Magic shop sculpture

[Perlam]

http://s989.photobucket.com/albums/af16/PerlanCernun/Magic%20shop%20sculpture/

Hope you all like it

[Roled]

WOW!

oh I mean

! MOM   

[Tessra]

Very cool, Perlan!

[LigH]

The Lag Demon strikes again...

Well, looks like you took some efforts. But I am not certain how to interpret it.

At least it appears that such "patchwork" is a way to "boldly go where noone has gone before".

[Sarras Volcae]

what is it?

[Perlam]

it's a sculpture?  

Edit:

Ok, i will try to give a serious explanation for everyone to understand about this particular piece then.

This piece has the place itself as starting point (this is done many times with sculptures or "installations"), and is not an "autonomous" work of art standing on itself, by itself. It says something about the environment in which it is placed. Therefor this piece can only been placed there and nowhere else. The left part made of hides can be interpreted as to accentuate the landscape it was built on, as where the right part made of tefusang skins, which is vertically, breaks the idea of accentuating the landscape itself, as it visually contrasts it (this is also done many times in sculptures, but mostly one of those two {accentuate, or contrast} is used, the concept of this piece also contains the usage of both, instead of one, hence making it different than most sculptures placed in an environment). The two parts made of skins in their placement regarding the other part form a composotory harmony achieved by usage of the same material, yet they also contrast to one another by the different directions of placement, one part (left) is for the most part horizontally placed and has more height and depth (read: is "more" 3D) than the other, this part also placed in 2 curves, the other part (right) is placed vertically and its direction is straight and opposed to the other one. The contrast between those 2 parts has been exaggerated (very common in art to exaggerate things) or magnified by the part in between which is made out of tefusang bones, not only because of the difference in material, and color, but also because of the difference in texture and form achieved by the bones and underlying landscape (grass). This "innerpart" hence strengthens not only the contrast, but also the tension between the two "sideparts". The tension is a very important part in this sculpture, which makes it more visually attractive (tension is a very important part in making sculptures ). The "innerpart" of the piece also accentuates the underlying visible surface of grass, because the bones are placed on the grass, and not for instance on stones (where such a contrast would be less, because the stones would be a colortone of white, as they are grey, hence lessening this contrast in color). By placing the bones there a contrast is accomplished by the difference in materials (bones and grass) and color (white and green), This also fortifies the idea that this piece can only be at that particular place and nowhere else. The "innerpart" of the piece also gives the spectator the visual idea that the two outerpieces tend towards each other, because those parts are visually attached to it.

The formality of this piece is that it gives a brutal mipression, instead of a mild one, this is mostly achieved by the right side of the piece. Formally speaking (which is about the form), it is very organic, instead of geometric, and can also be interpreted as being tribal.

Another part of the concept of this work is as followed: one can see the process of making in the piece itself, this can be seen in the magnitude of materials used in this piece. The spectator knows that the artist has a) the ability to kill these fierce beasts b) has the time to kill these beasts and reuses the materials to make a work of art, instead of selling the animal parts, or having to use them for quests. This particular part of the concept can simultaneously mean that this piece can be interpreted as a status symbol (compare sculptures been made out of expensive materials as bronze or gold IRL), because the spectator can conclude that the artist has the luxury to place the materials used at that particular place. It can hence be concluded that the artist busies himself with an elavation of the mind (is higher evolved than some others), instead having to work for trias, which also signifies that the piece can be interpreted as a status symbol.

I hope everyone understands my explanation [i did the art academy and had lessons in concept and analysis, which grant me the opportunity to give such a specific explanation, not only about the formality (explanation of the form) but also the concept]. Should there be questions about this work, or other things i have made, or in general about sculptures, you can always ask me...

Perlan Cernun, creator

[Sadie]

 
  Way to go, Perlan!

  In essance, art is art. period.
  In PS, art is lag.

 So sad.

[BoevenF]

Now I better understand why you're always on your rivnak. It's for the elevation of the mind, uh?

[Caraick]

it's a sculpture?  

Edit:

Ok, i will try to give a serious explanation for everyone to understand about this particular piece then.

This piece has the place itself as starting point (this is done many times with sculptures or "installations"), and is not an "autonomous" work of art standing on itself, by itself. It says something about the environment in which it is placed. Therefor this piece can only been placed there and nowhere else. The left part made of hides can be interpreted as to accentuate the landscape it was built on, as where the right part made of tefusang skins, which is vertically, breaks the idea of accentuating the landscape itself, as it visually contrasts it (this is also done many times in sculptures, but mostly one of those two {accentuate, or contrast} is used, the concept of this piece also contains the usage of both, instead of one, hence making it different than most sculptures placed in an environment). The two parts made of skins in their placement regarding the other part form a composotory harmony achieved by usage of the same material, yet they also contrast to one another by the different directions of placement, one part (left) is for the most part horizontally placed and has more height and depth (read: is "more" 3D) than the other, this part also placed in 2 curves, the other part (right) is placed vertically and its direction is straight and opposed to the other one. The contrast between those 2 parts has been exaggerated (very common in art to exaggerate things) or magnified by the part in between which is made out of tefusang bones, not only because of the difference in material, and color, but also because of the difference in texture and form achieved by the bones and underlying landscape (grass). This "innerpart" hence strengthens not only the contrast, but also the tension between the two "sideparts". The tension is a very important part in this sculpture, which makes it more visually attractive (tension is a very important part in making sculptures ). The "innerpart" of the piece also accentuates the underlying visible surface of grass, because the bones are placed on the grass, and not for instance on stones (where such a contrast would be less, because the stones would be a colortone of white, as they are grey, hence lessening this contrast in color). By placing the bones there a contrast is accomplished by the difference in materials (bones and grass) and color (white and green), This also fortifies the idea that this piece can only be at that particular place and nowhere else. The "innerpart" of the piece also gives the spectator the visual idea that the two outerpieces tend towards each other, because those parts are visually attached to it.

The formality of this piece is that it gives a brutal mipression, instead of a mild one, this is mostly achieved by the right side of the piece. Formally speaking (which is about the form), it is very organic, instead of geometric, and can also be interpreted as being tribal.

Another part of the concept of this work is as followed: one can see the process of making in the piece itself, this can be seen in the magnitude of materials used in this piece. The spectator knows that the artist has a) the ability to kill these fierce beasts b) has the time to kill these beasts and reuses the materials to make a work of art, instead of selling the animal parts, or having to use them for quests. This particular part of the concept can simultaneously mean that this piece can be interpreted as a status symbol (compare sculptures been made out of expensive materials as bronze or gold IRL), because the spectator can conclude that the artist has the luxury to place the materials used at that particular place. It can hence be concluded that the artist busies himself with an elavation of the mind (is higher evolved than some others), instead having to work for trias, which also signifies that the piece can be interpreted as a status symbol.

I hope everyone understands my explanation [i did the art academy and had lessons in concept and analysis, which grant me the opportunity to give such a specific explanation, not only about the formality (explanation of the form) but also the concept]. Should there be questions about this work, or other things i have made, or in general about sculptures, you can always ask me...

Perlan Cernun, creator

Have you ever thought about a career in writing, Perlam? Because that explanation made me laugh out loud for a full minute...

[Roled]

To me, without any formal visual arts training, this is what I saw~

It reminded me of a prehistoric skeleton of some large and imposing beast- the horizontals seemed 'winglike' to my eye, and the vertical, breaking the plane and coming down into viewing space, the meadow, struck me as a torso, neck and head like structure. Coming 'at' me.

Those impressions led me to conjecture- was this a reminder of our primitive nature, or perhaps of what lies beneath?- the 'bones' of living creature, transformed by muscle, organ and skins, into living, energetic beings. I thought it fitting to be placed at the Magick Meadow- as if Levrus were conjuring some creature but left it uncompleted. I also was taken, following along on my impression that it was skeletal, that the bones were actually made of hides, of skins. Then I thought all our avatars are skins in this virtual world, and the skin is the outside, but here, it is the inside, and that paradox delighted me.

That's what's cool about art- it can speak so many ways to our different eyes, perceptions, prejudices and backgrounds. 

Thanks for installing that piece, Perlan!

And as to lag, ah yes, there is lag whenever there are too many 'things' in one place-    but that is a reality we put up with everyday in PS- should we then stop having marketplaces, or gatherings of people, because we may lag?    It goes with the territory, that whatever technical reasons there are, and I'm sure there are good technical reasons, our virtual world lags for many reasons for many players. So, we work and meet and yes- make art- around that limitation.

Cool! 
RR

[Earowo]

Now I better understand why you're always on your rivnak. It's for the elevation of the mind, uh?

Or perhaps he is like my mom, he uses tall things, to make himself fee taller, aka, my mom wheres high heels, as perlan uses a horse-goat,

Being tall isnt the world

Walking is healthy

[Phantomboy86]

Wont be healthy when i finish work on my magic landmines.


Looks like a yliakum dinosaur, which leads me to ask, where there any pre-portal races monsters in PS? Big ugly hulking beasties?

[Perlam]

i learned that there are dozens of ways to interpret a piece, any piece, that is why i had lessons to explain a meaning of a piece in a "formal" (about form) way. There is a difference bewteeen what is said and what is read, so to say....

[Perlam]

Now I better understand why you're always on your rivnak. It's for the elevation of the mind, uh?

Indirectly it is, yes, i take less time in moving, so i have more time to elevate the mind, yes

To me, without any formal visual arts training, this is what I saw~

It reminded me of a prehistoric skeleton of some large and imposing beast- the horizontals seemed 'winglike' to my eye, and the vertical, breaking the plane and coming down into viewing space, the meadow, struck me as a torso, neck and head like structure. Coming 'at' me.

Those impressions led me to conjecture- was this a reminder of our primitive nature, or perhaps of what lies beneath?- the 'bones' of living creature, transformed by muscle, organ and skins, into living, energetic beings. I thought it fitting to be placed at the Magick Meadow- as if Levrus were conjuring some creature but left it uncompleted. I also was taken, following along on my impression that it was skeletal, that the bones were actually made of hides, of skins. Then I thought all our avatars are skins in this virtual world, and the skin is the outside, but here, it is the inside, and that paradox delighted me.

That's what's cool about art- it can speak so many ways to our different eyes, perceptions, prejudices and backgrounds. 

Thanks for installing that piece, Perlan!

And as to lag, ah yes, there is lag whenever there are too many 'things' in one place-    but that is a reality we put up with everyday in PS- should we then stop having marketplaces, or gatherings of people, because we may lag?    It goes with the territory, that whatever technical reasons there are, and I'm sure there are good technical reasons, our virtual world lags for many reasons for many players. So, we work and meet and yes- make art- around that limitation.

Cool! 
RR

Wont be healthy when i finish work on my magic landmines.


Looks like a yliakum dinosaur, which leads me to ask, where there any pre-portal races monsters in PS? Big ugly hulking beasties?

That is why one can only describe a work of art formally (which is about form) and conceptually. It is the difference between denotation (what the work of art is) and connotation (the feeling a spectator might have with such a work of art). One can in the world of art not describe what the connotation of a work of art is, because every spectator is different, has different genes, had a different education, environment. Even the piece itself has a different connotation when a spectator watches the same piece again, because the spectator is already biased, because he/ she already saw it. Hence in the art world works of art are described formally, and conceptually.

I was intrigued though by what you saw in it, and i must admit: i deliberately used what the piece could resemble, yes 

Have you ever thought about a career in writing, Perlam? Because that explanation made me laugh out loud for a full minute...

This is how art critics would explain this piece formally (which is about form) and conceptually [like i said, i studied that]. I also wrote various poetry and lots of different stuff.