Project 2: Prosthetics

This second project runs with the character brief of a cult member who unknowingly holds an implanted key in the form of a sub-dermal body modification. Before getting started, our visiting tutor Dan Martin talked us through an abridged history of prosthetics.

First and forth-most, the correct definition of prosthetics: an artificial subsitute added onto the body, anything that does not modify an existing body and simply exists alone is a piece of figurative art. From here we taken through from 2750 BC to modern day in the invention, development and adjustment to the 21st Century in prosthetic art. There were a number of films that he mentioned, including 'Cannibal Holocaust' (1979) and 'Guinea Pig 2: Flowers of Flesh & Blood' (1985), that I'm definitely going to watch. Although outdated, they serve a huge importance in this art form and will hopefully inspire some ideas for future projects.

Following this, Dan Martin demonstrated the first part of the practical work: sculpting the prosthetic piece onto a sheet of perspex. Myself and Gray decided to pair up again, I'll be creating a piece for Gray's chest while he'll be working on a modification for my forhead.

Design-wise, I knew I wanted to use my own scripture alphabet that I created a few years ago. After filling up pages of possible words, I settled for '3 eye' as in 3rd eye - mainly for it's aesthetic as it gave off a feeling of alien runes. Below you can see the first stage of this process.

Above: Creating the sculpture to be casted.

I completed the first part within the day but it was a long process. Getting the thin layer to begin with was definitely the hardest. From there, things got easier and creating the skin textures using metal brushes was really interesting. My piece is now ready for moulding and casting on Thursday.

Above: Creating the mould.

To prepare the sculpt for latex moulding, we had to create 2 separate walls upon the perspex sheet: one small flashing trench made of Monster Clay and another, much thicker and taller wall, out of normal clay. Both had to allow for ease of mould removal which can be achieved by a sloping gradient within. Once these walls were complete, we gathered round for a tutorial on latex mixing and degassing. Unfortunately, due to technical difficulties with the degasser, we weren't able to make and pour the latex ourselves. Despite this, I've documented the process in my workbook.

Above: The Mould removed and cleaned.

Above: Casting the mould with protective layers and coloured latex.

Once the mold was removed we had a long process of preparing the surface and creating the silicone to pour in which would match the skin colour of the model. In my workbook I've taken a lot of notes on the use of an airbrush, cleaning the airbrush, preparing the surface and creating the silicone.

Above: Attaching the prosthetic and matching the skin tone.

The final step to the process was definitely the most intricate and challenging. Removing the mould without tearing the silicone, applying the prosthetic without any air bubbles or wrinkles and then painting the piece to match the skin - the final touches would make or break the outcome. Below you can see a final photo of the prosthetic sculpted upon Gray's chest.