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Final Index

12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research

Idea 1

Idea 2

Idea 3

14. A Structure Within a Structure: Materials in the World

15. A Structure Within a Structure: Final

16. QCQ #4: Concrete Blonde

17. Memory of Spaces (Negative Impressions)

impression 1

impression 2

impression 3

18. Memory of Spaces: Research

Idea 1

Idea 2

Idea 3

19. Memory of Spaces: Final

C & R metals visit

QCQ #4: Concrete Blonde: A Probe into Negative Space where Mysteries are Created:

Quote:

"An authentic representation of architecture should also include time, as space is never inhabited in discrete and autonomous moments."

Comment:

I chose this quote as it made me confused the first time I read it, as my understanding of time in an art sense is through the lenses of my major, which is in animation. It involves a change in time, whether through a few seconds or years where the object or digital image physically (or digitally) changes in form. While some sculptures have this aspect as through mechanical means or the implementation of video/animation, the majority of sculptural or installation work lacks this quality, although it can change over time through the piece aging, it is widely out of the control of the artist how it changes. With something as simple as walking through a space, I did not really consider time, as for any meaningful change to occur, the person would have to sit in that building for years, even decades to see it age. As I read on, it more so means the perception people have of the space as they walk through it. I feel "time" in itself is misleading as the way a person views a space as they interact with it is to complex to describe as only time. The person can stay still, close their eyes, and depending on their own qualities (height and vision) it can drastically impact the way each person views a space, especially since spaces are much larger than sculptures, which are in my opinion the artist has more control over how it is seen than a large area.

Question:

Knowing that a building can take you through a journey depending on the architecture of the space, how can this be implemented in your own work so you can take the viewer in a journey over time as they see your work? Avoid using typical means of time in sculpture, such as video, animation, or through mechanical means.

QCQ #3- Structural Tension: The Art of Oscar Tuazon

Quote :

"Many contemporary artists, curators, and critics share the assumption that the physical alteration of an exhibition space amounts to an inherently devastating assault on architecture, whether understood as a specific critique of the institution displaying the work or as a more generalized criticism of architecture's position in the culture at large"

Comment :

This quote itself has me think of the challenge of architecture and structure in a space and how that related to art. I feel architecture is an in-between of art and engineering but when in a museum setting or buildings in general, subconsciously I see it as more of a design rather than an artwork itself. With this in mind, the architecture of a museum is not the art itself, but just the area where said art is displayed. It would be unfair then to limit the way an artist interacts with a space just because of the design of the building.

Question :

Knowing that architecture is the design of a building, at what point would you consider a space itself to be art rather than just a building? Consider that the space is not altered from its original constructed form (no paint, decorations, etc.).

Recollection of Play

20" × 36" × 4"

Playground sand, wood, wood stain, plaster

"Recollection of Play" recounts memories of my time at the park when I was a child. Memories that although distant, bring joy. As other things do, the playgrounds aged, and are weathered or some parts even replaced over the course of time. I aimed to collect different parts of the playground, some showing age with others being replaced or maintained, such as new swing chains or a rusty bolt. It made it so these areas felt familiar, but slightly off from how I remembered them. I found myself recollecting more and more about my childhood, and decided on partially burying plaster casts to emphasize the idea of memory, faded memory, and fossils.

Idea 3

Idea 2

Idea 1

Impression 3 - tile

Early on when I did not have a car I would sit near the entrance on a stool near this wall that has tile on it.

impression 2 - floor

One of my favorite memories in FIU was creating a video artwork with one of my best friends. It was choatic and the story made no sense but the sense of absurdism and joy I felt while creating it was impactful to a point where I will cherish it long after the project was made.

Impression 1 - car crack

When i got my car, this crack was already there. I never knew where it came from but have seen it get worse and worse over time. It is like a memory from the previous owner transferring to the current owner.

"Invasion of Privacy"

"Invasion of Privacy" is intended to respond to doorways, and how they are meant to seal a space away, where people would be unable to see the other side. As doors serve several functions I chose to examine an entryway. Entryways when closed seal the interior of a space from the exterior, being a simple form of privacy. By utilizing a large portions of scraps in this work, there is a sense of ruin that the door may have fallen apart over time, and its use as a door continously degrades. The materials also interrupt the viewers vision partially, changing the perception of the space behind the frame depending on how close or far they are. It is then dependent on the viewer to choose how much of the space they would like to see.

80" x 30"

Steel, wire, fabric, yarn

SPACES: MIDTERM INDEX

1. A Room: Research

Idea 1

Idea 2

Idea 3

2. A Room: Final

Video documentation

Photo Documentation

3. Artist Presentation: Research

4. QCQ #1: Dependent Participation

5. A Room Within A Room: Research

Idea 1

Idea 2

Idea 3

6. A Room Within A Room: Final

Video Documentation

Photo Documentation

7. Museum Visit

8. QCQ #2: Anarchitecture

9. Shelter / Dwell: Research

Idea 1

Idea 2

Idea 3

10. Shelter / Dwell: Final

QCQ #2: Gordon Matta-Clark’s Anarchitecture, by Erin Wallace

Quote: “Like Window Blowout, these actions directed symbolic violence at cultural institutions to radicalize them, insisting on art’s potential as a revolutionary force.”

Comment: To me, this particular quote was fairly interesting as it is something that I have noticed in art with the research I have done not only in my own practice but also in my art history courses. There seems to be this ongoing theme of how art itself can serve as a very strong political force. An artwork that immediately came to mind was “Guernica” by Pablo Picasso, as a response to bombings that took place there and how it affected the citizens. Politics always makes its way into the creative sector, but I feel art is stronger than with writing as it is able to connect with more people, crossing language barriers to send out a message that is much more universal than a written statement. This especially caught my attention as there have been multiple political artworks that I have seen recently in response to the ongoing political issues that are going on in the modern day. One of the more recent works relating to this is an artwork I saw titled “Under” at Art Basel that is a response to gun violence in America, where the artist, Maurizio Cattelan, fired different caliber weapons at this metallic American flag. I found it very impactful and took a picture while there and it is linked below.

Question: As current issues influence the creations of artists, I feel the political side can easily seep in, even when unintentional. Has your artwork been impacted by any political issues where you are trying to revolutionize against something? Even if not outright political, have you noticed works that are trying to push back against what is considered the norm?

Maurizio Cattelan, Under (2024)

Idea 3

This idea plays off of interfering with the light that is emitted from a lamp. Through the use of opaque materials, I aim to let through as little light as possible, making the lamp completely useless. James Turrell's Night Light: Dark Space (1989) is close to what I wish to accomplish, with a near total interruption of light.

Idea 2

This idea stems from doorways and draws inspiration from security doors. I will be creating a frame using rebar that will hold onto different pieces of fabric that are made to obscure your vision slightly yet you are still able to see through it. The frame will be in an interior space and uses the idea of curiosity to transform the space the person is looking through to. Chiharu Shiota's work "Tracing Boundaries" (2021) captures similar ideas to what I want to achieve expect the yarn would be on the inside of the door frame rather than the outside.

Idea 1

I will be exploring how the reflection of a person is impacted by using materials that distort reflection in some way, through color or texture. These segments will be attached to the rebar, which will serve as the frame for the pieces I will be using to distort the image on the mirror. Why i chose a mirror is since it connected to self perception if I mess with the image the mirror produces, I am changing the person's perception of themselves. I looked into the artist Graham Caldwell, which I feel served as a good example as he has multiple works that involve mirrors and is using similar materials to me, specifically metal.

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