The Art of Ashley Spriggs

A collection of my work at the University of Oklahoma (and hopefully beyond).

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Sculpture Scavenger Hunt, Part 2

1. Maquette

2. Organic

3. Perforated/Tactile

4. Radial

5. Relief

6. Scale

7. Symbol

8. Void

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Sculpture Scavenger Hunt, Part 1

1. Abstract

2. Assemblage

3. Axis

4. Contour

5. Dominance

6. Elegance

7. Fabrication/Kinetic

8. Geometric

9. Juxtaposition

10. Malleability

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3-D Drawing

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Dadaist Figure

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Scribblisms/Destroy-Build-Destroy

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Interior/Exterior Drawing

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Beginning Drawing--Midterm Assignment

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Beginning Drawing--Fractured Panorama

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Beginning Drawing--Space Drawing

original photo--initial attempt--final version

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Beginning Drawing--Observation in Graphite

final piece was accidentally obscured by charcoal; digital remake will be uploaded at a later date

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Beginning Drawing--Four Artistic Themes Discussion

Personal Themes

Personal themes are something I’m extremely interested in, if only as a vehicle for “venting” accumulated stress. Being able to focus on the self past material desires and pure vanity is a rarity in this day and age, and exploring personal themes allows one to explore their faults as well as their advantages. My approach to it would be rather loose and simplistic, as going any further than silly doodles can be frustrating and often exacerbates the sort of emotional trauma that prompts those doodles in the first place. Working with one’s personal experiences is also a fun medium for experimentation, a scratchpad where I can hack at new techniques while creatively justifying the possible drop in quality; the way I see it, a swift, almost crude methodology helps to show just how raw the subject matter is, how extreme the emotions that subject brings become when dragged back into the spotlight. Visual Communications sadly doesn’t leave much elbow room for personal flair when you’re learning the basics, but I imagine each design would include a small piece of the artist, a passion that transfers into the goals of the client. Full disclosure: I’m considering switching to a BA in Art, where I could better put themes of this caliber to use; without the restrictions a focused BFA program would bring, my full potential can finally be put to use, and I would be able express my life in more ways than one.

Narrative

Narrative is pretty much the crux of every creative thing I do. Even with still lifes, I draw/sketch/paint with a hidden story in mind--a stone fish resting on the star container crooning silently as a bird trapped in a children’s block stares in frozen joy, a fight between organic and inorganic realms taking place on a bleak Tuesday morning. First and foremost, I am a writer, and my lifelong dream is to tell stories of all kinds; art to me is an augmentation of that medium, where a picture is truly a thousand words, and I can write fiction without so much as putting words on the page. Actually implementing prose into picture, however, is rather difficult for me at the moment, and I imagine it will take a few more years of study and experimentation--mostly honing the basics--in order to get to the “good stuff,” so to speak. Sequential art would be the obvious route, but I would honestly prefer advancing to the point where I can convey raw emotion through pure hue, saturation, value, and composition. One of my all-time favorite examples of narrative themes used in art is Zachary Braun's Nature of Nature’s Art, an ongoing webcomic that explores society, evolution, creativity, and humanity through the lens of a burgeoning animal society; Braun depicts the ferocity of each character through “low-end" art programs like Oekaki and MS Paint, and the seemingly crude strokes and colors of the settings, characters, and even speech bubbles dramatically change the tone of each scene.

Fantasy

Stemming from narrative themes, fantasy is--and will likely always be--my escape from the distress of everyday life. I focus a lot on fantasy because, in all honesty, real life is just terrible; it’s a great (if not sometimes detrimental) way to distract myself from the severity of numerous s(h)ituations and provides plenty of inspiration for future work. Ironically, I think the best way of approaching fantasy is to draw from real life. The word verisimilitude describes believability and the ability of a piece to extend one’s willing suspension of disbelief; this generally requires a base level of realism and thus needs a healthy understanding of reality and how it works. And not in the sense of quantum mechanics or biochemistry (though if you’re a nerd like me, it’s a bonus)--more like “writing what you know,” so to speak. As with narrative, I’d need to develop a repertoire of visual language and skills in order to add to my work’s verisimilitude--as it is now, it’s within the realm of fantasy, just not believable fantasy. A really good example of a work with strong, engaging fantasy themes is Ian Everett’s Poppy, another ongoing webcomic that, like NofNA, uses an animal-based setting to tell its story; while not quite as optically energetic as NofNA, Poppy blends several real world concepts like quantum entanglement, radiation, and biology with magic to build a world that’s just different enough from our own to draw us in, but just similar enough to keep us coming back for more.

Ritual

Though I am not particularly religious or orderly, the concept of rituals has always intrigued me somewhat. Their true nature is paradoxical--they draw us closer and set us apart, they are utterly mundane and yet wreck us when they change too much, they keep us grounded and harmonious in the chaos of life. My work is itself chaotic, but only in concept and expression; the basic routine of devise-sketch-cleanup rarely changes, marred only by a growth (or stagnation) in skill. Graphic design unfortunately doesn’t have much wiggle room outside of standard practice unless the client wants something outside the box, but I can see exploring the very idea of rituals--what drives us to perform them, how much they affect us based on how we prioritize them, why some are more acceptable than others--in a visual piece. Depicting religious practices, fictional or otherwise, is a growing interest of mine; from a secular lens, seeing such devotion and the powerful, evocative, perplexing results it bears may lead me down the proverbial rabbit hole of self-exploration that gives me chills just thinking about it.

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Beginning Drawing--5 Previous Works + 5 Techniques

Works (from left-to-right, top-down):

“Gadsdino” (drawn in Photoshop ready to print)

Squid Chair (modeled in formZ for 3-D printing)

Colorized Stay In Lines (drawn with colored pencil)

Furcifer (drawn in Photoshop ready to print)

Custom Totem Pole (ceramic)

Techniques:

“Painting” with crayons using baby oil

Digital Graphite Drawings

Grayscale to Color

Aztec Art Style

Scratchboard Work

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Core III Video Assignment (Post-Critique)

In this version, I added several more tidbits and effects in the second half, in particular replacing the Seymour Skinner bit with the more varied “Owned Zone.” In addition, I fixed a minor sync issue involving one of the Bill Clinton heads, though as far as I actually could tell other sync issues weren’t so egregious they needed fixing.

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Core II Video Assignment (Pre-Critique)

Concepts> In 100 words, tell us how the video additions changed/added meaning or layers to your audio remix? Did you simply “describe” the audio with video or do you feel that your video choices added depth? (FYI, you were required to shoot for the later... ;)....). Simply, did you do a TRUE remix of simply mash up “things” that existed in your audio remix?

I’d imagine it’s a bit of both, actually. Initially the audio was meant to represent relationships and communication in its own weird way, but by using some of the video from the original clips, I’ve corrupted that meaning altogether. Now, it is an extremely tongue-in-cheek commentary on the current state of humanity and its advancements, as exemplified by the internet. It is meant to bewilder less online-savvy individuals while throwing bones to those who have grown up with the superhighway (including a few of my online friends, one of whom the video is named after). It is a kind of mashup, sure, but one that inadvertently remixes itself.

How did you construct/compose/structure all the parts of your video? In other words, how did you synch you video to your audio? What was the over all “vibe” you were going for?

Actually gathering the video parts was pretty easy! Just take clips of the video parts that each snippet of the audio was from, sprinkle in some gifs, and voila! Syncing proved to be much more of a challenge, as it was mostly eyeballing the clips themselves and lots of trial and error. The choppiness and the occasional delayed cues definitely fit the surreal guerilla-style editing that I usually veneer towards, though..

Following up on the above, what EDITING PACE/TIMING/STRATAGIES did you apply when considering the over all “vibe” of your audio remix?

Again, lots of back-to-back, hastily-synced clips and overlays were used. I tried to layer some portions to add to the surreality and emphasize effects in the audio (e.g. left-and-right images to represent sound panning).

Briefly, where and how (and to what effect conceptually or formally) did you apply COLOR CORRECTIONS? How did you manipulate or change video clips or pictures? Choose 2-3 clips or generally where you used theses to discuss.

The beginning clip was actually already compiled, just in mixes of color and grayscale--I had to apply a black-and-white color correction to make it all mesh properly. There was also a portion where I added a deep red to signify the anger of the audio and of the overall s(h)ituation. 

Briefly, where (and why, to what “effect”?) did you apply After Effects EFFECTS & PRESETSand filters? Or> If you used mostly “raw” (i.e. unchanged or modified) video or pictures, give us a good reason why you did not “manipulate” with the video clips? 

I used several masks to cut out bits and pieces of my clips to overlay onto other ones, which can be found peppered throughout the video. The “bass drop” portion in particular had a color correction, a “bloat” effect, and a shatter to again signify anger reaching a boiling point and bubbling over into pure insanity. Zooms, animations, and time stretching were also applied generously, but most clips were unaltered simply because I felt that their context generally got the message across alone, though I admit that may have been poor reasoning on my part.

Briefly discuss the successful elements of your work (both in form and content). What parts are working well? (You can base these thoughts on the feedback received at the critique)

I think the humor works really well (after all, I had way too much fun working on this) and the syncing is...adequate? Everything meshes decently given the subject matter, and this time the esotericism actually works to the video’s advantage.

Briefly discuss the elements that could be better in your work. List the things you need to improve/fix/change/work on to improve the work? (You can base these thoughts on the feedback received at the critique)

I definitely feel like the second half is weaker than the first and needed some effects--the 15-second shot of Principal Skinner is particularly egregious. I also think the syncing and the overall video could use some polish and a little je ne sais quoi to make it feel a little less monotonous.

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Visit Original Link

Core III Audio Assignment (Post-Critique)

In this version, I added more content and some “dialogue” between voices in the second half, and changed the very end segment to something that, while still not entirely seamless, fits the ending guitar better. In addition, some preexisting loops were tweaked, extended, and/or removed--there was an issue where I had apparently deleted a vocal track and had to readd it in, so if it sounds slightly different from before, you’ll know why.

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Visit Original Link

Core III Audio Assignment (Pre-Critique)

Synopsis> Minimum 100 words or more, what is your work about/dealing with/trying to say or do? Explain the content/narrative/idea.

At first, I thought the major conceit of this piece (if you could even call it that) was about recovery from a particularly bad relationship and one’s struggle with the emotions that come with it, but now I’m pretty sure it’s just dissociation/abstraction personified. However, if you pay close attention to the words actually being spoken, you can still pick up that message pretty well—some of it might be jumbled, but I think that’s common in real life, too. As I got through the song I realized it was also an homage to the internet goblins I call my friends (they don’t even live in the same state, shh). Either way, I think it’s a nice summation of who I am as an artist: constantly cheeky and incoherent!

Briefly, how did you use/apply a software instrument* (*required) and an audio sound you recorded yourself* (*required) in your work? And to what end/effect? 

I used a software bass instrument near the beginning to try and add some low, “rumbly” sound. (It didn’t seem to work.)

Where and how (and to what effect conceptually or formally) did you apply plug in’s/effect filters? How did you manipulate or change loops/sounds? Choose 2-3 to discuss.

Many prepackaged loops/audio snippets were chopped up and had some reverb, pan, and fade-in/out effects. I meant for the piece to have an air of dissociation and surreality to it--sometimes voices would actively “whisper” in your ear (tell ya somethin that they might like ta hear), other times voices would sprout up, warped and corrupted.

What audio structure/outline/layout did you use? Or better, how did you construct/compose all the parts of your audio? Remember “Pop music” formulas?

To be completely honest, there’s very little formal structure to this piece. Granted, there’s a distinct beginning, middle, and end, but transitions are abrupt and jarring. I did use a “bass drop” moment to vaguely transition from the beginning to middle, but that’s pretty much it construction-wise.

Briefly, how did you try to create/apply audio “space.”  Yes, this can be interpreted as creating a 3-dimensional space. Ex. How sound space is used in a movie theater. 

However, using the aforementioned pan/reverb effects, I tried to give some (but not all!) parts of the piece a sort of physicality to them.

Briefly, where/how did you apply/use The Holy Trinity (apply “other” religions if needed**) of Audio; 1. high end, 2. mid range and 3. low end/bass sounds and audio 4. textures?

The range of pitches are scattered throughout the piece through many of the voices I used, but I wouldn’t say there are very many textures in the song.

Briefly discuss the successful elements of your work (both in form and content). What parts are working well? (You can base these thoughts on the feedback received at the critique)

I personally really liked the beginning! It kinda fakes out the listener into thinking this is going to be a more down-to-earth song. I also like the fact that the piece does elicit some reactions, though it worries me that it’s too niche with the references it makes.

Briefly discuss the elements that could be better in your work. List the things you need to improve/fix/change/work on to improve the work? (You can base these thoughts on the feedback)

I also think I could better integrate the voices, improve the timing of certain clips, apply more effects and clips, add more spatial elements, and overall add more polish to the second half of the song. The tail end of the clip also desperately needs revising--the snippet just doesn’t mesh well with the rest of the song, and the reference is just too obscure to elicit a large enough reaction to warrant it.

[aspriggandrawsnear]

Had to go, 2017, made from wood, glue, nails, metal pipes, and found items, dimensions site specific. Written response under the cut:

“Wait, of course! The Arts! Beacon of the depressed and self-loathing!” --Ian Everett, Poppy O’Possum (see here)

When I first tackled this project--nay, when I first arrived at the visual arts school--I had no idea the number of “happy” accidents I would encounter on my journey. I find that this piece in particular sums up the whole experience, as well as my identity as an artist. At first glance, it looks like a giant mess--yarn, unopened clay, even an entire hacksaw. But that’s because it requires additional context, here found in the hastily scrawled note placed at the forefront of the pile:

“Had to go. Will be back later. Do not throw out sawdust or move anything.” --A.S. :)

Reading this note, one can infer a few things. For one, there’s apparently a use for sawdust aside from irritating your lungs and making the room absolute hell to clean up, and someone doesn’t like to share their space when they’re gone. More importantly, though, it implies that there was initially something more to this piece. And there was! At least two, three pages worth of notebook sketches and hours of planning, in fact. But, as anyone with eyes (or ears, if they decided to tap on the little chimes) can tell, very little of that appears here. 

Because the artist (20 guesses as to who it is and the first 19 don’t count) “had to go,” but they never came back.

And so the cycle continues.