Tuesday, February 20, 2018
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?
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.
"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.
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