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Final Index - Advanced Sculpture

6. Text-Based Sculpture: Research - 1, 2

7. Text-Based Sculpture: Final I

8.Text-Based Sculpture: Final II

9. Manifesto: A Collaboration:Research - 1, 2

10. Manifesto: A Collaboration: Final I

11. Manifesto: A Collaboration: Final II

Untitled

Blue water storage barrel (found object), metal, light

36 x 23 x 23 in

After finding a piece of a water storage barrel in the dumpster, we decided to make something of it. We wanted to complete the form of the rest of it and what it could've been. The form was extended through the use of metal, trying to keep the original dimensions of a real water storage barrel. We constructed it in a way to still be unique and although having its original dimensions, its form differs from a regular container. Inside of the container we created smaller versions of itself entirely through metal and having them decrease in size, almost like a Russian nesting dolls effect. At the top of the piece, the actual container has two holes that can act like peepholes for people to look in and see the structure from within as the light shines down on through. The blue container also contains drawings of the pipeline in Miami that becomes visible when lit.

Unsheltered

Comforters, bed sheets, thread, concrete, metal, plastic, collected garbage

Dimensions variable

For our collaborated work, Nicole and I wanted to create a space for viewers to experience. We both work with fabric and hand sewing frequently so we wanted to incorporate that material and process into this piece. This installation depicts a comfortable, welcoming, and clean tent-like structure from the outside. Once entering, the viewer is surrounded by garbage encased and shown tightly, almost as if closing in on them. Unsheltered comes from meaning a temporary place to settle, where one cannot sleep in or live. We wanted to shine light on homelessness and how they need to make almost anything they can their home in order to get around.

Final Index - Thesis 2

Introduce Yourself: Final

QCQ #1: Chapter 1. Notes on the Gallery Space

Independent Museum Visit Assignment

3 Works: Thesis Ideas- 1, 2, 3

QCQ #2: Chapter 2. The Eye and the Spectator

QCQ #3: Chapter 3. Context and Content

QCQ #4: Against Interpretation

Redo/Undo: Final

Independent Practice: Final

Manifesto: A Collaboration: Research

Idea 2

Complete the form of found object

Layer/ store/ package it inside

Connect both our sides through this piece

Manifesto: A Collaboration Research

Idea 1

Fabric Installation

Both work in fabric, metal, hand sewing

Bringing the outside in

Speaking on the topic of homelessness/ temporary shelter

The weight of my mind Metal, fabric, thread, rope, chain Dimensions variable The form of this piece came about from wanting to create my own version of an embroidery hoop. In the majority of my pieces, I tend to sew the fabric together or onto metal. I wanted to embrace the action of hand sewing and emphasize that through the gesture of creating an embroidery hoop. At first, this hoop was meant to be filled with text about the things I've journaled or written before when I feel "too much". After testing it out in different pieces, it felt, ironically, "too much" as if I'm trying to put so much onto something where it didn't work out. Through frustration and later acceptance, I decided to leave it blank and let the materials themselves speak on the feeling of when thoughts feel heavy to the point of feeling nothing but tension. Wanting a clear mind but never achieving it. This piece as a whole represents the weight I feel inside of my mind even when it feel like there's nothing.

QCQ: Against Interpretation

Quote: “In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. … By reducing the work of art to its content and then interpreting that, one takes the work of art. Interpretation makes art manageable, comformable.”

Comment: When it comes to interpreting artwork, it can have blurry lines. I believe there will always be interpretations for artworks, no matter what’s presented. Interpretations could be helpful and allow the viewer to appreciate or have a certain opinion on a piece, however the artists intention should not be ignored. Sometimes we can get caught up in interpretations and forget what’s really there, not really seeing the whole picture. Interpretations can add to a piece or they can subtract from it, depending on how the audience/ viewer decides to see it. Interpretations are bound to happen and should be welcomed as long as the artists intent is respected and acknowledged.

Question: How far have interpretations gone for your own artwork? Did it change the way you viewed it?

Moisés

Metal, childhood blankets, pillows, first baby toys, fabric, thread

70 in x 22 in x 36 in

Moisés came from the feeling of wanting to be cradled, held, and constantly wanting the presence of my mom around. I have always had a close relationship with my mother and I know that is something that will never change. As I get older I realize how much I wish I could be a child again and not feel the stress or problems of what goes on as we age. I asked my mother if I had a bassinet as a baby, she responded that both my sister and I did and were kept in her room. She referred to the bassinet as “moises” which is the Spanish translation of bassinet. I kept the title in Spanish to connect my identity and Hispanic background to the piece. Moises was created to fit me as an adult today. I can sit, lay, and move inside of the bassinet comfortably, adjusted to fit my entire body. Within the bassinet are my baby blankets and toys, comforter and pillows from a young age/ teenager, and sheer fabric to wrap the form. It is meant to encapsulate me, my past, and my presence.

“Dar A Luz”

Family household blanket, rust

Dimensions

For the text-based sculpture, I based it off a conversation I had with my mom discussing the piece Moisés. She brought up the phrase “dar a luz” which is translated to “ to give light” but through context means “to give birth”. “Dar a luz” is said when a child is brought into the world. This phrase is used in Spanish, Italian, and Portuguese to which I wanted to involve the subtle inclusion of my Hispanic background. With that, I used a blanket that has been in my household longer than I have been alive. This blanket gives me memories of my childhood and the nights/days I would spend as a kid with this blanket. Lately especially, I’ve been wanting to feel like a child again, having that comfort and security from my mother and not feeling the worries of today. I combined the recent conversation with my mom and the remembrance of childhood this blanket brings to make this piece. “Dar a luz” written on the blanket is done in my moms hand writing to which I then wrote in rust to further connect myself and my practice working in metal, really admiring the history of these materials and what they are to us. The relationship I have with my mother is so close, I wanted to keep a piece of her with me through this piece.

Untitled (Rust Painting)

Rust and Acrylic paint on canvas

18 x 28 in

While connecting the concepts of the pieces for Thesis II, Repetition of Constant Tension, I wanted to experiment in a medium I don’t usually practice with: painting. To paint entirely with rust was the motivation behind creating this piece. Since I mainly work with metal and welding, I wanted to incorporate that into a painting to keep them connected. I was thinking about the welding process in the way the metal burns and melts to fuse together but how in contrast burns can go right through the material. In this painting, burn marks are depicted and repeated around the canvas to show that repetition of that action through a different effect. It is coated entirely with the water in which the rusty metal pieces sat and bled out in. In the beginning for the first burn mark, I applied acrylic paint to create an outline, however it looked too harsh and was not following the intention of painting with rust. With removing the metal pieces from the jar of water, I was able to drag my paintbrush along the metal and create darker values for the other burn marks therefore softening the piece and emphasizing the original intention. The raw canvas itself (one used for clay and reclaim) was given to me to recycle to which I made a stretcher frame for it to keep appreciating the material overlay the canvas contained. I would like to continue paintings like this but for the future avoid acrylic entirely and continue experimenting with the beauty of painting with rust.

Process - Bassinet (Moisés)

Process - Rust Painting

In response to text sculpture:

Bassinet

The want of being cradled again

Feeling safe and secure like a child again, my mothers presence

Text Sculpture:

“Dar a Luz”

To give birth / To give light

Relating to a child

Light under a blanket to relate to the text but also the act of when playing as a kid.

MID-TERM INDEX

1. Radical Manifesto: Research - 1, 2, 3

2. Radical Manifesto: Final

3. Artist Presentation: Research 1, 2, 3, 4, 5

4. Radical Theory and Practice: Research 1, 2, 3

5. Radical Theory and Practice: Final 1, 2

Untitled (2023)

Concrete, chain, cheesecloth

Dimensions variable

This piece was made with the intention of being purely experimental. In my previous pieces, I have always hand sewn but for this work I used a sewing machine for the first time. With the sewing machine, I created these pockets/ pouches out of the cheesecloth recycled from previous pieces with the intention of placing something inside. I then decided to test how concrete and these pouches would interact with each other, testing if the pouches could hold the form of the concrete or not. After seeing how the concrete stays firmly in the pouches I presented them in a way where weight plays a factor. Subconsciously my mind worked around that subject of weight, the industrial, and even labor. Both the pouches with concrete and the pockets without anything in them were presented together, showing the duality of each and the possible continuation of pushing these materials as well as seeing where else they could go.

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