This goat artwork is inspired particularly by Greek myths. It is life-sized and is about the typical size of a swiss goat. This artwork is reminiscent of Picasso's goat. Here the form is more geometric and reduced and is a reminder of cubism and also the concrete patina alludes to the brutalist movement. 
The wolf and the goat are common motifs in the foundational mythologies and cosmologies throughout Eurasia and North America. Both wolf and goat have nurtured powerful mythological heroes in their infancy. Both Romulus and Remus suckled from Lupa and Amalthea raised Zeus the king of the Gods in some traditions she was portrayed as a goat. 
The totemic value of these creatures aided shamans to seek knowledge and transformed spiritual experiences into non-ordinary reality by identifying with the spirit of these creatures. These sculptures offer up a modern visceral urban folk myth. Craft is aided by technology to afford a new status by providing a new kind of perceivable reality, the non-physical digital reality.
MEDIUM: 300 micron Grey Card, PVA, Expanding Foam, Wood filler, Horns (3D printed PLA).
DIMENSIONS: 720 MM / W 215 MM / D730
ARTISTS: Paul & Mark Cummings
DATE: 21/06/2013
Goat and Wolf together, rear veiw.
Goat and Wolf together
This is the goat model in Cinema 4D. Showing simultaneously the polygon surface and the vertice lines. Here the polygons have been optimised to the desired number.
The goat was imported as an OBJ into 'Pepakura' and the exploded. The cuts for the pattern were ordered to help with assembly but also to consider the flow of the joins along the form.
The exploded polygons in ‘Pepakura’ are re-arranged onto 2D surface with flaps included. The pattern is re-arranged to maximise paper usage. This pattern is exported as an EPS and prepared in 'Illustrator' to finally be imported into 'Make The Cut', which enables the printer cutter to read the file
These are the patterns being cut into the card by the KNK Air Maxx. This model of a goat was constructed using 300 Microns Grey card, a reasonably stiff card but thin enough to cut in one cycle without having to over cut. It took three days to cut all the economically fitted patterns on eight A2 sized cards.
Pattern sheet for the ears and back of head, the pieces just pop out of the card the dotted lines only bend, there are two types of dotted cut, valley and hill, this speaks for itself
This is an assembled sheet for the lower neck. This shape is made from three pattern pieces
This is the assembly of the udder. A palette knife is used to apply the PVA and a hair drier is used to heat the glued area to quicken up the drying process. Scissors and knifes help to cut and shape backing that is used for extra strength
These are the two hind legs and the posterior of the goat, the masking tape has been applied to ensure the expanding foam does not leak oyt of tiny holes.
This is an example of how the expanding foam has set after it has been injected into the cavity of the head and neck.
The main body was pinned down to the table to stabilise the feet and correct the positioning of the goat before the foam was injected into the base. Preparing the model in all the applications at least a week. Overall physical construction takes about two weeks to complete. Filling and sanding take about a day.
Back to Top