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Final Portfolio Link

Link

Corners Final

My Kid

Materials: Needle felted acrylic wool/yarn, wire, and blanket

This piece was one of the most meaningful pieces of work I’ve made and delves into the subject of grief and love. Tributed to a little goat who I named Domino and was the caretaker of. In a way it also serves as a replacement memory for the last I have of him, a lonely and suffering and preventable death. His portrait is completed felted out of yarn I brushed out and felted out piece by piece, assuring every dot and marking. He is incredibly light and his body is fabricated of a blanket I formed to mimic my memories of him while sleeping. He is as light and invisible as air, like a ghost. In taking time to craft him I refamilarized myself with the features that made him so perfect and dear in my eyes and I poured every ounce of love into each needle poke.

Project #5 Index

1. QCQ #6: Corners

{One}

2. Corners: Research

{One}

3. Corners: Final

{One}

4. Basel Dump: Art Basel Visit

{N/A}

5. Final PDF Portfolio: Link

{One}

Project #4 Index

1. QCQ #5: Oscar Tuazon

{One}

2. A Structure Within a Structure: Line, Circle, Line

{One}

3. A Structure Within a Structure: Research

{One}

4. A Structure Within a Structure: Final

{One}

H/W Assignment #2: Corners (Prep)

Idea #1: Deals with grief/ bond we can make with animals/ comfort

Idea #2: Deals with self deprecation/ sealing ones self up/ growth

H/W Assignment #1: Corners: QCQ

Quote: “The grace of a curve is an invitation to remain. We cannot break away from it without hoping to return. For the beloved curve has nest-like powers; it incites us to possession, it is a curved “corner,” inhabited geometry. Here we have attained a minimum of refuge, in the highly simplified pattern of a daydream of repose.”

Comment: I think this is a rather good summary of the idea of a corner and it brings on some familiarity with it as well. For most of my life I have sought out and settled in corners, either as a source of comfort or protection. It allows to distance oneself from an overbearing crowd while also putting claims to a spot that feels comfortable. There is also the complete opposite of it when in a corner unwillingly, not able to share ones feelings, and having a sense of being trapped.

Question: There is also a thing I’ve noticed where more intimate items or pieces of furniture are placed in corners. In where I automatically place those things there because they fit into the little nook. Is this common practice among most people or are there very obvious examples that counter it?

A Structure Within a Structure: Final

Shed Skin

Materials: Steel, tablecloth fabric, medical gauze

A form growing past its intended purpose, in an isolated yet comforting environment filled with familiar parts; that is what simply Shed Skin is based on. The parasol itself is made of steel pieces, welded together. It's limbs are joined together with braided fabric, tassels and ripped up gauze, mimicking the growth of guts, blood and flesh its the skeletal frame. I decided to place it in an outdoor environment to give it a sense of an organic setting as it shapes and gains its new form. Meanwhile there's also fencing around the area to callback to its previous state. In its new home, it can be its own individual, taking its growth at its own pace out of sight and away from its intended purpose.

Positive Fragment’s Final

Traces

Materials: Plaster from Clay Mold, shoe imprints

Traces is a collection of many different pairs and pairs of some shoes I’ve owned. I have always liked to show off the things that are usually unnoticed and I believe that presenting these pieces on the wall rather than the ground does just that. When placing them upon the wall I tried to line up the pieces together as if they were some long gone mass, shattered. They remind me of land masses and continents, different fragments and pieces that were once united but now drift around with hinted connections. . .

Steel Bending Exercise

Project #3 Index

1. QCQ #3: Concrete Blonde

{One}

2. Negative Fragments: Clay Impressions I

{One}

3. Negative Fragments: Clay Impressions II

{One}

4. QCQ #4: Queer Phenomenology - Chapter I

{One}

5. Positive Fragments: Research

{One}

6. Positive Fragments: Final

{One}

A Structure Within a Structure- Ideas

One - Giant Key (+ ring?)

Two: Grandfather Clock Structure

Three: Overhead Parasol

QCQ- Between Art and Architecture

Quote:

“By the same logic if you took that pragmatic definition of autonomy and applied to to an object then an artwork can be autonomous. It can be its own space, it doesn't need a space. it doesn't need lights, a ceiling, heating, a floor, it doesn't need to be seen, it doesn't need an audience, it doesn't need you. The work became invisible; it disappeared. “

Comment:

I believe this quote was the one to help me understand further on the idea that an object can exist without a space. Usually when items are shown the area is taken into consideration and they usually serve some some of function. However with Oscar Tuazon's art his objects just exist. They don’t need to suit the environment nor a tailored function. In existing for themselves they are free.

Question:

Can an item truly live without function nor reason? Are there any examples of everyday objects or architecture that simply blends into its own environment, that is not interacted with or noticed.

Positive Fragments Idea

Idea #1: Fruit and Vegetable Basket (+ other foods?)

Idea #2: Human "Foot" Exhibition

Idea #3:

QCQ #4: Orientations Towards Objects

Quotes: “Things in their immediacy stand there as objects to be used, the 'table with its books,' the 'glass to drink from,' the 'vase,' the 'piano,' and so forth" (1969: 103). If Husserl is facing the writing table, then this "direction'' also shows us the nature of the work that he does for a living.”

“Objects, as well as spaces' are made for some kinds of bodies more than others. Objects are made to size as well as made to order: while they come in a range of sizes, the sizes also presume certain kinds of bodies as having" sizes" that will "match." In this way, bodies and their objects tend toward each other; they are orientated toward each other, and are shaped by this orientation. When orientation "works," we are occupied.”

Comment: I find it interesting how in depth the author goes in with these object, and person relationships. These objects and items all have some sort of pre-known connotation or meaning which can then clue us in the nature of their owners and things that are happening in the background. I don’t think however that these relationships set a straightforward path of character, rather they can help us wonder of their involvement and purpose in a persons life.

Question:

Negative Fragments: Clay Impressions II

Project #1:

Process

Removal

Project #2:

Process

Removal

Project #3:

Process

Removal

Negative Fragments: Clay Impressions I

QCQ: #3

Quote:

"House represents the interior space of a house synaesthetically, rather than conceptually."

Comment:

I think this quote pretty much summarizes the entire analysis. House appears to be a shell of a home, a foundation. It's so separated from intimate planning that it seems to be just another factory made copy. The detail itself is there of the past owners, it's memories. However they are entombed by concrete, a recreation of what once was. It makes the visual a bit unsettling since the casting rather than preserving the original material acts like a façade of it. I also think it's interesting how the discussion of the individually of houses of the past was brought up. Each house served a particular purpose, for the family that was going to make it a home. Every detail came into account and in modern housing they are all just clones.

Question:

Are there any other modern day structures/items that have lost their touch because of mass production? Maybe some that have been completely erased in prior meaning or use?

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