SPACES (FALL 2024)

Idea: 1/1

Corners Final

Quote: "A corner that is ‘lived in’ tends to reject and restrain. It meets all the hesitations of a child who is not quite sure of himself, who does not dare to move, who is seeking reassurance on all sides and who, having found reassurance in a corner, wants to stay there forever."

Comment: The image of a reluctant child withdrawing to a corner speaks to our innate need to seek cover when faced with uncertainty or vulnerability. This passage from Gaston Bachelard emphasizes the psychological and emotional resonance of corners by depicting them as private, protective spaces that evoke a profound sense of safety and reassurance. A corner, with its enclosing geometry, symbolizes a boundary against the unknown, offering a secure refuge where one can pause, reflect, or gather confidence.

Question: How does Bachelard's depiction of a "lived-in" corner reflect the balance between seeking comfort in familiar spaces and the potential limitations such spaces impose on personal growth or exploration?

12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research

a. First Idea

b. Second Idea

c. Third Idea

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

15. A Structure Within a Structure: Final

16. QCQ #4: Concrete Blonde

17. Negative Fragments

18. Positive Fragments: Research

a. First Idea

b. Second Idea

c. Third Idea

19. Positive Fragments: Final

20. QCQ #5: Corners

21. Corners: Research

a. First Idea

b. Second Idea

c. Third Idea

Materials: Woman’s dress, Man’s formal suit Red tie, Plush Toys (Pandas), Pedestal, Divorce Papers, Wedding Rings, Hangers, and, Audio System

Dimensions: 7 x 5 x 4

Fractured Bond is a sculpture I created that reflects on the invisible scars that divorce leaves on children, highlighting themes of resilience, vulnerability, and the longing for support in the face of familial breakdown. It is a deeply personal exploration of the emotional fragmentation caused by family conflict, presented through a corner installation. As someone who comes from divorced parents, I approach my lived experience into this piece, reflecting on the lasting impact of marital breakdowns on children. Hanging in the corner are a woman’s dress and a man’s formal suit, symbolizing the absent yet ever-present parents whose relationship is fractured. Below them, I added two panda bear plush toys sitting close together, representing the children holding on to each other for comfort between the chaos.

12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research

Concept Board 2 and Concept Board 3

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

15. A Structure Within a Structure: Final

16. QCQ #4: Concrete Blonde

19. Positive Fragments: Final

18. Positive Fragments: Research

Concept Board 2 and Concept Board 3

17. Negative Fragments

20. QCQ #5: Corners

21. Corners: Research

Concept Board 2 and Concept Board 3

My piece speaks on the narrative of a close friend who is a therapist. I wanted to display the difficulties of this profession by creating a structure of rebar that acts as her body. At the same time, the sheer sheet represents a shield that can easily be dissolved by absorbing people's emotions, such as the water. Instead of using my body as the subject of performance, I wanted to see if I could incorporate the unique ability of my materials to express those emotions. Ultimately, it was supposed to reveal the skeletal part of the sculpture.

The second piece, the chair, is mixed with pantyhose, cotton, and bandage gauze, giving it a soft, human-like feel in contrast to the rebar. I wanted to create a setting for the main piece and figured that therapy involves a place for the therapist to sit.

Structural tension

1. Quote

“demonstrating that land art, minimalism, and site-specific

sculpture has “stolen much of the ground from architects,”

2. Comment

After reading this passage, I chose this quote to start a conversation on how artists and architects, although seen as separate entities, I didn’t realize that we still compete for recognition and space. I think of how expensive space has become; for example, look at the housing market. I acknowledge that no matter what form of art it is, we, as creative people, are competing for space. The two can easily be interchangeable.

3. Questions

Idea: 1/1

object and its illumination.

Ricoeur makes a distinction between image and

fiction. Images, he says, always refer to some-

absent thing, while fictions have no objective

referent. He claims that "only the

image which does not already have its referent

in reality can display a world."17

I would argue that House is fictional in the

way that Ricoeur defines the term because it

does not refer in a reproductive way to some-“

I enjoyed reading about how imagination and an image live in two separate worlds.I remember reading somewhere about the progression of art as an object of performance, and part of its development was dissecting the essence of a photograph—how it captures a moment, holding it still from time but still living in this absence of the whole information. The viewer never knows the full context, only what is presented in front of them, similar to the act of preserving artifacts after a performance.

From my understanding, the artist created a way for us, as outside viewers looking at a house, to imagine the interior, with the logic of the imagination only existing in a separate world that isn’t ours. Did they find a way to make this imagination a reality, as straightforward as an image capturing a moment or an object? How can we, as artists, expand the duality between specific world definitions? Can we relate to Plato and his theory of art?