S K E T C H B O O K S N E A K P E A K // from paper to process & product
click photographs for a closer look and captions!
I thought that I’d shine some light on the project that I’ve embarked on this term, as of two weeks ago; it will continue to be my focus and anchoring project for the second half of this term in which my studies in Slip Casting, Metal Workshop, Video Installation, and Color Investigated Through Light this term will culminate.
I’m taking on the idea of memory and it’s influence on the associations we carry and project onto our possessions. Whether found, given or even at one point, taken, our day to day possessions and even more interestingly the less utilitarian, precious objects we hold onto and travel with through the years hold the ability to mark significant, past experiences. Questions constantly come up: Why do we hold on to certain things? Do we hold on to objects in order to hold onto it’s associated memory or person? What do our possessions and the ways we preserve them say about our past and present?
I’m taking 8 personal objects that I’ve held onto over the years, most of them given to me by significant people in my past and even the present. Each of these objects possess their own, unique physical characteristics in weight, color, texture and their own unique, significant sentiment. Somehow these objects, which were not mine at some point, have become my own - symbolic of a past that is very much a part of who I am at this very moment.
The most exciting aspect about working in ceramics, particularly with porcelain slip and plaster molds, is that you have the ability to endlessly multiply and copy in a very delicate and beautiful material. That being said, I’m interested in the transformation that these unique objects will go through as I strip them of their physical attributes, attached visual connotation and inherent, unique singularity through producing a large quantity of delicate, porcelain copies and revoking their original context, while assigning them a new one.
The end result will be a large, “beaded curtain”, about 8 ft. x 20 ft., made of these porcelain copies that will be strung together. It will serve as the walls of an enclosed space, big enough for one person to enter at a time that mimics the space of an ambulatory. I’m curious about sacred spaces and how they facilitate and/or dictate physical movement as well as psychological responses. Inside this enclosed space, an individual will be able to experience the reflections of a video-loop, mainly an exploration in color and emotional response, that will project from a metal pedestal onto reflective acrylics. I’m interested in how each person will experience such restricted movement, in a delicate and fragile environment that will demand and attract visual attention centrally.
So far I’ve just started and have a very long way to go and as a Bennington student, I know very well to keep my mind and my sketchbook open to any influences in working on this project. The biggest thing I’ve learned this term, in working with metal and ceramics, is that a work of art is never really done - a project or a piece only informs the next. It’s important to allow for discovery, mistakes, illumination in working because there’s only so much one can plan for and control with certain materials and processes.
I’ll keep y’all updated on my progress!!