Power of Place Proposal

I am inspired by female artists, such as Eva Hesse and Carrie Moyer for the way they stretch their materials, and create layered compositions. Using acrylic paint, I will fill the space with repetitive lines that overlap. The floors will also be incorporated using the same line work. The importance of this line work is to create an overwhelming experience for the viewer to engage with. I have included images of the space before and after the installation. I have also included the color palette that will be used. 

Historical Installation

Location: Palm Garden
Sharpie on fabric

Inspired by the history of the use of the Palm Garden during Henry Flagler's time, I created a drawing using a tablecloth. Dinner parties were hosted in the Palm Garden often. I created a map-like illustration, combining elements such as hats and other clothing items with serving ware (tea cups) to speak on the guests and their interactions with the workers. The dotted lines represent the different paths the guests and workers followed. I used a pink marker to represent the workers, and black line for the guests.

Research:
Graham, Thomas, Mr. Flagler's St. Augustine, University Press of Florida, 2014.

Images from the Archives

Spell of the Senuous #5

"As we have already seen, the process of learning to read and write with the alphabet engenders a new, profoundly reflexive, sense of self. The capacity to view and even to dialogue with one's own words after writing them down, or even in the process of writing them down, enables a new sense of autonomy and independence from others, and even from the sensuous surroundings that had earlier been one's constant interlocutor." (page 112)

In response to this passage, I decided to embroider, thinking about language, as well as the experience of communication. I chose to use to works "speak", "vous parlez" (you speak in french) and "listen". I used recycled canvas with green paint, which I thought went well with the writing because of the spontaneity that language can hold.

Spell of the Senuous Responses

Spell of the Senuous #1

"'Ancestor worship,' in its myriad forms, then, is ultimately another mode of attentiveness to nonhuman nature it signifies not so much an awe or reverence of human powers, but rather a reverence for those forms that awareness takes when it is not in human form, when the familiar human embodiment dies and decays to become part of the encompassing cosmos.
      This cycling of the human back into the larger world ensures that the other forms of experience that we encounter...are never absolutely alien to ourselves." (page 16)

For the first response, I decided to draw with marker in response to the passage. I was inspired by the words I read and created a drawing that reflected my thoughts while reading. I started by drawing the plant growing from the skull, and added the quote because I am interested in typography.

Spell of the Senuous #6

"In indigenous, oral cultures, nature itself is articulate; it speaks. The human voice in oral culture is always some extent participant with the voices of wolves, wind, and waves --participant, that is, with the encompassing discourse of an animate earth. There is no element of the landscape that is definitively void of expressive resonance and power: any movement may be a gesture, any sound may be a voice, a meaningful utterance," (117)

I started this response by using a canvas I stretched myself. I first dyed the canvas with wine and ink. I wanted to add to the surface, and this passage resonated with me, so I responded by making marks with acrylic paint and embroidery. I enjoy incorporating different materials within my practice, and  this is one of my favorite responses. For me, the marks resemble the human voice and the marks can be read like gestures.

Long Term installation indoors

Artist Statement

My recent work is a reflection of identity based on the human fingerprint and other visceral evidence. In response to patterns and rhythm in nature, I create organic forms through the use of repetition and mark making. My work is process based, starting with a simple intuitive mark and expanding into something completely new, eventually establishing an order. 

I started with the idea of the fingerprint, relating to personal identity. I was also thinking about the layers of personality, and what makes up a person's life. I experimented by dying rice paper, and then using an exacto knife to cut the paper in repeated order. I transformed these two dimensional surfaces into a three dimensional sculpture. 

This is an older drawing from Contemporary Drawing practices that I had archived (2016); It correlates directly with my current work

Outdoor 30 minute installation

For my 30 minute outdoor installation, I was inspired by a previous assignment in Contemporary Drawing Practices, ephemeral marks in the landscape. Using shells found on site, I created a drawing within the landscape. As I was making the drawing in the landscape, people were walking by, intrigued by what I was doing. I really enjoy responding to my environment, and I liked how it was directly related to the environment by using components of it.

Indoor 30 minute installation

Materials Used: Plastic and wire hangers (found object)

For this installation I decided to use an array of hangers to play with the idea of chaos, consumerism and identity. I hung the hangers from the ceiling to create an environment that conveyed a sense of clutter, without the clothes that normally occupy the hangers. Layering is an aspect that shows up a lot in my work, and I enjoyed the layers the hangers created in space. There is a tension between chaos and order that is prevalent throughout my work. Where do they meet?

Spell of the Sensuous #3

"Although contemporary neuroscientists study "synaesthesia" -- the overlap and blending of the senses -- as though it were a rare or pathological experience to which only certain persons are prone, our primordial, preconceptual experience, as Merleau-Ponty makes evident, is inherently synaesthetic. The intertwining of sensory modalities seems unusual to us only to the extent that we have become estranged from our direct experience."
"Nevertheless, we still speak of "cool" or "warm" colors, of "loud" clothing, of "hard" or "brittle" sounds. The speaking body readily transposes qualities from one sensory domain into another, according to a logic we easily understand but cannot easily explain."

I decided to respond to this writing with a watercolor piece that displayed a nose and a mouth. Focusing on color to represent the senses -- smell and taste, I blended blue and red to depict the 'blending of the senses' Abram refers to in the reading. Using "warm" colors, I represented this phenomenon that our senses blend together in ways in which we cannot easily explain. This idea is very intriguing to me, and it was fun to respond to my own senses in my process.

Spell of the Sensuous #2

"The encounter with other perceivers continually assures me that there is more to anything, or to the world than I myself can perceive at any moment." Page 39 

I was given a National Geographic calendar that features your typical landscape image (Similar to your default Mac desktop). I wanted to combine different elements in each months' photo to create my own surreal, idealized landscape. I used layering to bring a few of the images together in order to speak on my perception of the world, and to appreciate my experiences with nature. 

While adding my marks to the calendar, I thought about the juxtaposition of the man-made, structural world and the natural world. It was interesting to think about having a set schedule versus being out in nature with the sun and moon being the only real indicators of time.