Time | Self Portrait- Final
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Time | Self Portrait Inspiration
(Lluis Barba)
Time | Project 1: Emotion Mood Board
Chosen Emotion: Distortion
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(After- Illustrator file)
Space & Materiality | Process and Final Photos
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Space & Materiality |Final: Performative Environment Boards
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Space & Materiality | Social Spaces
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Studio | Final Portable Museum
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Space & Materiality | Animal Structure Research
1. Beaver Dams
Beaver dams are shelters built by beavers in oder to protect themselves against predators such as coyotes, wolves, and bears, and to provide easy access to food during winter. These structures modify the natural environment in such a way that the overall ecosystem builds upon the change, making beavers a keystone species. Beavers work at night and are prolific builders, carrying mud and stones with their forepaws and timber between their teeth. Beavers can rebuild primary dams overnight, though they may not defend secondary dams as vigorously.
A minimum water level of 0.6 to 0.9 m is required to keep the underwater entrance to beaver lodges from being blocked by ice during the winter. In lakes, rivers and large streams with deep enough water, beavers may not build dams and instead live in bank burrows and lodges. If the water is not deep enough to keep beavers safe from predators and their lodge entrances ice-free, beavers build dams. Beavers start construction by diverting the stream to lessen the water’s flow pressure. Branches and logs are then driven into the mud of the stream bed to form a base. Then sticks, bark (from deciduous trees), rocks, mud, grass, leaves, masses of plants, and anything else available, are used to build the superstructure.
The average height of a dam is about 1.8 m with an average depth of water behind the dam of 1.2 to 1.8 m. The thickness of the dam is often around 1.5 m or more. The length depends on the stream width, but averages about 4.5 m long. Beavers vary the type of dam built and how they build it, according to the speed of water on the stream. In slow-moving water, they build a straight dam, whereas in fast-moving water they tend to be curved. Spillways and passageways are built into the dam to allow excess water to drain off without damaging it. Dams are generally built wider at the base and the top is usually tilted upstream to resist the force of the current. Beavers can transport their own weight in material; they drag logs along mudslides and float them through canals to get them in place. Once the dam has flooded enough area to the proper depth to form a protective moat for the lodge (often covering many acres), beavers begin construction on the lodge.
Space & Mat | Project 2 Process
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Drawing & Imaging | MoMa Study
1. James Endsor – Masks Confronting Death 1880
Oil on Canvas (32 x 39 1/2)
A group of masked figures confronts the figure of Death, centrally situated and draped in whitea color that infiltrates the entire picture. Composed of masks adorned with drapery, hats, and even blue glasses, the arrangement of figures recalls Ensor’s earlier still-life compositions. The ubiquitous masks in Ensor’s work were likely based on those sold in his family’s curiosity shop a few floors below his studio. He explained, “The mask means to me: freshness of color, sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence.” In this painting, the fantastical masked inventions appear to come alive and challenge Death—perhaps a reflection of the artist’s preoccupation with mortality and his hope that he might prevail against its inevitable dominion.
2. Dance (i) – Henri Mattise , early 1909
Paris, Boulevard des Invalides
Oil on Canvas
8′ 6 1/2″ x 12′ 9 1/2″
In March 1909, Matisse received a commission from the Russian merchant Sergei Shchukin for two large decorative panels, Dance and Music (now in the Hermitage Museum, St. Petersburg). This painting was made quickly as a compositional study for Dance, which was intended to hang on the landing of a staircase, approached from the lower right. This may be why the lower figure leans into the painting, increasing the sense of movement, and why the figure at left is so large, slowing it. Drawing visible beneath the paint shows that Matisse started with two smaller figures where the large figure is now.
3. Hope, ii – Gustav Klimt (1907-08)
Oil, gold, and platinum on canvas
43 1/2 x 43 1/2″
Although images of women and children are frequent in the history of art, depictions of pregnancy are rare. In Hope, II a woman with a skull nestled into her gown lowers her head toward her swelling belly. Below, three women also bow their heads—in prayer or possibly mourning. The ornate decoration in Hope, II nearly overwhelms its surface. Klimt was committed to craftwork, and was among the many artists of his time who combined archaic traditions—here Byzantine gold leaf painting—with a modern psychological subject. Klimt lived and worked in turn-of-the-century Vienna, home to Sigmund Freud, the father of psychoanalysis; Klimt’s exploration of formative drives like sex and death parallel Freud’s explorations of the psyche.