Fig.1- Cranium Captivity, Nikita Meek, 2021
Following the similar style presented in fig.1, I needed to create my mask base ready for my next photoshoot. The head needed to be similar size to the prototype (fig. 1) with slight adjustments to the facial features. Using a beachball as the base mould for the head shape, I began to layer the first layer of paper cache, once tried then applied a second layer to strengthen the base and fix the cracking, fig. 2.
Fig. 2- Layer 1 of mask making, Nikita Meek
After fixing the cracks and strengthening the second layer, it was time to begin mould the facial features. The mask's facial features were influenced greatly by caricature artist Tom Richmond (fig.3), Ralph Meatyard (fig.4) and Inge Morath & Saul Steinberg project The Mask Series, 1962 (fig. 5) and Frank Sidebottom (fig.6). The mask needed to have exaggerated features and amplify the fatigue feeling symbolic of the vicious cycles of societal pressures. Meatyard use of masks as a way to create an interesting viewing point, adds to chilling atmosphere as well as stimulating an ambiguous narrative allowing the audience to connect through their own interests and relatability. In addition, Inge Morath & Saul Steinberg quick handed masks as quirky the style the aesthetic was not what I wanted to take forward into my masks the mask will be the constant throughout all future shoots. However, the absurdity of the facial features, the unrealistic human connotation of the masks add a sense of relatable and recognised human-like quality, something I wanted to pursue in the mask. Similar to The Mask Series, 1962, Frank Sidebottom created by Chris Sievey was another source of inspiration for the mask. The sizing as well as the nonsensical aesthetic created by Sievey emulates a comical relatability to the character acting as an alternate persona, juxtaposing the man underneath who towards the end of his life 'Sievey struggled with alcohol problems before his death at the age of 54. He was virtually penniless when he died' (Youngs, 2019), the juxtaposition emulated by Sievey's alter-ego is very much an attribute I want to pursue when considering how the mask will be presented. Considering the initial idea of producing a series of comical situations replicating the societal pressures instilled on people in their 20s, the absurdity and juxtaposition reflected by each source of interdisciplinary practice, correlate with the initial interpretations and thoughts surrounding my future shoots. In addition, the 2014 movie Frank, fig.7, reflects the absurdity of the head accompanied by the mundane everyday activities generates a sense of sadness or perhaps a social commentary of fatigue to the perspective of life. Additionally, the head acts as a relatable persona for the audience, considering Goffman's theory of The Performance of Self, 1959, 'In line with this, there is the popular view that the individual offers his performance and puts on his show ' for the benefit of other people.' (Goffman,1959) the show exhibits the ideologies of persona development in accordance to the stimuli surrounding said person. Complementary to the personas reflected in fig. 4, 5 and 6, the use of masks further emphasises the ideas of alternative personas and performance which is prevalent in my current project. Thus taking inspiration from these interdisciplinary sources is paramount to the progression of the work but in also communicating the relatability of character within the narrative.
As I began to sculpt the paper-mache, I wanted to work on the prominence of the features which was missed in the prototype (fig.1), I decided to layer the paper-mache (fig.8) to ensure the features had a 3D element as well as add an factor of discomfort once the mask is painted. The exaggerated features, see fig.9, give an unsettling stare from the mask which when photographed should add an element of discomfort complimenting the topics sensitivities as well as a comedic value similar to the atmosphere created in fig.5.
Fig.8- Feature Layering, Nikita Meek, 2022
Fig.9- Facial Layering completed, Nikita Meek, 2022
The next steps of progress will be the hair, I have added these videos onto social media platforms Tiktok and Instagram asking the viewer for options of hairstyles to engage the audience. I have also considered beehive hairstyles fig.10, on brand with the caricature and exaggeration of the features.
Fig.10- Beehive flick up hairstyle, 1960s
Reference List:
Khan, S., 2020. Erving Goffman, The Presentation of Self in Everyday Life (1959). Public Culture, 32(2), pp.397-404.
Youngs, I., 2011. Getting inside the head of the man who was Frank Sidebottom. [online] BBC News. Available at: <https://www.bbc.co.uk/news/entertainment-arts-47570284> [Accessed 26 June 2022].
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