About Me
Wednesday, November 30, 2011
Monday, November 7, 2011
Wednesday, October 26, 2011
Tuesday, October 11, 2011
Relational Aestetics
http://www.youtube.com/watch?v=7yea4qSJMx4
i find this video to be a great interpretation of Rational aesthetics
i find this video to be a great interpretation of Rational aesthetics
Saturday, September 24, 2011
"uncle Ted" studio visit
Ariella, a 3rd year ID major here at Ringling, visited my studio to disscuss the two pieces i am focusing on for thesis. She was quite helpful when it came to talking about options for lighting on both pieces. I'm happy to report she challenged my ideas of presentation.
it helped to talk to someone who is educated in the area of interior spaces as i have chosen to do installation work. we were able to touch on connections between the works as well. Ariella was helpful in saying how universal each piece is, how each has their own medium but fall along the same patterns and shapes. So mixed media isn't causing any issues with the development of filling the space. she also said each of them elude to the next, creating a cycle in how you would view the pieces, coming back to each one with a more intuitive eye.
i feel this was a great success, and helped me talk about my work on a less critical level.
also i met with Paul and we visited each others studios. We chatted about possible set ups for my work in correlation to his pieces for our show in the spring semester. we are both feeling confident that our work can be put together in a harmonious matter. --i have lots of work to do, but setting up with be by far the most demanding part of my projects--
it helped to talk to someone who is educated in the area of interior spaces as i have chosen to do installation work. we were able to touch on connections between the works as well. Ariella was helpful in saying how universal each piece is, how each has their own medium but fall along the same patterns and shapes. So mixed media isn't causing any issues with the development of filling the space. she also said each of them elude to the next, creating a cycle in how you would view the pieces, coming back to each one with a more intuitive eye.
i feel this was a great success, and helped me talk about my work on a less critical level.
also i met with Paul and we visited each others studios. We chatted about possible set ups for my work in correlation to his pieces for our show in the spring semester. we are both feeling confident that our work can be put together in a harmonious matter. --i have lots of work to do, but setting up with be by far the most demanding part of my projects--
Tuesday, September 20, 2011
Group studio visit #1
Notes: Studio Visit
Using negative space and lighting
researching the self - self journey rebirth
building upon resin shapes - layering
3D forms will eventually become a drawing since I have stopped drawing
creating drawing through 3D form
will litho be structural along with 3D form?
litho vs drawing - it almost looks like drawing
repetition - feet on paper
adding the repititious work together - it will change
molecule-esque / growth
repetition w movement very important to process
repeating one motion
creating new experience with habitual repetition
conceptual + personal
what if you go away from flat plane? danced on 3D space?
research myself and make work worthwhile
experiment with traditional or other dance to see different steps on paper
performance more interesting than the finished image
sand box dancing in the sand box
sandstone
geology topography
eager to pump out forms and resin
i have been toying with the ideas of 3Dimentional verses 2Dimentional.
drawing has influenced this idea to expand to creating line with shadow, leaping from the bigger idea, whats real and whats the illusion. - i'm still refining this idea-
i will be using my 3d objects to cast values in shadow and light, projecting them onto the floor as a topographical mapping of my simulated ideas of the circle.
i'm also exploring harmonies connections between the circle shape and a cube or a square. the circle being the infinite nature of energies, and the square being this rigid flat planned surface. this is a unified balance between two opposites.
fascinating
Using negative space and lighting
researching the self - self journey rebirth
building upon resin shapes - layering
3D forms will eventually become a drawing since I have stopped drawing
creating drawing through 3D form
will litho be structural along with 3D form?
litho vs drawing - it almost looks like drawing
repetition - feet on paper
adding the repititious work together - it will change
molecule-esque / growth
repetition w movement very important to process
repeating one motion
creating new experience with habitual repetition
conceptual + personal
what if you go away from flat plane? danced on 3D space?
research myself and make work worthwhile
experiment with traditional or other dance to see different steps on paper
performance more interesting than the finished image
sand box dancing in the sand box
sandstone
geology topography
eager to pump out forms and resin
i have been toying with the ideas of 3Dimentional verses 2Dimentional.
drawing has influenced this idea to expand to creating line with shadow, leaping from the bigger idea, whats real and whats the illusion. - i'm still refining this idea-
i will be using my 3d objects to cast values in shadow and light, projecting them onto the floor as a topographical mapping of my simulated ideas of the circle.
i'm also exploring harmonies connections between the circle shape and a cube or a square. the circle being the infinite nature of energies, and the square being this rigid flat planned surface. this is a unified balance between two opposites.
fascinating
Friday, September 16, 2011
Friday, September 9, 2011
Response 2
Reading response 2
sep. 9th
Peter Halley’s “nature and culture” touched on some major points we are all dealing with as students in the art world. I see it everywhere, the seeking of nature in ones self has become a sort of way to discover a purity that we may have lost in these concrete jungles. The separation of man and nature is being analyzed by those who feel the benefit of popular demand – in doing this I see a trend through the cultural fad of being environmentally friendly. The fundamental idea of being green has a great status of being socially responsible for other beings. All of which is connected to the idea of nature and culture. They aren’t two separate factors; I don’t think they ever really were.
He talks about having “Soul” a decade ago, and having “soul” now: I don’t see a difference, only because he chooses to use the word “Essence” in both cases, which is a pretty generalized term. The only difference is before and after world war II, the seeking of ones lose of essence though existentialism and phenomenology, and before, one that had soul would play a role in returning humankind to its oneness with nature.
I see existentialism as a common denominator for most artists, we are looking more into why we are making work through self surveillance, maybe out of self indulgence, but I see some truth to work when its made from ones “soul” or “Essence” making it more valuable (to the artist and maybe a select number of viewers). And maybe it is more interesting if we all share a common idea between individuals. Nature and culture bring a unity between vast ideas and conceptions of the modern world, the art we are creating as fine artists mimic our opinions of what maybe happening in society, or our take on modern civilization, making it a conversation of politics.
In Benjamin’s “the work of art in the age of mechanical reproduction” touches on the purity of art and its authenticity, which will never translate the same in a reproduction. Although I agree with the “ritual” of working as an artist, the mechanical reproductions can be used more often in today’s society because of the economic factor of affordability. But what is your art geared towards? And what does that matter? By popular demand we are expected to create a marketable product which can sell to the modern day target market—is this important in the creation of your work? Should it be? These are all questions I tend to ask my self during this kind of read. I cant seem to answer them myself, but from my experience here at ringling, none of this is taken into consideration when making work. From what I have seen, fine arts couldn’t give a damn if it were a marketable product, which makes me wonder if past masters have ever considered this before.
Before advertisements were digitally imposed, what were the choices behind making work that could sell, or did they even care to sell it.
Its doubtful
the richness of the work doesn’t come from the ability to sell the work, it comes from the essence of the artists choices and decisions in a visual format.
sep. 9th
Peter Halley’s “nature and culture” touched on some major points we are all dealing with as students in the art world. I see it everywhere, the seeking of nature in ones self has become a sort of way to discover a purity that we may have lost in these concrete jungles. The separation of man and nature is being analyzed by those who feel the benefit of popular demand – in doing this I see a trend through the cultural fad of being environmentally friendly. The fundamental idea of being green has a great status of being socially responsible for other beings. All of which is connected to the idea of nature and culture. They aren’t two separate factors; I don’t think they ever really were.
He talks about having “Soul” a decade ago, and having “soul” now: I don’t see a difference, only because he chooses to use the word “Essence” in both cases, which is a pretty generalized term. The only difference is before and after world war II, the seeking of ones lose of essence though existentialism and phenomenology, and before, one that had soul would play a role in returning humankind to its oneness with nature.
I see existentialism as a common denominator for most artists, we are looking more into why we are making work through self surveillance, maybe out of self indulgence, but I see some truth to work when its made from ones “soul” or “Essence” making it more valuable (to the artist and maybe a select number of viewers). And maybe it is more interesting if we all share a common idea between individuals. Nature and culture bring a unity between vast ideas and conceptions of the modern world, the art we are creating as fine artists mimic our opinions of what maybe happening in society, or our take on modern civilization, making it a conversation of politics.
In Benjamin’s “the work of art in the age of mechanical reproduction” touches on the purity of art and its authenticity, which will never translate the same in a reproduction. Although I agree with the “ritual” of working as an artist, the mechanical reproductions can be used more often in today’s society because of the economic factor of affordability. But what is your art geared towards? And what does that matter? By popular demand we are expected to create a marketable product which can sell to the modern day target market—is this important in the creation of your work? Should it be? These are all questions I tend to ask my self during this kind of read. I cant seem to answer them myself, but from my experience here at ringling, none of this is taken into consideration when making work. From what I have seen, fine arts couldn’t give a damn if it were a marketable product, which makes me wonder if past masters have ever considered this before.
Before advertisements were digitally imposed, what were the choices behind making work that could sell, or did they even care to sell it.
Its doubtful
the richness of the work doesn’t come from the ability to sell the work, it comes from the essence of the artists choices and decisions in a visual format.
Saturday, September 3, 2011
working with some new techniques in printmaking.
this year has really allowed me to consider applying a direct approach to my work. i have always taken pieces further than one sitting, and now i feel as if it maybe possible to work efficiently with an accumulative process.
repeating small acts and finishing pieces that can make up an even lager piece.
-an idea i'm working on
Friday, August 26, 2011
Thursday, August 25, 2011
Jr. Show- 2010 "Tape forms"
Scotch Tape Forms
my Jr. class put on a show at the end of the year (May 2011) for final evaluation. my most successful was my floating tape forms that took on a cloud like shape. it lost all means of being scotch tape.
Spiraling off of this i plan to make a mold, so reproducing parts will be more efficient & much more exciting process.
Wax will be used to make the circular shapes and the silicone mixture will be poured around them to become the mold. i will use molding resin to hopefully create a similar look with the transparency as the tape does.
Spiraling off of this i plan to make a mold, so reproducing parts will be more efficient & much more exciting process.
Wax will be used to make the circular shapes and the silicone mixture will be poured around them to become the mold. i will use molding resin to hopefully create a similar look with the transparency as the tape does.
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