OVERGROWTH

Inquiry: How can nature and the human-made intersect?

Title: Overgrowth

Dimensions (h x w x l): 12 x 8.7 x 11 in

Date Completed: Nov 12, 2021

Idea: Nature has no boundaries; it will grow into any space, filling every nook and cranny.

Materials: Cardboard box, aluminum foil, acrylic paint, paper, soil, masking tape, coconut husk, latex adhesive

Processes: Painted box white for contrast, light source for highlights, added debris for detail & weather

Inspiration

Artist in Focus: Per Kristian Nygård

For this piece, I was inspired by the works of Norwegian artist Per Kristian Nygård, especially his Not Red But Green installations.

I was drawn to the surrealism, concept, and aesthetic appeal of these installations. There was something so mesmerizing about lush vegetation oozing through artificial architectural spaces, blurring the boundaries between the indoors and outdoors. It was a preternatural juxtaposition of nature and built environments.

The artist expressed that this installation was meant to elicit dissonance in visitors as they are "confronted with their own intuitive and physical response to the experience of entering a space where everything's wrong but feels right."

As for the construction, the terrain was supported by wooden framework, which was overlaid with tarp and a thick layer of soil seeded with grass.

This installation is one that explores the limitations and possibilities of space. An installation that takes up space; breaks boundaries. It is a seemingly meaningless and confusing antithesis to the functional and programmed environment, which we surround ourselves with.

Citations

Jessica Mairs | 28 November 2014 10 comments. “Per Kristian Nygård Crams a Grassy Valley into an Oslo Gallery.” Dezeen, 28 Nov. 2014, https://www.dezeen.com/2014/11/28/not-red-but-green-per-kristian-nygard- grass-installation-oslo/.

“Not Red but Green by per Kristian Nygård.” IGNANT, 12 Aug. 2020, https://www.ignant.com/2014/11/27/not-red-but-green-by-per-kristian-nygard/.

“Per Kristian Nygård.” Per Kristian NygÃ¥Rd, http://www.perkristiannygaard.com/.

Not Red But Green, NoPlace Oslo. 2014.

Not Red But Green II, NoPlace Oslo. 2014.

Spirited Away (Film) - Studio Ghibli

I was also inspired by the surreal and bucolic landscapes that were part of the animated film Spirited Away by Studio Ghibli.

One particularly memorable landscape was the expansive grasslands and abandoned tunnel that protagonist stumbled upon.

I really liked how grassy field was set against a blue sky. It gave the landscape a bright and sublime look. I also took notice of the abandoned, overgrown atmosphere of the tunnel. It showed what happens when nature is allowed to take over abandoned infrastructure.

I aimed to emulate all the aspects that I loved about these scenes in my own piece. Therefore from these scenes, I took architectural inspiration, color scheme, and mood.

Citation: Miyazaki, Hayao. Spirited Away.

Planning

This is the pre-planning slide I started off with. I first sketched out two iterations for the piece based on the works of Nygård. I then polished these sketches with neater line art and colorization. I decided on the second composition with the archway as it added symmetry and visual appeal. I then had the idea to add a light source shinning in to create the illusion of the outdoors. This was when I was reminded of the tunnel and the grass plains from the film Spirited Away. So instead of just a white light source, I decided to go with an idyllic blue sky for the backdrop. I quickly illustrated a sky for this purpose using a picture I took as a reference.

This is the pre-planning slide I moved on to after I was happy with my concept. My goal was to work out the details and technicalities of the piece. Before sketching I went looking for a box to contain the diorama, so I would have a better idea for the dimensions of the piece. I settled on a cardboard box that came with A4 paper. I decided I would use the lid of the box to house the backdrop and the lighting. I also decided I would take further inspiration from the tunnel from Spirited Away by making the vegetation more overgrown and the room look more abandoned. To achieve this look, I planned to add ivy and scattered debris.

Process

Experimentation

In this piece, I experimented by exploring new methods to make faux grass.

I made grass out of paper in my previous project Wither by cutting paper into parallel strips and rolling them. The result was relatively large bushels of grass with blades that had blunt ends. For that project, this was fine as the style was leaning towards abstract. For this project, however, I wanted to utilize a different method to make more realistic grass. I researched methods like cutting up green yarn or cutting up paper very finely. But, these methods either used materials I didn't have access to or were too time-consuming. Therefore, I sought a new method.

Given that paper was readily available, I decided do something with green colored paper. First, I soaked this paper in water to make this pulp. My plan was to wring out the water out of this pulp to make small pellets that mimicked grass. However after wringing, the pellets came out too large for my liking. So, I put them in the oven to remove more moisture and make the pellets shrink. But even after baking, the pellets were still too large. I needed them finer. I decided to use a blender to break it down further.

First, I had expected the pellets to break down into smaller pieces, bu instead they were pulverized into a very fine powder that drastically expanded in volume. The texture was very fluffy and springy. Given the resemblance to chicken floss and moss, I decided to call this new material moss floss. By the end of the blending, the yield of moss floss was about three times the volume of the paper pellets I started with. It was a totally unexpected result that I was very happy with.

Soaked green colored paper in water and squeezed out water to form pellets.

Dried overnight and baked at 150 degrees Celsius for 20 minutes to remove moisture.

Pulverized pellets to make moss floss.

Reflection

This piece was definitely fun to make. I was really happy with the final product as it came out better than my original concept.

I learned about the power of lighting in enhancing the final product. There was a drastic difference between the way the piece looked with the lights on and off. Therefore, I plan finding a way to incorporate lighting into my pieces in the future as well.

Originally this piece was going to be called Boundless to convey the meaning that nature has no boundaries. But, I went with the title Overgrowth instead because I felt like it matched the abandoned and secluded atmosphere of the piece better.

I believe my fine motor skills and craftsmanship has improved after this project as it required me to be delicate when applying the moss and details. I also feel like my process has become more straight-forward; plus, it feels more manageable doing it in stages. My techniques on making pieces look weathered have also become more refined. I used glue to make dust and debris stick to places I only want them to.

I experimented with new materials and I made a full-blown diorama. This has helped my grow as an artist by making me aware of new ways to use conventional materials and helped me understand the process and techniques involved in diorama-making. All of these things I learned will influence how I go about my future pieces.

I believe my project connects with my inspiration because I emulated the flowing, grassy terrain present in Nygård's works as well as the archway, overgrowth, and blue skies of Spirited Away.

The biggest challenge was patching up the seams and gaps that came with the box as the paper box did not having a continuous surface. The textured paper I applied kept coming off, so I had to remove it and reattach it with masking tape.

My most favorite part was adding the details like the debris and ivy because this part brought the piece to life.

My least favorite part was molding the aluminum foil to make the terrain because the foil kept unraveling and the process overall was rough. The terrain had to fit snugly into the box and I had to be careful not to push too hard against the sides.

I hope others will view my work and feel a sense of wonder, solitude, melancholy, and calmness.

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