Emile Le Bol still life, 2020
photograph
Emile Le Bol still life is part 2 of the Found Object project realized in my Design Studio course which began with the drawings and interview in part 1. Once we had developed a personality and brought our chosen object to life through the interview and drawings, we shifted our focus to the process of assemblage, the result of collecting and gathering various elements together to form a whole. The goal was to explore the relationship between an object and its base, and the object to its assembly. To do so, we studied the works of Constantin Brancusi who is known for his objet-sculptures, and his emphasis on the link between a base and the sculplure. With Brancusi the base is also the sculpture; the sculpture is the base. How would this concept be applied on our own found object?
First, I selected a base: a stack of wooden cutting board to both echo the nature of the bowl as a kitchen item, and establish a rustic mood. Then came the selection of the props which was kept minimal in order to let the focus remain on the bowls and the play with light. Emile’s still life assemblage did not need more than a simple knife, napkin, and saucer. The position of the knife and sauce in relation to the bowl holds a special meaning: it is how my grandmother and grandfather used to set them in preparation for the following morning’s breakfast. It was odd to me that they would set the table the night before a meal, but it is how they always did it. A simple but significant detail I will never forget. The napkin is also tied to my family - it is made of a distinct Guatemalan fabric, but it was mainly included for its color and texture - orange is a complementary color to blue, and its soft and pliable nature contrasted nicely with the stiffness of the sculpture, the cold hard tiles forming the background, and the dark and cool atmosphere. The position of the bowls was haphazard at first, but ended up referencing an hourglass body, which further strengthened the personification of Emile. It gave him a slightly edgy and sensual aesthetic, which was then reinforced by the dark and moody shadows cast by the bright artificial light. Similarly, the choice to shoot at night using artificial light was made during the process as I was experimenting with different setups and settings. I ended up really like the overall vibe; it offered another side of Emile, one I had not quite revealed in the interview and drawings, but which seemed natural nonetheless.
Emile Le Bol elevation, 2020
drawing in AutoCAD
raw photos - drafts for still life
extra edits Emile Le Bol still life