Sasha Dunbar Final Critique on Anuraag’s “Getting Nailed.”
Anuraag worked with the concept of encroachment. He used epoxy and superglue to cover a hammer in nails. He then nailed the bottom of the hammer in to a board and placed it onto a pedestal, so that the hammer is standing straight up. The nails densely cover the hammer; there is almost no negative space. Anuraag’s piece is simple and direct: there are only three materials used, and there is little mystery in terms of what went in to its creation. And yet there are a wide breadth and depth of interpretations. There is a definite sense of intensity. The hammer is covered so well that it almost looks as if there is no hammer underneath at all, and only nails in the shape of a hammer. The contrast of the small, shiny, multiple, and sharp nails creates a strong sense of balance to the large, dull, blunt singularity of the hammer. The only part of the hammer you can really see is the sharp edge, the part used to remove nails. There is also a sense of physical balance because the hammer is balancing on the pedestal without any visible support. With the two main elements, Anuraag complicates the relationship between the hammer and the nails by drawing on the simultaneous total compliments and total opposites. The nail and hammer need each other; individually they are completely useless. Traditionally, the hammer is in charge of the nails, the driving force of putting the nails in to the walls. In this case, the nails appear to be taking over the hammer. Both are now completely useless, and yet the hammer still stands. The title of “Getting Nailed” conveys the tension and humor of this relationship.
This blog has been created as a space to post and critique project examples from our class. ART 111 "Introduction to the Studio" is a beginning level studio course designed to introduce and ground students in core principles of art making in a rigorous, hands on studio. These principles will be taught through a series of practical exercises using traditional and digital tools. Emphasis will be placed on developing skills, knowledge of materials, methods of observation and translation, collaboration, discussion, and creative discipline.
Sasha Dunbar
ReplyDeleteFinal Critique on Anuraag’s “Getting Nailed.”
Anuraag worked with the concept of encroachment. He used epoxy and superglue to cover a hammer in nails. He then nailed the bottom of the hammer in to a board and placed it onto a pedestal, so that the hammer is standing straight up. The nails densely cover the hammer; there is almost no negative space. Anuraag’s piece is simple and direct: there are only three materials used, and there is little mystery in terms of what went in to its creation. And yet there are a wide breadth and depth of interpretations.
There is a definite sense of intensity. The hammer is covered so well that it almost looks as if there is no hammer underneath at all, and only nails in the shape of a hammer. The contrast of the small, shiny, multiple, and sharp nails creates a strong sense of balance to the large, dull, blunt singularity of the hammer. The only part of the hammer you can really see is the sharp edge, the part used to remove nails. There is also a sense of physical balance because the hammer is balancing on the pedestal without any visible support.
With the two main elements, Anuraag complicates the relationship between the hammer and the nails by drawing on the simultaneous total compliments and total opposites. The nail and hammer need each other; individually they are completely useless. Traditionally, the hammer is in charge of the nails, the driving force of putting the nails in to the walls. In this case, the nails appear to be taking over the hammer. Both are now completely useless, and yet the hammer still stands. The title of “Getting Nailed” conveys the tension and humor of this relationship.