AnasAbdin
styofa doing anything
KIROKAZE
I'd rather be in outer space 🛸
PR's Tumblrdome
trying on a metaphor
titsay
JBB: An Artblog!
RMH
noise dept.
Today's Document
i don't do bad sauce passes
let's talk about Bridgerton tea, my ask is open
Keni
oozey mess
Lint Roller? I Barely Know Her
Sweet Seals For You, Always
Andulka
Misplaced Lens Cap
Product Placement
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@mhfall2020
SELF-DIRECTED PRACTICE #2: FINAL
Sour Grass
MATERIAL:
Chair, Wine, Fruits
Sour grass, or woodsorrel, can be used to one's benefit. However, in large quantities it can be toxic. This intricately patterned chair, with its soft slopes and curves, is now drenched in this physical manifestation of toxicity. Sour grapes instead of grass. A rejection of femininity by the artist who, in spite of their proximity to it, can only find connection through trauma.
SELF-DIRECTED PRACTICE #2: FINAL
Sour Grass
MATERIAL:
Chair, Wine, Fruits
The aforementioned destruction.
SELF-DIRECTED PRACTICE #2: FINAL
Sour Grass
MATERIAL:
Chair, Wine, Fruits
More destruction.
SELF-DIRECTED PRACTICE #2: FINAL
Sour Grass
MATERIAL:
Chair, Wine, Fruits
The materials and chair, prior to their subsequent destruction.
SELF-DIRECTED PRACTICE #2: RESEARCH
DESCRIPTION: A short and simple stroll around, asking strangers if they hate me.
CONCEPTUAL INTENT:
This more to evoke some humor in my life than any particular sort of deep exploration of my feelings. Unwise on account of COVID, though.
SELF-DIRECTED PRACTICE #2: RESEARCH
DESCRIPTION: Similarly to the previous concept, but more specific; a floral-print chair is destroyed with fermented fruits, wine, and berries (all sweet and bitter).
CONCEPTUAL INTENT:
Rather than forcibly cut all ties to womanhood, the artist rejects that femininity which has closed the door upon their ability to connect to it. Using various food-related items, the artist unleashes the bitterness they experience in relation to the blockage in their psyche.
SELF-DIRECTED PRACTICE #2: RESEARCH
DESCRIPTION: Performance art involving the destruction of hyper-feminine articles of clothing, accessories, and other various symbols.
CONCEPTUAL INTENT:
By destroying objects, or articles of clothing, relating to femininity the artist presents to the audience a total rejection of convention. In performing this piece, the artist seeks to sever all ties to womanhood.
SELF-DIRECTED PRACTICE #1: FINAL
Ima Brownie
MATERIAL:
Felt, Yarn, Monks Cloth
Drawing from past experiences as a Girl Scout, the artist creates a badge representative of a milestone that, while associated with the "experience" of womanhood, draws attention the less than savory symptoms of womanhood or being perceived as one associated with it. In this case: predatory behavior. The child-like, minimalistic representation of a young girl as a hand reaches towards highlights this act. A thick, bright blue borders the scene and bright colors allow for the hand to pop out against the dark purple yarn beneath it— these high-contrast colors referencing the very same characteristic in traditional Girl Scout badges.
The artist asks the viewer what the worth of being a woman (or perceived as one) is if these are the milestones they are left to hold. A mark that one is indeed a woman, but at what cost.
SELF-DIRECTED PRACTICE #1: FINAL
Ima Brownie
MATERIAL:
Felt, Yarn, Monks Cloth
Despite, in essence, being a scaled-up piece of embroidery, the work still required tedious handling of the yarn and the monks cloth itself, which has loose weave and is more susceptible to falling apart if handled too roughly. Additionally, old Girl Scout patches were referenced so as to maintain the bright, cheery color palette.
SELF-DIRECTED PRACTICE #1: RESEARCH
DESCRIPTION: Colorful, large-scale embroidery that resembles a Girl Scout's patch.
CONCEPTUAL INTENT:
Utilizing the meaning behind a Girl Scout patch (something earned, to be worn with pride), the artist twists the meaning to reflect the unsavory milestones that many people, women-identifying or adjacent to the experience of "womanhood", are subject to in their lifetime.
SELF-DIRECTED PRACTICE #1: RESEARCH
DESCRIPTION: A draped costume piece with tendrils, organ-like bits, and a large eye-tongue combo.
CONCEPTUAL INTENT:
Making reference to a previous concept, the artist seeks to utilize body horror as a means to communicate what lies inside on the surface of the human body for all to see.
SELF-DIRECTED PRACTICE #1: RESEARCH
DESCRIPTION: A larger, plush continuation of the "self soothing tools" that had been previously developed.
CONCEPTUAL INTENT:
Through the integration of child-like phrasing and color, the artist seeks to draw upon their background in child education and art to create a work that can be understood from both the perspective of an adult and a child. Ultimately, the work addresses the shame associated with such accidents and attempts to make light of said shame in an effort to provide some level of comfort, just as a mother or literal blanket might.
FINAL PDF PORTFOLIO
LINK: [X]
PROJECT #5 INDEX
1. SELF-DIRECTED PRACTICE #1: RESEARCH 2. SELF-DIRECTED PRACTICE #1: FINALÂ 3. SELF-DIRECTED PRACTICE #2: RESEARCH 4. SELF-DIRECTED PRACTICE #2: FINAL 5. FINAL PDF PORTFOLIOÂ
TO REMOVE THE WORK IS TO DESTROY IT: SITE-BASED SCULPTURE: FINAL
PROGRESS PHOTOS
As the main subject of this work revolved around the act of bedwetting and the subseqeuent shame attached to it, fabric acquired from bedsheets felt appropriate to utilize towards the patchwork blanket. Further to this point, the hot pink bedsheets were sheets specifically involved in a recent bedwetting incident— the artist suffered from a manic episode that left them awake for roughly two days straight. The resulting crash from sleep deprivation led to the artist wetting their sheets. Thus, sparking the inspiration for this piece as a whole.
"If you're embarrassed of something, you should make artwork about it" is a sentiment that is often echoed by someone the artist knows, which also fueled the drive towards the usage of piss covered sheets and other bedding materials.
PROJECT #4: INDEX
1. TO REMOVE THE WORK IS TO DESTROY IT: SITE-BASED SCULPTURE: QCQ 2. TO REMOVE THE WORK IS TO DESTROY IT: SITE-BASED SCULPTURE: RESEARCH 3. TO REMOVE THE WORK IS TO DESTROY IT: SITE-BASED SCULPTURE: FINAL
TO REMOVE THE WORK IS TO DESTROY IT: SITE-BASED SCULPTURE : RESEARCH
DESCRIPTION: Loosely defined as a quilt— some sort of patchwork blanket with the text "Mom i peed the bed" across it.
CONCEPTUAL INTENT:
Through the integration of child-like phrasing and color, the artist seeks to draw upon their background in child education and art to create a work that can be understood from both the perspective of an adult and a child. Ultimately, the work addresses the shame associated with such accidents and attempts to make light of said shame in an effort to provide some level of comfort, just as a mother or literal blanket might.