!!! ANYONE HAVE A TRUCK OR LARGE SUV ???

I am searching for the biggest favor in America. I need to transport a 4' x 8' sheet of plywood from Home Depot back to campus, so I'm wondering if anyone has a truck or large SUV who could possibly lend me an hour of their day (sometime in the very near future) and drive me there and back. Unfortunately my two door Pontiac is ill equipped. Gas money or Starbucks provided in return :)

Just a bit of paper-cutting inspiration

Back when Amanda Small visited, she encouraged me to look up artist Elise Wehle--and her work has been a big inspiration in terms of patterning and layering with my current piece.

She mostly does paper cutting and collage with a bit of painting, but here are a few of her pieces.

One Piece Down, One to Go

Since midterm, I've been working constantly to finish up so I can give the pieces to Plasticare to model the stands after. I am happy to say that I officially finished the first piece-- I colored the drypoint and added a bit more to the back of the piece. As the for the color, despite its challenges, I decided to use watercolor. It doesn't stick to the plexiglas nearly as much as acrylic does, but I felt the properties of it were more appropriate-- I'll just have to be extra careful about scratching. As for the back, I added some hand cut stenciled kanji, which will be the title of the piece: kibou, meaning a wish or hope.

I'm very happy with it, the back has felt unfinished for quite some time now, and I was yearning to get back to expressive brushstrokes! Unfortunately, I forgot to take a picture of the drypoint before I wrapped it up and gave it to Plasticare, but I am satisfied with the effect as well-- very subtle! In other words, the three panels are now there to ensure precise measurements of the stands (and wrapped in glassine).

As for the second piece, I am working on the two films for the large rectangular piece: some raw data concerning the distance of the planets from the sun on the back, and a constellation of my own creation, modeled after the morning glory, for the front.

Concerning the two circles, I have finished one side of each. I finished the drypoint rabbit, of which I don't have a picture, and need to paint on the back. I printed both layers of the moon chart on the other:

The brown is the backing paper and the green is the tape around the edges. I printed the first layer (my own pencil drawing) in transparent red, and the second (photograph of chart) in transparent black. I am very happy with how it turned out, but am still unsure about whether to put anything on the back yet. So far, one person has told me to leave the back blank because the frontal composition is so busy. I agree that it is pretty busy; however I wonder if I should add something simple like a wash. Please give me your opinions.

As soon as I finish the second piece, I will bring it to Plasticare for measurements as well. Friday the 9th is the absolute latest deadline I gave them, and asked for it to be earlier if possible. Just in case, I signed up for a few hours on Friday, Saturday and Sunday. I am a bit worried because install was originally supposed to go until Tuesday and I was kind of relying on that to fix any mistakes that arise (Plasticare is not open on the weekend). Hopefully if I need it the gallery staff will let me install on those extra days. I am also meeting with them tomorrow to look at their pedestals. I was hoping to visit earlier just in case I needed to make some, but if I keep up the pace on the second piece hopefully making a pedestal won't be too much of a problem.

Visiting Critic

Dear BFAs,
I'm happy to share that Scott Chamberlin, faculty at CU-Boulder, will be our guest critic on May 22nd. Scott will be visiting our class in the gallery to offer you each feedback on your work. Considering you are a sizeable group, I look forward to an efficient, if not invigorating conversation!

As an added note, the BFA exhibition just opened this last Friday up at CU, and it's always fun/interesting to see what your peers are doing/making, so perhaps a weekend field trip is in order...after your own show is up.

You can read a quick blurb about Scott and his approach to his own work here, and of course a Google search (images and otherwise) can give you a frame of reference:

https://cuart.colorado.edu/people/faculty/scott-chamberlin/

Best,
Sarah

Next

I really liked how we changed the flow of the critique last week. Even though I was last I still felt as though people still had energy and I received helpful feed back.

After the critique I started thinking about what I could paint next. Chinn's idea of the horse butts is starting to grow on me and ideas of what I could do for that piece or peices have started to develop. I really like where a series like that could go and I think that could be a fun to create. I also still would love to paint more portraits, but the question there is who? I also would like to maybe do another still life.

So I am going to start sketching and figuring out what I want to do and possibly get started on my next painting.

Big Day of Printing = Emotion Roller-Coaster

After making films straight for 3 days, I am finally ready to print. The preparation started to become worthy and it is looking good. I had some struggles and frustration print in large scale but thank goodness Mikaela was able to help me through. It was definitely a great learning process with some happy accidents. However, the printing took much longer than I expected, so I will have to finish by tomorrow. The whole shape is all done, and only the design left. After all the printing, I just need to hand sew some of the corner to make sure the fabric is still good to go.

Here are a few of sneak peak of the process:

Forgot to add...

I wanted to share some pictures from artist David Altmejd, who I have recently been inspired by:

I LOVE his use of different materials, as well as how he abstracts the human form through them! I think his work will be a strong influence my own sculptural work that I create in the future :)

Updates!

I've done a number of things this week, including working on the tail, which is now on hold until I can go buy flash sheeting to cut more scales:

I've also started the bulk of the hair:

This week, I will be finishing up the tail, adding more skin to the body, and finishing up the hair and head piece (which has yet to be made). And the countdown begins!

Screen Problems

I have been running into a lot of screen issues. :(  I coated, exposed and rinsed my screen twice already and both times the emulsion has started peeling off when I rinsed it. Mikaela is so generously helping me to try one more time. She tried putting a little bit thinner coat of emulsion on and said that we'll try using the power washer without the air pressure because it is a little bit gentler than the spray hose.  Hopefully it will work this time.  I'm really nervous about getting done by tomorrow so that I can start the bisque kiln on Tuesday. I still have to print onto the clay and add "frosting" to the clay forms. If I run into the same issue with my screen for a third time I think for the sake of time I am going to have to nix the screen printing idea and just add the frosting texture.  I could potentially do hand carving, but I honestly don't think there is enough time left to do so.

I did a bunch of glaze tests on Thursday night and Friday and I think I have finally decided what glaze to use, so that's good.  I also plan on testing the sand blaster to see if that could potentially create a really subtle pattern because of the difference in textures of the surfaces.

Suddenly, Color.

So this happened rather suddenly. Overall, I think I am happy with it. However, I am worried about the color. The interference gold appears a lot more brown than I would like, and I feel like it throws a metaphorical wrench into the cohesiveness of the color scheme. Hopefully that will change when the piece is in the gallery and lit, because I don't know what to do about it, otherwise, aside from maybe paint a transparent yellow over the top, or re-make and re-print the five pieces on which it exists. But I don't have time for that. I'm also worried how this color scheme is going to relate to my other piece. The gold in this piece reads a lot like the bronze in the other, so I was hoping to link them that way. But now I'm not so sure. 

This is probably why I prefer to work with black and white. 

Almost done!

For a short refresher course, here is a photo of how the triptych was presented at the midterm.

And here is a photo of it currently, only missing one or two small flowers!

P.S.

Oh and P.S....this is a mock up of what I have in mind in terms of screen printing onto the forms.  I want to keep the color very subtle.  

So many updates

Hello everyone!! I have many many updates since the last time I posted...I have been absent from posting for quite some time!!!

My original idea has evolved a lot since I first decided to create a ceramic wall installation.  Originally, I had talked about creating something similar to this experiment that I did last quarter.......

I spent the first few weeks of the quarter building pieces like this directly on drywall to see if it would uphold through firing.  I had no idea if it was going to work.........and turns out...it did not :(  They all broke apart into lots of small little groupings of frosting.

But...I am actually glad that it didn't end up working because it forced me to start thinking of a new direction to take.  With my original idea, I was struggling to visualize how I would arrange the installation and felt like I was starting to focus more on the technique and process of "frosting" with clay and less on my themes of domesticity, memory, and nostalgia.  

At the same time that this was all happening, I was working on a collaborative 4'x8' woodcut print with Heather Kegel. Our work has some interesting similarities in themes. We decided to make a composition of damask patterns that references worn wallpaper.  

I knew that I needed to have hollow ceramic forms as a base structure to pipe the clay "frosting" onto so that it would hold up when fired. I had tested that before and knew that it would work. I was in damask pattern mode from making the woodcut print, and was inspired to make abstracted damask forms out of clay.  I cut out a bunch of paper stencils and hung them on the wall to start playing with how this all might look when installed.  I feel like going this route more strongly relates to my concept and the themes that I have been exploring through my work and bringing back damask patterns as a motif.  

These are the forms I have built and this is a rough arrangement of how I envision installing them on the wall. Now I'm at the point where I will start working on the surface of these forms.  I plan on screen printing a very soft subtle damask pattern onto parts of the forms and also somehow on the wall behind them (I need to figure out how I want to do this...maybe on paper....maybe directly onto the wall...not sure). I will then pipe "frosting" onto certain areas of the forms. I have screen printed onto clay before, but it has been a while, so I am going to make some quick test slabs today to make sure that it will work in the way that I am envisioning it to. 

Phew!!! Well that's an update on where I am at this point!! I'm very excited that things are finally starting to come together.  I spent the past few weeks freaking out a bit and had a few minor meltdowns haha, but I finally feel good and have a much clearer vision of what the final installation might look like!

Look forward to seeing you all tonight!! :)

Updates before Midterm Critique

Following Chinn's email to avoid any "catch-ups" during critique, here are the latest updates for my piece:

After the previous blogged struggles, I finally finished all the sewing and trimming for both panels. I have also made a digital mock-up, which I will give out to all the faculty tonight. It will help everyone visualize the scale. Additionally, there is one small change that the original designed angle of the corner was 90 degrees, but it will now most likely to be 120. After talking to Deborah and a few of other faculty, it will be more inviting and open for the audience to enter the "space" on the 2D surface. I also checked with Kaitlin to make sure it is okay with the gallery layout and she said it shouldn't be any troubles.

Besides the fabric panels, I also started making films for the figure. Some of the parts form the previous print, such as the head, the hand and the backpack won't change while some will alter for this specific installation. The coat will have a completely different design and the feet will too, based on the angle the figure is facing. The schedule is to finish making films on Friday and finish printing from Saturday to Sunday.

My questions for the faculty will be whether I should screen-print the perspective lines for the room or draw with marker, so it is more gesture?

All Of The Meetings

I've been on a mission to meet with every professor I could this past week to explain what I am doing. The goal of this mission was to familiarize everyone with my work so I talk less during critique this Thursday. Chinn's email about the structure of the critique changing so that the students do, ultimately, talk less, will also be helpful.

Just to recap what it is that I am actually doing:
In the past five weeks I have developed a fictional civilization wherein light, time, and space, are valued above everything else. These three concepts essentially inform how people live their lives and their systems of belief, among other things. From the systems set up within this society, I have decided to create three large structures, each made out of wood and paper pieces, and which all incorporate screen printed elements. Each structure functions for these people in a very specific way.

Overall, people seem to be reacting to the work positively, which is very exciting, although I am still convinced that this is all a trick. It's going too smoothly and people are being to nice and I did not expect that, to be honest. But I have really taken all of the feedback to heart.

The consensus, after talking to most everyone, is that even thought I do not have the imagery ironed out for my third structure, I should complete the first two and let the completed pieces inform the second. This feels like the best way to go, so that's what is happening. It has also been suggested that I should finish everything by May 2, giving myself about five days to alter any imagery that does not quite work. So that's the plan right now.

I have completely finished the first (and the largest) piece. It is printed, the drawing is done, and it will be laid out for all to view and critique Thursday night. So I am not going to include a picture because it is going to be a surprise.

I have also just printed my films for the second piece and have decided upon a color scheme. It will look something like this:

Printing will begin on this piece today. At the very least I will have the white and the grey dots on the outer edges printed by Thursday. There is no reason why I shouldn't have that done at the very, very least. 

I am still working on the imagery for the third structure. 

Regardless, all three will be laid out for viewing on Thursday. 

So, the questions I pose to the faculty for discussion are as follows: 

1.) How much information about the fictional civilization I have created needs to be explained? Does it need to be explained? Can I get away with a brief reference to it in my artist statement? 

2.) Do these pieces mean enough to each of you without my needing to explain the backstory? 

3.) Should I find a more visual way to reference the function of these three pieces? Because they do all have specific functions. I just don't know if that is necessary for a viewer to understand. 

I would love to hear anything from anyone regarding these issues.

Now, on to printing. Full Speed Ahead.

Put A Bird On It

     I've become really great friends with Hung Liu and she has given me some very valuable feedback in the past few weeks. Even though we've only primarily corresponded through email since her visit, I've frequently been sending her work-in-progress shots of my pieces to get feedback as they come close to being finished.
     One of my biggest focuses this quarter has been the surface which I'm painting on. I scrapped using the raw birch plywood and have since switched over to using professionally built balsa wood panels which are cradled at a 2" depth and are perfectly smooth. They are professionally sanded, so it means that the notches I was encountering in the plywood no longer exist. The only thing I need to worry about is creating an ultra-smooth, gessoed surface, which is done by buffing the final layer of primer with a damp towel.
     I have finished my blue jay painting below and am very pleased with how it came out. I experimented with using some Interference colors, which create a bit of an iridescent look when applied to colored paint. This allows for the feathers to retain a bit of a natural shine, as they have in life which really helps to push the illusion to a new level. I'm planning on experimenting with this much more in the future.
     Tonight I'm working on finishing my third painting of a warbler specimen. I was having a small bit of trouble trying to determine composition for this piece and ultimately decided to put it in the direct middle of the panel. I'm not sure if it's the most successful way of composing this sort of painting, but I'm hoping the hyper-realism will really sink through to the viewer in this one and sort of hide the fact that it's so central.

     Painting-wise, I am still having some troubles with the shadows on most of my pieces... these are the hardest parts for me since the smoothed background means I'm forced to blend my shadows outward rather than using a wet-colored background to bring both colors together. I tend to get a little carried away with them, so this next piece, I plan on making a realistic shadow my ultimate goal.

Catch you all on Thursday night!

- BF

Nearing The End

To update on my spacing issues, I've decided to add space in between the two panels, and I've ordered 2" magnets to fill the gap. Although it's not much of a difference, I think it's very important and I'm happy with it. The magnets should come in the mail sometime this week (hopefully by midterm critique)! Also, I finished the drypoint panel:

As for color, I am thinking about rubbing ink into some of the lines (just the apples) to create focus on them. Either that or using very watered down acrylic. I don't want it to look too busy.

Essentially, this means that first piece is done. I would take it to Plasticare to get stands, but since midterms are this week I'll have to wait until Friday. The stands take 1-2 weeks, so hopefully this doesn't become an issue for install. I'm also hoping to finish the next piece by next week so I can get it in for stands as well. I might take the pieces into them tomorrow so that they can look at them and maybe start brainstorming. Not sure how helpful that is. This is the only thing I'm worried about in terms of being ready... I'm absolutely sure the pieces will be done but the stands are making me nervous. I'll have to speak to everyone about maybe letting me take later install shifts to make sure I have the stands ready... Actually another thing I am worried about is if I have to make pedestals, they said to put what I needed in the proposal and would let me know, I'm not sure if I should contact them about that.
As for the next piece, the transfer is done! I am currently preparing the films for the moon chart and for the text on the back of the photo. Still thinking about the other circle piece, my first thought was to illustrate the "rabbit" on the moon, which is the Asian version of our "man" on the moon. Here's the starting photo for the image on the back:

These are some raw calculations (I assume) concerning the distant of the planets from the sun. It looks incomplete because my great grandfather reused this piece of cardboard to serve as the back cover for a camp newspaper. I am going to create a film of just the text to screen print on the back of the transfer. Much like the moon chart, the computer is not able to pick out light ink and pencil lines. I am thinking about filling in the details and creating two layers like I'm doing with the moon chart.

When I stop into Plasticare tomorrow, I will also order the long, thick piece for the phases of the moon. I'm unsure of whether to print, paint or etch the moons.

Box #2:  This box is a self-portrait, using one of my past modeling photos. I chose this close-up photo because of the intense focus in my eye--to serve as a focal point of the piece. I layered my personal photo with another photo I took in Ireland this past summer--a photo of antique piano keys taken through the lens of a crystal. I think it nicely breaks up the linearity of the keys and creates a type of vortex arrangement around my face. I used Photoshop to integrate the two photos together. It's like a time capsule in bringing two photos together--connecting two images--like the past, present, and future combining into one plane. Then Roddy helped me print this on Mylar and I cut it up and collaged it with mirror paper. I painted this photo less than the previous one of Sam.

Continuation

Here is the photo/painting inside Box #1. I sent this to Kaitlin for the postcards, along with my Exhibition Proposal and a sketch of how I would like the 5 boxes to be displayed in the show.

Recap

As an outcome of my previous quarter's process of experimentation with wooden box carvings, wooden hangers, learning to work with resin, making molds, and creating compositions by integrating resin into other things, practicing with Pebeo "moon glow" paint, working with intersecting planes, and growing crystals and watching them develop--my BFA project morphed and changed several times until it finally came together in my mind and I knew what I wanted to do. My plan at the beginning of this quarter was to create a series of 5 custom-made "shadow boxes," similar yet at the same time different, each with an exterior piece of plexi-glass to contain/hold several elements: a photograph/painting, layers of resin and various other elements such a colored broken stained glass, bits of real crystal fractals etc. The subject of each photo is a friend, taken through the lens of a crystal which is be printed on Mylar for a clear effect. The next step is to paint portions of the photograph with transparent Vitrial paint to achieve a textured stained-glass look, then attach the photo/painting to the box as the first layer, adding other multiple layers of resin, paint, and objects that together provide a 3-D effect. The last step will be to add LED battery-operated fairy lights to the back of each box for accent lighting. The boxes will be hung with a D-ring on each side.

My first week's work was to make the boxes. I went to Rocker's to buy beautiful wood that would compliment the composition inside. I chose a rich, dark walnut wood and bought 3 long pieces of wood to make the first 3 boxes. I decided to make them fairly good-sized--18" x 24". I asked for Craig's help cutting the wood and gluing the pieces together. I think they turned out beautifully. The most difficult part was deciding if I should use real glass or plexi-glass for the outside frame. The dilemma was getting the glass cut right and finding a way to hold it in the frame. I didn't think just glue would hold once I added the weight of resin and other objects. Ideally, I could've used some woodworking tools to route out a groove inside that would help hold the glass, but I've never done that before and didn't have the technical wood-working skills. Also, glass is heavy, and by time I finished the entire box, I was afraid it would be super heavy. So, instead, I used lightweight plexi-glass using silicone glue to attach to the outside of the box. The glue does show a little, though, so I've purchased some real thin walnut "peel and stick" borders that will cover it and frame the box nicely. (I added the D-rings to the back.) Chinn has been extremely helpful in keeping me on tracking with my scheduling and organization.

Box #1: Roddy was really supportive of me and helped me print my photo of my friend, Samantha on clear Mylar paper. I loved the photo of her and how the crystal multiplied her face and body into 3 images. I took the photo of her sitting in front of a DoJo door, and there was a circle behind her, which encircled her head and made her look like a madonna. The color was provided by the walls and surrounding environment. The crystal took these colors and shapes and split them into fractal planes--a fragmentation of reality in a sort of collage. I painted Sam's photo with the transparent paint, intending to only paint some of the planes, but I kept on going, and I like it finished for my first one. I did create some clear spaces by cutting out pieces of the Mylar and collaging them. I experimented as I went along but I think it worked. Next, I poured a layer of resin over the photo/painting, using the box as my mold, then I added another layer of resin with bits of broken stained-glass pieces. I like the way the resin permanently captured air bubbles, adding additional texture.

Things happen but no time to be wasted

For this week, the 20 yard fabric was finally cut into the length each section needs to be. I have a 44 inch extra after cutting up all of the pieces I need. So I have been use it to practice sewing straight lines. For the past practice, it was fairly short that I want to make sure I won't make mistakes when I sew the big piece. Here is the photo of the extra fabric I used to practice: the lines are approximately 54 inch long, which should help me when I sew the final piece. I drew straight lines with ruler first and then sewed following the lines.

According to the schedule I made for myself, I had to finish practicing the extra fabric on Friday, the 18th and sew the final piece together on the 19th. However, I was sewing one last practice line before doing the big one, and all of a sudden, the sewing machine broke down. The pedal wouldn't work. I tried unplug and googled online to see if I could fix it. It seemed that the pedal's wire may have been disconnected internally. I was having a mini panic attack because I want to follow my schedule of getting things done, especially the midterm is this coming week. Of course this would happen the last minute when everything was ready to be sewed together.....Anyway, I emailed Sarah and talked to Chinn, and I am just waiting. Tomorrow, the sculpture room will be open and maybe I will be able to get another pedal from the room. Meanwhile, I stayed in the studio and started the preparation of making the figure. I just blew it up to my life size and now I will have a standard model to create new design for screen-printing. Finger cross that tomorrow I will get to use the sewing machine and finish what was supposed to be done today. 

Floral frenzy.

Flowers are all placed, (and colored--this picture is old, but shows the arrangement) and just need bristol board backing for install.

The past two weeks I've been busy painting. I have finished two paintings, they are of my parents and Im really happy with them. Come check them out in the studio!

Photographs and Spacing Dilemmas

The first piece is nearly finished, with the drypoint being the only part left. However, when I finally saw the two pieces of plexi together, I had a mini crisis as to the spacing. Originally, I was only going to have 1/4" of space in between the two main pieces. But now I'm thinking I might want slightly more space-- not so much that people can walk through but I was thinking 2-3". I thought it might be interesting to give the viewer a peek into the interior and be able to view the photograph and pattern on the inside. Not only to give meaning to all the work I did that might not be seen otherwise, but I think it might add more intrigue to the piece because they have only a small window into a tight space and they must look closely to see inside. Before, they wouldn't have been able to see enough to be interested in making the effort I think. Please give me your input if there are any opinions! It is possible for me to add a 2" or 3" magnet in between the ones that are already attached to create the space. I took photographs of some pieces yesterday for the postcard images, and here's an example of how it would look without the extra spacing:

As for my second piece, I started pulling paper off of the transfer today and will begin making films for one of the circle pieces. If I haven't explained already, this will be a piece that expands outwards on the sides instead of forward and back. There will be a large rectangular piece in the middle with two large circle pieces attached on the sides, one of which will be my grandfather's moon chart. I am also thinking about printing raw, hand written data on the planets on the back of the rectangular piece. Still mulling over ideas for the other circle... Also, there will be a long, separate piece of plexi featuring the full cycle of the lunar phases either printed, painted, or engraved that will sit in front of the piece.

As a reminder, here's one of the films for the chart:

The other film will be my hand drawn additions (what didn't translate into this film, such as lighter pencil marks) which will be in another color.

And for fun, here's a picture of my other plexi piece, and I'm unsure whether or not to include it.

Serious about florals.

So this flower situation is getting serious.

As a general update, as not all may be aware, after discussion with Deborah I found that while the elements in my paintings may be important conceptually (the female nude, patterning and textiles, etc.)--my truth lies in formal manipulation and creating illusions with paint. Stretching the aspects of the canvas and the medium. My interest in destruction and reconstruction feeds into this, as well as my aesthetic interest in color, form, and pattern. Sometimes it is ok to just be interested in painting for painting's sake.

As such, my piece for the BFA show will be my figural triptych created last quarter, and I am bringing back in the craft/floral element discussed last quarter as well. However, instead of crafting flowers and patterning them onto the canvas, I am crafting the flowers and organically arranging them around the canvas (with a few on the canvas). This makes it look organic, as if they are growing in the moment.

I am also adding a interlocking geometric pattern of my own design inspired by my work at Anthropologie wherein I can create my own pattern, cut it out of the canvas, and then re-mount it to create a more dimensional and visually intriguing piece.

(The installed piece at Anthropologie)
The flowers will hopefully be all done by this weekend, I am individually painting/dying/treating the flowers so there is slight variation in color and style. And the cut-outs will be at least started by the midterm.

SO. Clearly. A lot of work to do.

RELAX. BREATHE. REPEAT.

All,
There is situation developing that is starting to spin out of control with respect to the BFA exhibition.  I want you all to know that the Studio faculty are in conversation with the gallery staff and it's being handled. I also want to remind you that your focus right now should be on YOUR WORK.

As we spoke about the first week of class, Spring quarter can move fast, and your energies need to be spent making and resolving the strongest work possible. With respect to space in the Vicki Myhren gallery, everyone is expected to make compromises, particularly with such a large group. No one is ensured any one particular space, and everyone must be prepared to work together so the entire exhibition is a success - aside from the goals each person may have for their own work.

There are many conversations occurring outside of class that are creating miscommunication and misunderstanding. Please refocus your energies toward your work, forward your proposals (without demands or diatribe) to Kelly and Kaitlin, and we can address this as a group when we meet for mid-term critiques next week.

RELAX.

BREATHE.

REPEAT.


Best,
Sarah

Multitasking!

 I really do have the best friends in the whole entire world. This is Kyle doing yet another monotonous task for me:

These are the fish scales that will eventually cover my goddess' tail. Flashy!

And while Kyle was doing that, I got a chance to finish painting the muscle layer and adding the rest of the 

papier-mâché layer...

another view...

and another (I think she's beginning to look rather feisty now)

...then I had to wait for the glue/flour/water medium to dry, so I started constructing the form of the tail:

it's a little hard to see...

but it will make more sense once I cover it in plastic. 

PS-

also wanted to share just a few rough photos of my hair pieces that I took this past week. Must edit and upload to website!: