Making Masks

1.       Upload the three (3) inspiration images to your Blog (or link to your Photobucket account). Explain why you selected the inspiration pieces.

                I chose all of these pieces because I found the Yoruba crown mask depicted on p. 421 interesting, so I wanted to see more examples. I liked the references to ancestors and the idea that wearing the piece brings the king closer to his ancestors.

2.       Include the analysis and description (art criticism steps) of the three (3) inspiration pieces.

Mask 1:

                Description: This mask is decorated with a variety of multi-colored beads. Rows of abstracted faces stretch from the bottom to the top. At the very top is a beaded bird. Below the bird is a kind of base made of alternating rows of white, black and gray beads. Strings of beads hand down from the bird, and from the base of the crown/mask.

                Analysis: The piece is balanced by the symmetrical representation of the faces. Repetition is used in the alternating rows of faces. Contrast is used by alternating light and dark colors. Form is seen in its conical shape and the beads provide textures.

                Interpretation: The faces most likely represent the king’s ancestors and the bird is likely one of the Our Mothers. Wearing the crown mask connects the king to his ancestors and the Our Mothers

                Evaluation: The intricate beadwork and vibrant colors are eye-catching. There is little beading to cover the king’s face, however, as seen in the example on p. 421.

Mask 2:

                Description: This mask is also decorated with a variety of multi-colored beads. There are 2 abstracted faces in the middle, one above the other, and slightly different in color. The noses and eyes of the faces project outward. To either side of the faces are a series of interlaced oval shapes. Above the oval shapes are a series of white square/diamond shapes. The bottom is trimmed with a series of alternating triangular shapes (black & white). At the top, again, is a beaded bird with fringe hanging down and, beneath that, what appears to be some abstracted, doll-like figures.

                Analysis: This piece makes much more use of geometric shapes and patterns than Mask 1, and less use of the face motifs. There is also much more diverse use of color – some with vivid contrasts and others that more subtly blend into each other. The protruding eyes, noses, and doll figures also show greater use of texture. Balance can again be seen in the largely symmetric arrangement.

                Interpretation: The faces and doll figures again most likely represent the king’s ancestors and the bird is likely one of the Our Mothers. The interlacing oval shapes may, like a circle, represent infinity – with no end or beginning to the connections between the king and his ancestors. The king and his ancestors are one.

                Evaluation: To me this is a more complex piece than the first, more abstract in its use of the geometric shapes.

Mask 3:

                Description: This piece was described as a full body covering or egungun. At the top is a cap decorated with multi-colored beads, forming a number of triangular shapes. The upper half of the body is again covered with beads forming a variety of triangular shapes over fabric. The lower half of the body is covered in flowing strips of a variety of designed fabrics: many are floral, some have more geometric shapes, some are repeated and some are unique.

                Analysis: This piece makes heavy use of triangular shapes of a wide variety of colors. Some are pointed in a variety of directions, some are combined to form diamond shapes. The textures contrast between the beading and the fabric.

                Interpretation: The egungun would be worn as part of a religious masquerade https://sohe.wisc.edu/research-development/textile-collection/textile-resources-2/featured-textiles-collection/cataloging-mystery-yoruba-egungun/ . The exact meanings of the parts of the piece are often meant to be secret, something the maker would ascertain through a kind of religious experience. The covering is meant to evoke the power that comes with the mystery of the afterlife.

                Evaluation: This piece gave me a different perspective and inspiration in its use of cloth. Though balanced, it doesn’t attempt to be symmetrical either.

3. Upload images of your sketches and finished piece.

4. Explain how you used the Elements and Principles in your finished mask.

                I combined elements and principles from the three inspiration pieces and your suggestion regarding the use of collage. I didn’t have any beads, but I tried to incorporate different textures by using paper and cloth. The piece is fairly symmetrical and balanced through the use of images on both sides of the midline of the piece. I incorporated actual pictures of my ancestors, emphasized through central placement. I also added images of Italy and Germany, where my ancestors came from. I used colored fabric for the background as well as strips (pattern) that would cover the face. I used pink and blue fabrics given the symbolism those colors have regarding gender (male and female ancestors in our society), as well as the more neutral yellow.  I incorporated eye shapes to represent the eyes of the ancestors, as well as the bird motif from the inspiration pieces. My grandmother taught me to recognize the calls of the birds depicted – I emphasized their colors with the use of colored pencils. I emphasized the robin at the very top as a sign of spring/rebirth.

5. Share your opinion of your finished mask and what you thought about creating the mask.

                I had to rush to get it done, given that I was late. I wish I’d have had more time to do a better job with it. Rather than the “power” image that the masks have in the Yoruba culture, I liked the idea that it gave the wearer a connection to the ancestors – that you could literally carry them around with you.