statement of intent for 2nd piece
Please post your statement of intent. Remember to follow the handout as an example.
13 Comments »
RSS feed for comments on this post · TrackBack URI
Please post your statement of intent. Remember to follow the handout as an example.
RSS feed for comments on this post · TrackBack URI
Hannah Said,
March 30, 2008 @ 5:50 pm
This sculpture incorporates ideas of geometry and architecture as well as explores the concept of drawing. This piece is approximately 5′5″ X 6′ X 2′, it is made of 8oz. styrofoam cups with pieces of colored tape inside to reflect color into the cups. The cups are places together so they create spheres and different sized squares and rectangles. The shapes are then arranged at different depths and heights and stacked together to make a larger piece.
Pieces of colored tape add interest to the piece by adding subtle color to the otherwise all white piece. The tape is placed low down on the sculpture and on the tops of the cups so it cannot be seen. It makes the cups appear as though they are colored inside, so there are tones of blue, pink, and green visible throughout the piece.
Emma Said,
March 30, 2008 @ 8:29 pm
I wanted to start out by saying I didn’t know we had a handout so if this is incorrect I apologize. My piece now stands at a little over two feet and it is about a foot wide, it started out at only about a foot or so. The idea was generated by the topic of geometry, my project is based on simple geometric shapes, squares and circles. Through out the course of building my piece, it has changed from a Christmas themed sculpture to a birthday theme. My intent was to show geometry in its most basic forms, and by handcrafting these forms I was able to take a shape in its original form and change it to a new shape. For example in the creation of each of the boxes, they started out as pieces of square paper and were formed into three dimensional squares, or in the case of the circular base, it started out as a rectangle. Once the base was added, I really liked the idea of playing the different shapes against each other. Also as the sculpture was being built, it started to develop a lean in it, but I chose not to fix it because I thought it was interesting to contrast rigid set forms with a more fluid unbalanced structure.
Davette Said,
March 30, 2008 @ 10:21 pm
The sculptural piece, “Affirmations 1, 2, 3 and 4 and Being At Home on Red Oak Mountain,” is addressing the subject of construction by suggesting both imaginary and physical space. 2 x 4 inch pine studs are used in the same manner in which a house would be constructed, using three penny nails, metal stud connectors, tar paper and roofing brads. Each of the four sections, measuring 14 x 20 x 20 inches is set upon the floor and spaced an even 18 inches apart from each other. Creating a square of 14 x 58 x 58 inches in total, they suggest the corners of a house. The viewer is able to walk within the 18 inches of space to allow for an intimate, open, and accessible relationship with the objects within the 4 sections. Each of the eight 20 x 12 inch sheet of tar paper is covered on the inside section with a pastel landscape of a mass of yellow grasses, mountains and sky. Tacked to the outside of the studs, they form walls that are “windows” to the 360 degree view of the mountains. The mountain image is referenced again in a more believable way by being represented in photographs tacked to the vertical studs. This is intended to juxtapose what is illusionary with the more believable reality of a photograph. The base of each section is composed of 20 x 20 inch masonite that suggests the subflooring of a house under construction.
The glass bowl upon a glass plate on corner of the masonite floor of each section is intended to be a subtle association with the idea of windows. The objects within each bowl refer to the rooms that the separate sections represent, which include a living room/kitchen, bedroom/bathroom, and two studio sections. The objects are concrete and non-illusionary but their meaning may not be universal in its subtlety. The notes written in pencil upon the studs are such as one might see during construction, and is a personal mark that refers to the life within the house. In addition, the notes, along with the key hung upon a nail suggest the idea of possession.
The size of this piece is important in that it is intended to suggest with its limited physicality something which is physically and psychologically immense. The size, age and personal association with the Blue Ridge Mountains is meant to meld into a blend of personal dream and formal artistic considerations.
Davette Said,
March 30, 2008 @ 10:24 pm
The sculptural piece, Affirmations 1, 2, 3 and 4 and Being At Home on Red Oak Mountain, is addressing the subject of construction by suggesting both imaginary and physical space. 2 x 4 inch pine studs are used in the same manner in which a house would be constructed, using three penny nails, metal stud connectors, tar paper and roofing brads. Each of the four sections, measuring 14 x 20 x 20 inches is set upon the floor and spaced an even 18 inches apart from each other. Creating a square of 14 x 58 x 58 inches in total, they suggest the corners of a house. The viewer is able to walk within the 18 inches of space to allow for an intimate, open, and accessible relationship with the objects within the 4 sections. Each of the eight 20 x 12 inch sheet of tar paper is covered on the inside section with a pastel landscape of a mass of yellow grasses, mountains and sky. Tacked to the outside of the studs, they form walls that are “windows” to the 360 degree view of the mountains. The mountain image is referenced again in a more believable way by being represented in photographs tacked to the vertical studs. This is intended to juxtapose what is illusionary with the more believable reality of a photograph. The base of each section is composed of 20 x 20 inch masonite that suggests the subflooring of a house under construction.
The glass bowl upon a glass plate on corner of the masonite floor of each section is intended to be a subtle association with the idea of windows. The objects within each bowl refer to the rooms that the separate sections represent, which include a living room/kitchen, bedroom/bathroom, and two studio sections. The objects are concrete and non-illusionary but their meaning may not be universal in its subtlety. The notes written in pencil upon the studs are such as one might see during construction, and is a personal mark that refers to the life within the house. In addition, the notes, along with the key hung upon a nail suggest the idea of possession.
The size of this piece is important in that it is intended to suggest with its limited physicality something which is physically and psychologically immense. The size, age and personal association with the Blue Ridge Mountains is meant to meld into a blend of personal dream and formal artistic considerations.
March 31, 2008 @ 5:48 am
Ashley Smith- The Abstract Philadelphia- Statement of Intent
The abstract Philadelphia is 17” x 24” x 6”. The city is constructed on a wooden panel painted red and white. Torn pieces of white painted and exposed corrugated cardboard fill the negative space of the “front” surface. All buildings are made of recycled cardboard, the majority from food boxes folded in a paper doll style manner. The buildings are saturated in color and are covered in various geometric patterns made by colored pencil and marker. The bridge in the lower right is made of pipe cleaners and masking tape which is colored yellow. The antennas were constructed in a similar fashion; their armatures made of wire.
The “back side” of the piece has magazine ads and a diagram used for planning the project.
Cities are always wallpapered with enormous ads. The abstract Philadelphia was made from the very products advertised that are always prominent in any major city. The ads on the “back” of the piece reinforce the process of ad, to consumer, to product, to profit and even further, to the construction of a city.
The piece demonstrates both its meticulous planning and supposed spontaneity.
Ashley Said,
March 31, 2008 @ 5:50 am
Statement of Intent- The Abstract Philadelphia
The abstract Philadelphia is 17” x 24” x 6”. The city is constructed on a wooden panel painted red and white. Torn pieces of white painted and exposed corrugated cardboard fill the negative space of the “front” surface. All buildings are made of recycled cardboard, the majority from food boxes folded in a paper doll style manner. The buildings are saturated in color and are covered in various geometric patterns made by colored pencil and marker. The bridge in the lower right is made of pipe cleaners and masking tape which is colored yellow. The antennas were constructed in a similar fashion; their armatures made of wire.
The “back side” of the piece has magazine ads and a diagram used for planning the project.
Cities are always wallpapered with enormous ads. The abstract Philadelphia was made from the very products advertised that are always prominent in any major city. The ads on the “back” of the piece reinforce the process of ad, to consumer, to product, to profit and even further, to the construction of a city.
The piece demonstrates both its meticulous planning and supposed spontaneity.
March 31, 2008 @ 5:51 am
The abstract Philadelphia is 17” x 24” x 6”. The city is constructed on a wooden panel painted red and white. Torn pieces of white painted and exposed corrugated cardboard fill the negative space of the “front” surface. All buildings are made of recycled cardboard, the majority from food boxes folded in a paper doll style manner. The buildings are saturated in color and are covered in various geometric patterns made by colored pencil and marker. The bridge in the lower right is made of pipe cleaners and masking tape which is colored yellow. The antennas were constructed in a similar fashion; their armatures made of wire.
The “back side” of the piece has magazine ads and a diagram used for planning the project.
Cities are always wallpapered with enormous ads. The abstract Philadelphia was made from the very products advertised that are always prominent in any major city. The ads on the “back” of the piece reinforce the process of ad, to consumer, to product, to profit and even further, to the construction of a city.
The piece demonstrates both its meticulous planning and supposed spontaneity.
Sarah Said,
March 31, 2008 @ 5:52 am
My intentions for this project have changed through several attempts to manipulate my materials. The only constant was my wish to create a piece which had repetition and vivid colors. The aspect which changed the most was my idea of how to arrange the red, geometric “flowers” I’m using. I had my heart set for quite a while on building some type of wall, but due to my increasing shortage of materials, the wall ended up short and lacking impact. So I turned to another idea I had in my sketchbook- arranging the shapes on the floor so they were floating, and the viewer must look down over them, similar to lily pads in a pond. Though I am not trying to copy lily pads, I am trying to bring a natural feeling to the very unnatural shapes by a looser arrangement, and an emphasis on the green interior of the shapes. I also tried to manipulate the shapes to the point that the exterior no longer resembles styrofoam. I did this by sanding the outside and applying 4-5 layers of paint. The interior of the shape, which reminds me of the interior of a flower, also looks more blatantly like styrofoam, and creates a subtle contradiction that I find interesting.
Jesse Kopp Said,
March 31, 2008 @ 10:30 am
The sculpture Untitled measures approximately 6′x30″x12″ and is loosely inspired by the sculptural work of Jan Svankmajer and the Brother’s Quay as used in their film making. The piece consists of seven tolls, constructed of various materials including nylons, make-up, Vaseline and fiberglass that sit on a distressed wooden shelf at eye height. The formal space of the sculpture is extended toward the floor by the doll’s cast shadows that is accentuated by the lipstick applied to the wall by the artist’s lips. The diffuse shadows cast by light filtering through the nylons and onto the wall of kisses address the concept of drawing, which is reaffirmed by the placement of the dolls on a shelf on the wall. The shelf also acts as an architectural element, whose shadow casts a more solid, geometric shadow in contrast to the more organic forms cast by the dolls themselves. The piece contrasts the childhood innocence associated with dolls with disturbing sexual imagery that makes the viewer question whether sexuality can be divorced from the notion of innocence, while alluding to the sometimes distressing desires every individual chooses to either embrace or bury.
Bridget Said,
March 31, 2008 @ 4:33 pm
“Greenhouse” is essentially a two-part sculpture. The larger part is approximately 7′ x 8′ x 8′ and is constructed using plywood and 2×4’s. The plywood is shaped into a three-sided room with no roof and with three large windows, one of which measuring 5′ x 4′ and the other two each measuring 3′ x 4′. The interior of the room is painted completely white.
The second part of the piece consists of a 3′ x 6″ x 6″ podium made of pieces of 2×4, on top of which rests a halved plastic bottle filled with dirt and Zinnia seeds. The podium sits in the center of the white room, and a grow light surrounded by styrofoam cup hangs above it. Another light constructed in similar fashion hangs in the corner of the room, projecting light through pink-tinted packing tape.
The idea of “Greenhouse” is to create a greenhouse-type space within a space. One plant grows in the center of the room, and the tinted light (unfortunately not plural) in the corner represents the array of color that is present in every-day greenhouses. The stark white of the room creates a sterile, synthetic contrast with the organic idea of a greenhouse environment. Aside from the conceptual lack of color on the walls, the white also helps technically in reflecting the light from the “flowers” so that it appears more vibrant than it would otherwise.
Gabriela Arellano Said,
April 1, 2008 @ 7:53 pm
The piece “La Sagrada Familia, Mi Sagrada Familia” 6.5′x4′x2′ is a sculpture built with PVC pipes they were cut and attaced to form windows in wich retablos were placed. The retablos were made from foam board, paper, and spray paint. The sculpture makes the basic shape of an arch that resambles a manger. The PVC is painted black and the freames of te retablos are painted gold. Inside the frames there are drawings.
The idea came from “La sagrada familia” The Sacred Family and the wish to incorporate a big part of the Catholic Religion into the every day life of people. Every family is sacred in their own way and every family may not be biological. Everyone creates a new families all the time from when a person moves to a new country or to a new city. The need to feel accepted in a group or clan makes every person try to achieve the feeling of love that a family can give you. In this piece the colors and stories in each retablo represent a person from a specific family along with a storie and as mentioned before families do not need to be biological.
Sarah Said,
April 2, 2008 @ 6:13 am
(statement take two)
The sculpture Untitled, which measures 1′x3′x6′, is composed of nine geometric styrofoam shapes which have been sanded and layered with paint, then raised off the floor using toothpicks. They are raised only enough to look like they are floating, but remain low enough to the ground that the viewer must stand over the sculpture and look down to see the inside of the shapes. The colors were chosen to provide contrast- the outside of the shapes is intensely red, while the inside is a calm green highlighted with gold. The arrangement of the shapes slightly mimics the way folioge would grow on the floor- curving and fanning out from one of the shapes. The “natural” composition is meant to contrast the shapes which, though similar to flowers, are very geometric and simplified. Ultimately this is the main point of the sculpture: it exhibits some organic characteristics, but is made from entirely unnatural material.
April 9, 2008 @ 12:42 am
The inspiration for Conical came from abstract thinking about the concept of drawing. The piece is 4′x4′x5′ and is constructed from wood, sheet metal, paint, and a colored light bulb. A large white square outlined with a high gloss electric blue fence lies beneath a suspended metal cone. Inside the cone, an orange light emerges from a triangular hole. The piece is to be viewed in a dark or extremely dim space.
The metal cone of Conical possesses many of the same qualities of graphite. The sharp lines and reflections are a play on the drawing material. The blank white surface below prompts the viewers imagination and signifies an artists difficulty to start a project. The orange glow cast on the surface from the light not only ties the two components together visually, but also represents the first attempts that an artist will take to destroy the blank white of a clean canvas. The blue border of the square provides a stark contrast to the orange and evokes a visual struggle between the two objects. Conical’s main objective is to communicate an artists tribulation at the beginning of any piece.