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Self-Directed Practice #2: 90% of everything

Consumerism culture is a constant in most of the world. The accumulation of things starts early in life. Yet, 90% of everything we consume in America is produced overseas and shipped from across the world for local consumption.

Materials: White and black tape, plush toys, yarn Dimensions: Variable

Project #5: Index

1. Self-Directed Practice #1: Research

2. Self-Directed Practice #1: Final

3. Self-Directed Practice #2: Research

4. Self-Directed Practice #2: Final

5. Final PDF Portfolio

#project5index

Self-Directed Practice #2 - Idea

I’m exploring my relationship with my daughter’s through consumerism and this frantically sense of hording present in American culture. Material and ritualistic celebrations, such as Christmas and Hanukkah, were never conceived as events of consumption. The excuse of celebration transcends its spiritual meaning and becomes a capitalist organization of things.

Self Directed Practice #1 - Sofia’s closet

We live in a memory. A constant reconciliation of outside and inside stimuli. A process that requires consciousness to interpret and to remember what it’s and what it was. Photographer Hiroshi Sugimoto describes photography as the fossilization of time, but what about memory. Memory is plastic. Memory is constructed and sometimes fabricated.

As a father, I see how quickly my daughter is growing up. Yet sometimes I fail to see it clearly and with perspective. I feel that sometimes I’m also a few steps behind, reconciling her memory and the present. Trying to stich up my experience as a parent and her challenges as a daughter.

I decided to fossilize her closet in one photograph. Perhaps of not only hers, but a memory of what It could have been thought out the years.

Process and documentation:

Self-Directed Practice #1 - Idea

Drawing inspiration from Robin Rhode, I want to re-create my daughter’s room as a space defined by chalk and fabric. I’m interested in the exploration of the space and its experience through kinship.

Project #4: Index

1. Corners: QCQ

2. Corners: Research

3. Corners: Final

4. The Dialects of Outside and Inside: QCQ

5. Door - The Dialects of Outside and Inside: Research

6. Door - The Dialects of Outside and Inside: Final

A Pathway: Dialectics of a Threshold

Taking upon an infinite repetition, the dialectic of inside and outside images are blurred. A pathway, the entrance of one, can be the door or passage to another place. A space that argues about its symbolic condition of beginning and end. A personal reflection to mediate our introspective capacity of inside and outside.

Mirrors 16x20 carbon print

#16x20

Door: The Dialectics of Outside and Inside

I want to explore the condition of the door’s threshold in relation to the boundary and space it guards. This is done by setting up the dialectic that involves inside and outside. Thus, sets up its origin of our inquiry and intention. The inside/outside constrain becomes simply a personal observation. Since the threshold is constructed. Its meaning is imposed and evaluated with its use.

QCQ -The Dialectics of Outside and Inside

Q: “Precisely because of too much riding and too much freedom, and of the unchanging horizon, in spite of our desperate galloping, the pampa assumed the aspect of a prison that was bigger than the others”

C: This dialectic of inside and outside is in fact a set of preconceived boundaries we are accustomed to accept and obliged by. Yet, in this quote from Supervielle, while exploring the South American Pampas, comes to illustrate how can we experience an inside while in an absolute external space.

I believe this problematic is intimately related to our conscious interpretation of reality and the phenomenology of space. This can extend to multiple aspects of our experience, which in essence, is defined by our point of origin: When we are outside a space, we immediately become part inside another. Are doors the boundaries that define them, or are we the ones projecting this power of reason over ourselves? Q:How far can we travel to set us free from ourselves ?

Corners: Visible Drawer

Inside my corner

I don’t have neither a Quran, a Torah, nor a Bible.

I dream of night tables without drawers. A drawer only serves to obscure and bury already forgotten parts of me. Conceived as a junkyard of lost things, accessories to oblivion, they horde and collect my memories. They exist only to be trashed during the anxiety crisis of moving day. A space anchored in the past. Quick, as the inexcusable everyday solution for failure and ineffective organization.

They are the dark corners of the world. A temporary transit I avoid and inhabit.

Transparent drawer Transparency paper, plastic cement, dischargeable pan top, night table. 45cm x 85 cm x 20 cm

Process:

H/W Assignment #2: Corners 1

I want to explore a corner of memories. A representation of space constructed by images that inhabit it. Utilize its shadow to preserve its secluded nature. Construction of a corner of transparencies / cube of transparencies with images that have inhabited the intersection of lines.

QCQ: Corners

“For to great dreamers of corners and holes nothing is ever empty, the dialectics of full and empty only correspond to two geometrical non-realities. The function of inhabiting constitutes the link between full and empty. A living creature fills an empty refuge, images inhabit, and all corners are haunted”

Perhaps we can assume that corners are inhabited by memories. Memories that relate to their inception and the filling of space by ‘living’ creatures. They also exist because of their absence; their isolation in space.

The intersection of boundaries, in a way, guards these spaces, but also, protects the time experienced in them. A secluded space of introspection which permits an alternative view of things. An alternative conjugation of angles, a dream of reality and plasticity through another perspective.

What does it mean to go to a corner ? What does it imply to seek refuge from all and gravitate towards the haunted ?

Project #3:Index

1. Self-Directed Presentation: Research 2. QCQ #5: Concrete Blonde 3. Negative Fragments: Clay Impressions I (Final) 4. Negative Fragments: Clay Impressions II (Final) 5. Positive Fragments: Cast I (Final) 6. Positive Fragments: Cast II (Final)

Positive Fragments II

In an instance, the motion stopped. Immediately, millions of pieces flew into the air. What It was, was no more. Suddenly the flow came to a halt. The pavement was a broken puzzle in disarray. Then, a memory. Only eventful for those short 3 seconds. It changed everything. My crash and shrine. My collision and altar.

Tablet and altar. Cement. 75 cm x 25 cm. 42 cm x 20 cm Process:

Positive Fragments I

To experience what’s out there. Thousands of days, rays, night, showers, and hurricanes. To capture the bark that withstand the mighty wind from all directions in a silent resistance.

Bark. Plaster. 75 cm x 30 cm

Double Negative

Documentation:

Negative Fragments: Clay Impressions II Untitled 3

Tamed by the elements. Tired. Lost of all its glory. A little ripped, but still comfy enough to sit in. When the weather is nice and sunshine obliges.

Cushion. Clay.

Untitled 2

I usually use the baseboard to hide my interior imperfections. Sometimes I don’t know if it’s just the baseboard who needs those imperfections to exist or just me. Why should I only use one continuous line if multiple are never enough ?

Baseboard tablet. Clay. 1 m x 45 cm

Untitled 1

Untitled. Clay. 85 cm x 55 cm

Negative Fragments: Clay Impressions I

I started working with the premise of what it means to have access to places and things. Basing the search into the domestic and the communal space in my home, I started to create negative shapes of objects and structures that provide such concept: An access key

I had a very hard time getting the negative shapes I wanted. I struggle with this project and I feel I need better instruction of the clay.

Turning to the space’s access point, I looked to the patio gate. Instead of focusing on its lock, I decided to focus in ornamental nature, as a reminder of that it represents in the context of what it’s.

This brought me to explore other kind of access we have and create, unfortunately I was not able to portrait what I wanted. Utilizing the inspiration from Concrete Blonde I attempted to mold the negative space of a container box with its intricated crevices and spaces. The key provides access to the space, the home contains our space, the box contains our things

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