My Kid

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

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

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

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

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

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. 

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.

Traces

Materials: Plaster from Clay Mold, shoe imprints

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 - Giant Key (+ ring?)

Two: Grandfather Clock Structure 

Three: Overhead Parasol

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:

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

Idea #2: Human "Foot" Exhibition

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.

Project #1:

Process

Removal

Project #2:

Process

Removal

Project #3: 

Process

Removal

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: