How did you arrive at your project?
Some questions:
What did you experience at the site initially?
How did this experience translate to your project in its initial state?
How has the project changed, or has it?
How has collaboration affected the project?
What is it like now, to see your ideas visually realized?
What have you learned from the process?
19 comments:
I wish someone would talk about this so I'll start. At the mall I was struck by the Lids store next to the theater by the food court. Set on a diamond, it had a boxy square metal storefront with a lot of glass--a square on a diamond--it was a beautiful angle.
Ben Hooper built a storefront that corresponded exactly with my drawing-it will also carry the sign for the show-it creates a mini-space outside the gallery entrance so people begin to enter a different realm before they're in the door. Katie Weber's elevator buttons will be on display within the storefront as well.
I will definitely repaint and putty but otherwise the pared down structure is perfect for shifting the space with subtle presence.
Timothy McMillan built it with Ben-thanks to both of you.
Still processing this stuff EC... ... I want to give you some answers but the peculator is still on the stove...no coffee yet!
I notice that writing and posting about this leads to further thoughts so I urge people to contribute here.
When I first started thinking about ideas went to what I knew and loved: the rice paper. Under the influence of Jacobs' urban neighborhoods and features that keep them both familiar and active, and Hiss' simultaneous perception that results from interceding with space I abandoned rice paper for the storefront structure Ben and Tim built. The structure was much, much closer to my ideas from the mall so in a way I would fail myself by not realizing it in form. Yet, in terms of making it, I technically didn't know where to start, being a painter with a distant relationship to wood.
So, I tried cardboard, but it just looked sloppy. I love a sloppy aesthetic but couldn't accept the ambivalence of the cardboard, its frailty, amidst the other projects developing. Happily Ben and Tim came through building the structure.
So: despite my avoidance of wood, I am eager to sand the face of this structure and paint it well. I have learned that it is important to ask for and accept help, to support the assistance by staying true to what I need to do and not fighting the process but working within it. The collaboration excites me for this: everyone's projects are so beautiful that I am inspired to do better.
Also 3-d structures are very interesting and it makes me think about geometry and texture in new ways, regarding pictorial composition and perhaps future dimensional projects.
My tranquility-inspired project has had a lengthy metamorphosis. I solved my primary problem of efficient installation through altering mediums and subjects three times. I wanted to provide a sense of calmness that I felt underneath certain areas in the mall and beneath plants at the garden. What captivated me at University Square were the curved, suspended levels of ceiling that contained glowing orbs. It provoked a relaxed feeling while the light's softness maintained an allure. What I found interesting at the garden was the privacy and relaxation I felt in a man-made botanical area surrounded by bustling traffic. The shapes of the leaves and vines were visually unpredictable and provoked a meditative state while observing them.
The foam I used was incorporated as a medium because it can be easily cut, is light enough to hang, and was free. My goal was to create a sculptural piece that made the viewer feel as if they were in a soothing environment. When the subject of light got brought up, the idea of incorporating the glow I saw at the mall fell right into place with my bulky and odd shapes copied from the garden.
I think the class collaboration has affected my piece positively, and although a challenge, it made achieving a visually impacting show fun.
As far as whether or not my original expectations were met, it’s seldom my ideas crystallize according to plan. But the growth is half the fun and I’m happy with what I have now.
The fat lady is about to sing and it is time to sit back and reflect on our projects as a whole. I realize that it is the process that holds the learning experience. For me the installation evolved from a tree trunk and roots and grew into a rug of rope and vines of wire. although my initial concept held true, the depiction quickly transformed. I am eager to see the reaction of the public towards the show. My one wish is to see the work from a outside point of view to help detach myself from all the tedious hard work.
I first came to the realization of the project that I would do when I sat in the botanical gardens. I decided on echoing the radial pavilion made of stones. I changed the way I was going to do the work. I was originally wanted to do individual blocks but in the end I decided to scatter my work and add lighting to intensify the color of my work. Overall, I have enjoyed working in the gallery. This is the first time I've done an installation in a gallery. The people helped to make the environment more workable.
By visiting the library, Botanical Gardens and University Mall and having a sculptural essence surrounding my experience at these places.
Initially a thought to just absorb all the information hitting me as I walked around these places.
My project started out a little empty, but my idea was coming into it, and as I got helpful criticism my piece turned into a stressed 3-D piece.
Collaboration although stressful at first, was needed and my outcome would not have been nearly as successful if my fellow classmates had not pushed my project further.
I smile every time I look at my piece, because it has come so far. The idea in my head has been accomplished.
I have learned that no matter in what way information is given to you, you can always take that information negative or positive and push it into a positive way for your project. You can always be pushed as an artist and should not be afraid of where that outcome will send you. In fact you should look at it with anticipation and a smile because 9 out of 10 you will be pleasantly surprised.
While visiting the sites I was focused on capturing their spatial essence with multiple perspective sketches. Each site influenced my design in different ways. At the library I was most interested in how the entrance welcomed you inside and created a comfortable social atmosphere with a simple ledge and an outward curving overhang. I also took note of how the synchronized columns guided me toward the computer area. While at the mall I was very uninspired, but looking back at my sketches I think the metal overhang might have been a reference to the mall’s exposed ceiling structures. The botanical gardens visit was definitely the focus of my design. I remember being beneath the huge mass of bamboo, surrounded by all sides, isolated from the rest of the group. I really enjoyed attempting to capture these spaces with my sketches.
Initially my plan was to work with Denise to build a spiral stair case around the awkward pole in the center of the gallery. We didn’t quite see eye to eye on everything but I think we worked reasonably well together. I modified her initial idea of a spiral stair case into a simplified flower shape. Then I came up with a design to incorporate Denise’s hanging flower idea into our stair case. Our design was ever evolving as we worked on it. I’m very pleased with the final product and how it is starting to play with Jonathan’s cardboard plants.
I’ve learned from this class that sometimes it is better to have a flexible design that can evolve as you work on it. So that problems, like time, money, and an interworking relationship with other projects, don’t interfere with my ability to complete a polished work of art.
Completely off subject:
GARDEN (White wine) SANGRIA
1 Gallon dry white wine
2 cups brandy
1 cup orange liquor (triple sec)
4 oranges – thinly sliced
1 bunch fresh mint leaves – NOT dried – key ingredient
1 (1 liter) bottle club soda – chilled (or ginger ale or lemon-lime)
1 quart whole strawberries (I rarely add)
2 lemons – thinly sliced
2 limes – thinly sliced
Garnishes: fresh mint sprigs, strawberries, red seedless grapes, orange and lime wedges
Combine first 5 ingredients in a large container – cover and chill 8 hours
Add club soda and next 3 ingredients just before serving.
Serve over ice, and garnish if desired
Yield: 1.5 gallons
Nice detraction Tim ;)
As I visited the USF Library and then the Mall: I realized that even though both places we different they were in very unique ways similar. The function of both places was to Move people. Both places offered goods for use…whether free or for sale. Both public places appeared/felt as if I was under water. The library felt underwater simply because of the narrow focal point lines of lights, rows of chairs, computers, hallways, and so on. The Mall’s hallways, lighting, and focal points were expanded, but confined by long expanses of store fronts. What was really a surprise to me was that, in fact, the ceiling was actually decorated with waves and FISH! I wondered if the designers processed out that their customers “felt” like as if swimming among a school of fish!? No matter which way I looked there were barriers with large expanses of light above.
The botanical gardens was a freer experience in that nature is encouraged to have a freer range within much looser boundaries. Instead of people being purposely moved through purposeful channels, the design at the gardens offered a choice of public or private spaces. There were choices of whether or not to stay upon a well worn path or deviate for a little adventure. As my art partner and I walked off the groomed paths, we discovered a small bridge and smaller stream…running water. This led to a larger lake. Protruding from the edge of the lake was a rickety old bridge floating upon water. As we stepped upon it the water seeped up through the boards. It felt unsure. Surrounding this bridge was dead fish and trash. Surrounding the gardens was a high metal fence and beyond was the busy pace of cars and trucks rushing to and fro. Isolated on this garden island…again I felt “upon” a sort of swimming movement while standing upon the bridge. Both my art partner and I had the same feeling.
I wanted to collapse all three locations of architecture down to the simplest denominators to create a feeling of isolation, movement, perspective challenges and somehow incorporate the “sinking” feeling of the little bridge.
The project has changed drastically for many reasons. I will likely rebuild the project outdoors somewhere sometime and be truer to our initial vision of special planes and movement.
It is good to see how the piece fits in with other pieces and how they affect each other and the spaces around them. This is the true process of Industrial Landscapes.
My knowledge of building has been greatly enhanced. My confidence has been fortified in envisioning a piece so large and seeing it come together. I enjoyed working with my art partner. It was a joy to mesh two artistic minds and create one vision.
How did you arrive at your project?
After visiting the three sites (Library, Mall, and Botanical Gardens) I wanted to encorperate all three in my piece.
Some questions:
What did you experience at the site initially?
I experienced that all three sites had similer but yet different movement.
How did this experience translate to your project in its initial state?
After visiting the Botanical Gardens Karen and I knew we wanted to encorperate the bridge at the lake.
How has the project changed, or has it?
We basically had our project pretty much done the way we wanted it until the fire marshall made us change what we had. We then had to work with what we had.
How has collaboration affected the project?
Collaberation helped in a way that we were able to collectivelly work together as Artists and create as one.
What is it like now, to see your ideas visually realized?
I think Its great and I feel everything is turning out better than I even anticipated.
What have you learned from the process?
I learned that art is an expression and Its your expression, so don't care about what other people think and express what you feel.
when I first came to the class, i didnt know what to expect. Going to each of the places sparked different feelings and created an environment that didnt always feel inviting. While going up the elevator in the library, I saw the buttons that some were lit up and some werent. Standing there waiting for it to go up, I decided I wanted to incorporate that into our installation. I liked the idea that they were very industrial because they were the control to a huge mechanical device used to move a human being.
I wasnt sure how to approach the construction and originally wanted to make them go from the floor and up the wall. The placement of them didnt come into play until Elisabeths store front was created.
My focus was on the number and the repetition of the circular shape. For weeks my living room was covered in paint and a factory for these buttons.
I am happy how they turned out because they still resemble the original elevator buttons but turned more into an abstract object that symbolizes the materials being sold in the store.
This project taught me a lot. It taught me that placement of each project has a big impact on the next one.
I believe that for a while there was tension or question of it this gallery would come together in the time that it did. We all spent tons of hours planning, painting, building, sculpting and designing each peice. I think as a whole it is successful in portraying the 'industrial landscapes'.
Enthusiasm, stress, passion, indifference – all existing as necessary elements for the development of a project within a collaborative. Since the establishment of the first groups and locations, the purpose of the project seemed to question one’s ability to associate with others, rather than to work individually. The initial differences among the individuals became apparent when we began discussing our experiences of assigned spaces, which were in essence radical ones due to connotations they bring in our own microcosmic reality.
Nevertheless, it seemed that all viewpoints shared the same fundamental nature of collapsing landscape; the principle of timeless space, where the only differentiation between the negative and positive lies in the point of reference. Thus, perception became the ultimate challenge for criticism. With in a group this was evident through the observations of concealed stances within each artist. The push and pull game of id, ego, and superego created imagery that could only be expressed separately, but regarded collectively. It seemed, in many instances, that flow of space was compromised; however, now looking back it seemed that it was not the space (the negative) that was compromised but the objects (the positive).
Toward the closing stages of the process, after all the fears of failure, the artists were able to establish clear definitions of their projects due to image/evidence correlation. It was almost imposible to vocalize the direction of certain projects during the beginning stages, thus some people were exposed to much criticism due to simple lack of connection between the language and the image. From a personal perspective that was the hardest gap to bridge. Even though the rationalization came, as it often does, at the end, I feel that intuitive reactions are part of the process and cannot channeled. The learning process is what helps recognize the pattern of the relevant; however, precedent is non applicable to new situations.
- Panta rei -
“ …Those rivers one steps into are not the same.
Other and yet other waters keep flowing on.
Into the same rivers we step and yet we do not step,
We exist and at the same time we do not exist
After all, one does not step into the same river twice.
Waters disperse and come together again ...
They keep flowing on and flowing away
In the end, there is only flux, everything gives way
Everything is in flux and nothing abides
Everything flows and nothing stays fixed
Everything is constantly changing and nothing stays the same…”
(Heraclitus, 500 B.C.)
Anita Rafat:
After visiting the sites I realized that artificial landscapes have an established starting point or an entry that eventually comes to a conclusion. The structures are designed to control activity and movement throughout the space. In natural landscape, there is more freedom of movement. There are many paths that one can take and there is a lot of room and various ways that one can experience the space. Natural landscape has a relaxing mood and a sense of timelessness that has no beginning and no end. Artificial landscapes encourage a higher paced movement and there is a sense of urgency.
At the mall I found the space very distracting and busy. I decided to break down the space into simple lines and forms by playing with composition and scale. I was drawn to a bench at the mall because of its harmonious shape. I felt the need to sit under the bench in order to rid its functionality and capture its essence. The project has not changed much from its beginning stage but there were several technical issues that required a few adjustments.
-Anita Rafat
As we researched the three locations I had a slight biased towards the mall, because that is where I thought I would be most inspired. My group visited the mall on the final day and I left there feeling disappointed. It was a very interesting space, but it was such a busy place that my mind couldn't filter the information to appreciate it.
The Library fascinated me more than anything. As you walk through the different floors and the aisles of bookshelves you feel the sense of finishing one labrynth after another. Then, finally, as you approach one of the highest levels of the library you are drawn to these enormous windows that peer out onto the world. For a moment you are the all knowing and all seeing. Others in the room are so preoccupied with the books in front of them that they don't even appreciate the view, but it's there.
The botanical gardens were beautiful and I love the man made bridge over the man made creek. Then, not to far from there, there is a large pond surrounded by trees, and those trees surrounded by city. Everything there placed by man I'm sure. Even the rickety bridge that lets you walk to the end of the earth just to look over it and once again you are the all knowing and all seeing. Certain areas of all three locations just grabbed me and held on.
From these experiences I thought that the only thing I would want to do was recreate the window in the library and the feeling you get looking out. From day one we were all forced to compromise in one way or another. As a class we found that Victoria's idea fit better mine and mine with hers and so began that partnership. From there we worked in a pretty calm harmony.
Overall this was a very painful, yet gratifying experience. The most painful part was the collaboration from people who just "didn't get it" when I had nothing more than tape on the walls. The collaboration discouraged me in large part because for a good majority of the time I was a nervous wreck and felt like a failure as an artist. I knew very few people coming into this project and the ones I didn't know had the most opinions about my incomplete work, very few positive, or productive. I feel like I cannot give a summary of this experience without detailing the painful aspects as well as the academic ones.
I am happy with the finished result but I wish there had been more structure and productive collaboration because i also feel as though my piece is an eyesore of the exhibit. It stands out, and not in a good way. From this I've learned that it is very important to get work done as quickly as you can in order to resolve alot of this issues that my project resonates.
"What are words..."
with the tiitle of the course in mind, i began my investigation of the three sites by documenting the movement of space, light and people. Environments, whether exterior/interior natural/industrial are often perceived by how the walls/boundaries define the space. I wanted to investigate the inverse, the way the congregation of elements within the space defines the structure that encloses its environment.
while the three sites exist serving three seperate functions, the energy of the spce is not activated by the function but by the way people navigate and coexist within the landscape. We can see the environment and the structures within it but the negative space containingh our movements is invisible to us. by documenting the way people carved through the landscape i began to develop a way of illustrating the invisible traces of movement left by physical actions. structural repetition within the three sites were tied to emotional repetition so i would use these structural elements to translate into the emotional repetition found in the three sites.
the suspension of movement translates into the suspension of emotion, an unconventional dimension that is independent of time.
The structure that is suspended from the northeast corner of the gallery is my attempt to represent such a moment of suspension so that while we interact with the space within the gallery, we may but for a transient moment embrace all our dimensions but the dimension of time.
I have had a yearning for some time to present video in a gallery via projection onto and object. I attempted doing so in two classes previously, but the objects that I projected onto were less sophisticated than I desired. Therefore collaborating with a sculptor was a great experience during this project.
The project has changed somewhat from the original design, but the result ended up being very close to what we envisioned.
From this process I have learned a great deal about how to handle communication within a collaborative atmosphere.
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