For the bridge #3 project, we were assigned to create an illuminated manuscript inspired by our interview with our parents/guardians. A moment that stuck out to me in my mom’s interview was when she told me that there was nothing that would stop her from going to France. It resonated with me because our stories paralleled with one another; at the same age, I was determined to live in New York and study here. And so, I created an illuminated manuscript that combined both of the cities’ bridges and cityscapes. I wanted the buildings to look very flat and distorted to give it the sense of having an unfamiliar sensation. I also wanted to make the entire color palette in pastels of blue, pink, and yellow to further drive this sense of wonder that my mother and I both shared when moving to new cities. In her interview, the way that she described France was with such fascination and enthrallment, so I wanted to capture that in this piece. At the bottom of the manuscript, I wrote,”La Poésie est dans la rue”, which translates to “The poetry is in the streets” in French. She experienced so much beauty while she lived there and looked at everything through a bright-eyed lens.
For my preverbal sculpture, I created my version of my great grandfather’s wooden swing that he built. The structure he built was dilapidated, crooked, and when you would sit on it, the chipping paint would itch the bottom of your legs, but that’s what I loved about it.
I made the swing out of wire and twine to evoke the malleability of the structure and it’s organic shape. For the two posts on each side of the swing, I wove twine around the wire arches to enhance the battered nature of the piece and to make it look solid from the front. When the viewer looks at the structure from the side, they can see that the posts are hollow to further add to the narrative of its dilapidation. For the swing part of the sculpture, I made two pieces of wire in a zig-zag pattern to mimic the slats from the original swing. Then, I tied pieces of twine onto the wire and frayed the edges to elicit the feeling of when I sat on the swing.
For my Fragment Visualization piece, I chose the quote, “This was before rivers had names other than names for my father. It was before there were numbers, those fearsome first angels. Long before the wind learned to speak in past tense. Before it started crossing into the future by leaving all of its faces behind.” I took the imagery I read in the quote and incorporated the ones that evoked an emotion for me. The first image that emerged in my mind was to have rivers mimic the silhouette of flames. The lines of the poem read as this rhythmic fiery flow, with the repetition of the word “before”. And so, I wanted to illustrate those rivers going into this formidable future. I also drew a person “speaking out” their future, manifesting what they say and making it into a reality. The river symbolizes the crossing into the future. I also illustrated blind contour faces on the main figures head to depict the faces that are being left behind. Finally, I added a halo-like silhouette behind the main subject to also contribute to the nature elements of the piece, as well as balance the composition.
Ballet is the core, the roots, the basis of dance. It is the catalyst for all of the other genres to blossom into their own innovation. It provides such a definitive technique — from the way one positions their head to the way one elongates their fingers. The art form of dance has evolved since 15th century Italy and it continues to adapt to the contemporary world. I have choreographed and performed in contemporary ballet pieces that take the rules of ballet and created new shapes and textures. Instead of portraying lines that make the body look as graceful and elongated, I experimented with things such as how one tilts their hips forwards or backwards, how contracted their upper body was, and the position of their hands.
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