the tips of the fingers for some reason have not fully formed, resulting in them looking strangely stunted, this does at least mean that I have a pair to practice on without fear of ruining the final pieces
Frustratingly, I think the imprints on the backs of the “bad” medals came out better than on the “good” pair, but this is not as important and I’d much rather have a pair with fully formed fingers.
And here is the final “good” pair together!
They certainly need a lot of cleaning up and work put into them still, but I am very happy with their general form. The detail on the skin has come out very well, although unfortunately there are quite a few small marks, but hopefully I can either get rid of them or they will be small enough to be overlooked once they are finished.
One thing that I have found, and was surprised by, was the way in which they stand on their own. Because of their weight, and the thickness of the rings they stand very well on their own, but slightly lean towards one another. This is absolutely perfect and really encapsulates how I always imagined them to be presented, and the fact that they do it naturally without any assistance makes it even more striking. You can even pull them back to stand in a more upright facing position, but they will just roll back into place under their own weight. To me this very strongly expresses the sense of attraction and closeness between the two people, and the desire to touch, which was what I was aiming to express with these medals. More than anything, I am very glad I made the decision to make these medals as a pair, and not purely as my own hand which was my original intention. I think that what I struggle to express with these medals (the idea of intimacy and touch) is largely (although not entirely) alleviated by the pair, and the imprint on the reverse is given context by the other hand’s presence.