(Thoughts in sketch-form from the last post).
Monday, April 16, 2007
Okay. So far I have gotten together most of the materials I need for this final project.
Ceramics:
I found a bunch of green ware and broke it, then I drilled holes in it for the twine I'm going to used to suspend it. They've already gone through their first fire, and I plan to glaze then with a clear coat to give them a more polished feel. I am a little conflicted about whether I should glaze them or not, so I did a few tests and they are waiting to be fired right now.
Printmaking;
I collected a bunch of used zinc plates and drilled holes in them tonight. I also collected some more ink rags. There was somone working on their printmaking final so I should have more materials
to work with tomorrow. I still have to email physical plant about whether I'm allowed to expose the pipes above the ceiling tiles and suspend these plates from them--I hope I can since It will add to the industrial feel of this installation. I also need to buy some thick fishing wire or actual wire. (I'll probably try to get the latter for aesthetics). Stanely, the man who runs the wood shop, told be I could melt the nylon in the wire so it will expand a hold the objects I'm suspending--which would save me a lot of time not having to tie everything.
Painting:
I tore up strips of canvas and left one in the workspace of each of my classmates. Tomorrow morning I'm going to ask them to wipe their brushes on them, or throw them under their easels to catch the paint. In our studio, the defining characteristic is the floor, and I want to use the same chaotic beauty the floor holds from years of painting classes and draw the viewers attention upwards. The installation will reflect the floor in it's last days, both literally and symbolically. Again, I'll suspend them over the floor of the painting studio.
Photography:
I ran into a hitch with this installation--I fully intended to install everything tonight, but when I went to staple the negatives into the wall, I discovered the wall was actually painted glass--not dry wall. I talked to Stanely, and he said to get the design I want without having glue from a hot glue gun show through, I'd have to get gummy apoxy. I'm going to stop by Granville lumber tomorrow and see what they have.
(You'd think I would have checked to see if the space on the right was glass.)
Sculpture:
I took a bunch of pictures of this area today. I don't really know what I'm doing here yet. There aren't a lot of scraps, but we start rubber molds soon, so maybe I'll become inspired.
Ceramics:
I found a bunch of green ware and broke it, then I drilled holes in it for the twine I'm going to used to suspend it. They've already gone through their first fire, and I plan to glaze then with a clear coat to give them a more polished feel. I am a little conflicted about whether I should glaze them or not, so I did a few tests and they are waiting to be fired right now.
Printmaking;
I collected a bunch of used zinc plates and drilled holes in them tonight. I also collected some more ink rags. There was somone working on their printmaking final so I should have more materials
to work with tomorrow. I still have to email physical plant about whether I'm allowed to expose the pipes above the ceiling tiles and suspend these plates from them--I hope I can since It will add to the industrial feel of this installation. I also need to buy some thick fishing wire or actual wire. (I'll probably try to get the latter for aesthetics). Stanely, the man who runs the wood shop, told be I could melt the nylon in the wire so it will expand a hold the objects I'm suspending--which would save me a lot of time not having to tie everything.
Painting:
I tore up strips of canvas and left one in the workspace of each of my classmates. Tomorrow morning I'm going to ask them to wipe their brushes on them, or throw them under their easels to catch the paint. In our studio, the defining characteristic is the floor, and I want to use the same chaotic beauty the floor holds from years of painting classes and draw the viewers attention upwards. The installation will reflect the floor in it's last days, both literally and symbolically. Again, I'll suspend them over the floor of the painting studio.
Photography:
I ran into a hitch with this installation--I fully intended to install everything tonight, but when I went to staple the negatives into the wall, I discovered the wall was actually painted glass--not dry wall. I talked to Stanely, and he said to get the design I want without having glue from a hot glue gun show through, I'd have to get gummy apoxy. I'm going to stop by Granville lumber tomorrow and see what they have.
(You'd think I would have checked to see if the space on the right was glass.)Sculpture:
I took a bunch of pictures of this area today. I don't really know what I'm doing here yet. There aren't a lot of scraps, but we start rubber molds soon, so maybe I'll become inspired.
Sunday, April 8, 2007
My Final Project is Garbage. Literally.
For my final project, I intend to install 5 artworks--one for each discipline in Cleveland. This project is reasonable to complete before finals week because I'll be using found objects in the building to construct each installation. I will be using scraps, garbage, the negative of art. I will create new installations from the leftovers of everyone's simultaneous projects during Cleveland Hall's last days as it is now. Each installation will occur in the area where the work is completed. I will take dissonance of everyone's project and construct it into a harmonious work. It will become my own through appropriation, structure, and design.
I have already formed ideas for each discipline and begun collecting objects.
Ceramics:
For this department, I'll be taking the leftover bisque wear and break it into pieces. I'll drill holes in it after it becomes bone dry. I'll then fire these pieces, and possibly glaze them. If I do glaze them, the colors I choose will be on the basis of what people leave out in the glaze lab, and not an arbitrary color I myself pick. I will then suspend these pieces in the shape of the arc in front of the door (shown below). I think I'll have to suspend them from a pipe, since the archway itself is brick, but I plan to follow the curve of the ceiling. The breeze from the door should make the ceramics chime, and this way I will have a visual and musical element that can play off the senses.
Printmaking:
I have never taking a printmaking class at Denison, but I am stunned at some of the aesthetic elements that are around the studio space for this discipline. I am most drawn to the zinc plates and used ink rags. I want to suspend them around a light bulb in the corner of the printmaking hallway. The plates are already partially engraved, and I want them to be low enough for people to see the detail but out of the way so that if they happened to fall they wouldn't hurt anyone. I don't think drilling in them would be too much of a problem, since they're so soft. I might remove the ceiling tiles to suspend them, and attach them to the exposed pipes. I feel the aesthetics of the bare ceiling would work better with the pipes and create an industrial feel, which would be softened by the light and the ink rags.
Photography:
For this department, I want to take the negatives, test strips, and other paper scraps from the independent study on archival processes, and use them to make a collage in the space next to the photography professors door. I think the collage will have a three dimensional feel to it--I will not paste everything flat. The space I want to use is a blank white wall framed with molding. The negatives are for contact prints, so I should have enough to fill the space.
Sculpture:
For this space, I am still undecided as to what I'll be using. It depends on what the rest of the class is using for their final projects. I'll keep searching for this project.
Painting:
The painting room used to be an old gym, and it has a track that surrounds the center studio like a loft. I want to suspend canvas stretcher frames across this space, With leftover scraps of canvas. I also want to do something with the leftover paint on pallets, but I'm not exactly sure how I am going to incorporate that aspect.
These 5 installations will express Cleveland as it is now, incorporating the work of all of it's current students. Again, this is a feasible project, and I already have about half the materials I need for it. I plan on researching reception theory and how the history of objects affects their perception. I feel this project could possibly need an artist's statement to be fully appreciated. I also am indecisive as to whether I should include the names of the students whose scraps I've obtained. I'm still working out these few kinks....
I have already formed ideas for each discipline and begun collecting objects.
Ceramics:
For this department, I'll be taking the leftover bisque wear and break it into pieces. I'll drill holes in it after it becomes bone dry. I'll then fire these pieces, and possibly glaze them. If I do glaze them, the colors I choose will be on the basis of what people leave out in the glaze lab, and not an arbitrary color I myself pick. I will then suspend these pieces in the shape of the arc in front of the door (shown below). I think I'll have to suspend them from a pipe, since the archway itself is brick, but I plan to follow the curve of the ceiling. The breeze from the door should make the ceramics chime, and this way I will have a visual and musical element that can play off the senses.
Printmaking:I have never taking a printmaking class at Denison, but I am stunned at some of the aesthetic elements that are around the studio space for this discipline. I am most drawn to the zinc plates and used ink rags. I want to suspend them around a light bulb in the corner of the printmaking hallway. The plates are already partially engraved, and I want them to be low enough for people to see the detail but out of the way so that if they happened to fall they wouldn't hurt anyone. I don't think drilling in them would be too much of a problem, since they're so soft. I might remove the ceiling tiles to suspend them, and attach them to the exposed pipes. I feel the aesthetics of the bare ceiling would work better with the pipes and create an industrial feel, which would be softened by the light and the ink rags.
Photography:For this department, I want to take the negatives, test strips, and other paper scraps from the independent study on archival processes, and use them to make a collage in the space next to the photography professors door. I think the collage will have a three dimensional feel to it--I will not paste everything flat. The space I want to use is a blank white wall framed with molding. The negatives are for contact prints, so I should have enough to fill the space.
Sculpture:
For this space, I am still undecided as to what I'll be using. It depends on what the rest of the class is using for their final projects. I'll keep searching for this project.
Painting:
The painting room used to be an old gym, and it has a track that surrounds the center studio like a loft. I want to suspend canvas stretcher frames across this space, With leftover scraps of canvas. I also want to do something with the leftover paint on pallets, but I'm not exactly sure how I am going to incorporate that aspect.
These 5 installations will express Cleveland as it is now, incorporating the work of all of it's current students. Again, this is a feasible project, and I already have about half the materials I need for it. I plan on researching reception theory and how the history of objects affects their perception. I feel this project could possibly need an artist's statement to be fully appreciated. I also am indecisive as to whether I should include the names of the students whose scraps I've obtained. I'm still working out these few kinks....
Monday, April 2, 2007
Indecisive...
Trying to come up with a final project is becoming extremely frustrating. I've been roaming the building trying to think of a space that I'm drawn to that
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(1) hasn't been utilized, (2) can incorporate all the elements I want to include in this project and (3) Would work well for housing molds or plaster body parts. I'm not even sure if I want to work so figuratively with the body parts again. Right now, I have two projects in my head. The first involves cyanotypes and/or salt prints. My work before this class has dealt primarily with photography, and last semester I worked with these archival printing processes. I really like working with these processes that carry a lot of history with them, even though the images I was using were new pictures I had taken. I was thinking about making a collage of these prints in a small space I found in the building. It already has molding around the area, and looks as if it is frame for something. It's like a blank canvas. I thought I could take .salt.pos.jpg)
photographs of the building and make these archival prints of them, then install them in a collage format in this space. These images would seem to carry a history because of the way they are made, but in actuality would only be documenting Cleveland Halls last few weeks as it is now. However, it would lack the interactive quality I would want in an installation artwork. I am also confused as to how I would incorporate wax molds or plaster casts, which I would want to do since we've been working with them all semester. Another area I've been examining is the painting studio. I am reluctant to install in this room again, having used it for my second project. However, I am really intrigued by the open space above the main studio, what used to be the gym floor. I have been researching Cornelia Parker for an artist presentation for this class, and I am very drawn to her use of reflective materials and suspension. She often describes her work as the inhaling and exhaling of objects. Her works have this fantastical quality to them. If I could use a similar style to suspend molds and found objects [[[safely]]] over the painting studio, I feel it might be a really successful piece. I just am not exactly sure what I would suspend, or how. And I also want to incorporate another element like a scent or sound into the space.
Writing this makes me realize I might need some more photographs to clarify my goals with the space.
.salt.neg.jpg)
(1) hasn't been utilized, (2) can incorporate all the elements I want to include in this project and (3) Would work well for housing molds or plaster body parts. I'm not even sure if I want to work so figuratively with the body parts again. Right now, I have two projects in my head. The first involves cyanotypes and/or salt prints. My work before this class has dealt primarily with photography, and last semester I worked with these archival printing processes. I really like working with these processes that carry a lot of history with them, even though the images I was using were new pictures I had taken. I was thinking about making a collage of these prints in a small space I found in the building. It already has molding around the area, and looks as if it is frame for something. It's like a blank canvas. I thought I could take .salt.pos.jpg)
photographs of the building and make these archival prints of them, then install them in a collage format in this space. These images would seem to carry a history because of the way they are made, but in actuality would only be documenting Cleveland Halls last few weeks as it is now. However, it would lack the interactive quality I would want in an installation artwork. I am also confused as to how I would incorporate wax molds or plaster casts, which I would want to do since we've been working with them all semester. Another area I've been examining is the painting studio. I am reluctant to install in this room again, having used it for my second project. However, I am really intrigued by the open space above the main studio, what used to be the gym floor. I have been researching Cornelia Parker for an artist presentation for this class, and I am very drawn to her use of reflective materials and suspension. She often describes her work as the inhaling and exhaling of objects. Her works have this fantastical quality to them. If I could use a similar style to suspend molds and found objects [[[safely]]] over the painting studio, I feel it might be a really successful piece. I just am not exactly sure what I would suspend, or how. And I also want to incorporate another element like a scent or sound into the space.Writing this makes me realize I might need some more photographs to clarify my goals with the space.
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