Kingmaker by Enrico

Throughout legend and history, there have always been those born to be king. There have also been important women who, although not king, were instrumental in the ascension of the king to his throne—these are the Kingmakers. The Enchanted Doll I propose is an ode to all these kingmakers, both imaginary and real. This Kingmaker, however, is inspired by the most famous of them all—the Lady of the Lake , who bestowed upon King Arthur the legendary symbol of his kingship—the sword Excalibur. Upon King Arthur’s death, Excalibur was cast into a lake, to be safe guarded by the Lady of the Lake until the day when a new king worthy of the sword came again.

The Kingmaker’s back is tattooed with the heraldic symbols of a mighty kingdom, inspired by the main elements on the coat of arms of England—the country of Camelot (see picture of concept sketch). In the Kingmaker’s hands, she holds a silver cast, filigreed sword with garnet/ruby cabochons (see picture of concept sketch). The ED version of the sword should be done in delicate filigree, as the delicacy of the Kingmaker’s sword will be a symbol of its mythic inspiration.

( NOTE ON PICTURE ATTACHMENTS: As I do not know the first thing about casting, if it is too difficult to make the sword in filigree, the concept sketch of the sword can be used as a tattoo for the front side of the body, with the sword handle starting from the breast bone, and the tip of the sword blade ending right above the pubic area.)



Helena--The Daughter of a Gold Addict, better known as the Daughter of King Midas by Enrico

Contest Concept Pitch (a partially gold plated ED): This proposal explores the idea of how the addictions of a parent can cause irreversible emotional scarring on a child. In the classic myth, Midas was a king granted with the power to turn anything he touched into gold. High on his power, he unwittingly turns his beloved daughter into gold. As a child, I was relieved to learn that the daughter was eventually turned back to human form. However, I wanted to capture that moment of betrayal as the princess begins to turn into gold--that singular moment when she finally understands that her father is truly the greedy monster that everyone has been telling her he is. Unlike in myths, in real life parents don't always get do-overs. I imagine that even after she was turned back to human form, the experience will forever affect the lens by which she views her father and gold.

Note on face paint: Her face and eyes should capture ithat moment of shock, disappointment and realization that she is being harmed by her father's avarice--a thing she never thought possible.

Note on costume and name: Although the original myth takes place in ancient Greece, I thought it would be more fun to dress her in an Empire (Empress Josephine Bonaparte) style dress of the late 1700's/early 1800's--which was inspired by classical Greek silhouettes. As for the name, I don't remember her being named in the Greek myth but decided to pick a name that was popular in the 1800's and would still be a nod to its Greek origins.

Artifice and Allure by Enrico

In an age of ipads, texting, facebook, and twitter, is our ability to actually connect with a person becoming subsumed by the allure and convenience of technology? Is our sense that we are connecting with friends, really just artifice—a sense of something real that isn’t really there? This E.D. explores and poses these questions. The idea is for a fully fired, but unpainted E.D., with the mid-section of the torso cut away to reveal a silver cast robotic spine and hydraulics, and a jewel heart/power source. By cutting away the torso, it also exposes the mechanics of the doll making process by showing off (rather than hiding), the tension springs used to string the doll together. Although the doll is unpainted, in her hands she holds a face mask, which is a fully painted E.D. face—a metaphor for the need to keep a human face on technology.

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Copyright © 2011 Marina Bychkova.