The works that I created have ranged in meaning and medium – though a common denominator throughout my work hints to my interest in the human psyche. Studio 1 & 2, space and materiality, 3D-modeling, and sustainable systems relate in the way of constructing 3D works of art. Drawing and imaging, objects of history, 3D-modeling, and time worked with 2D mediums centered on the computer – predominantly adobe cloud. Seminar 1 & 2, Objects of History, basic business structure, and sustainable systems related to a more traditionally academic centered curriculum – though, my seminar 1 class a bit of a joke which was quite disappointing.
studio 2: play design challenge
Time: I also made two magazines that I believe to be quite successful. Not sure how to upload them on here though. If you wish to see, I can email them to you.
Space & Materiality : Blue Lagoon Lantern Study
Studio 1: Though for the Thoughtless
Drawing and Imaging: Buillding Block Manipulation
Objects of History: Museum Curation
Entry Way
The word reflection kept bouncing around my head after I had googled the definition of a mirror. I thought about how a mirror echoes the light it is reflecting, hence the title of my piece. I wanted the entrance of the exhibit to actually play off the title of the exhibit. I began to write down all the ideas and names that came to me. Among them was the name, James Turrell. I saw his installations at MASS MoCA and was instantly inspired as to how I could tie his manipulation of light into this exhibit. I began to look at the Roden Crater in Arizona. When I came across the Alpha (East) Tunnel, it reflected everything that I could hope to encapsulate for an entrance to this exhibit. The reoccurring shape, that reminds me of a keyhole, puts a visual to an echo. Above the tunnel, three dimensional (3D) letters would be attached to the wall, and the lighting could play with the shadows that the 3D letters can create.
Bronze Mirrors Room
– Non-European Object – Object n.1 –
“Deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and incite unconscious peripheral vision and tactile fantasy.” – Pallasmaa The Eyes of The Skin
The room is designed to be lit with dim lighting. The color scheme is predominately darker, varying in hues from mid green to an elusive black. At the center, a table is set up with the bronze mirrors resting atop. Light would reflect the surface pattern of the mirror on to the east wall.
The first five feet of the north and south facing walls have mirror panels attached to them, the mirrors are fogged with a dark black/grey sheer cover. The top seven feet would be adorned by living walls. Along the north and south walls, a custom curved seating installation will be attached from the ground to two feet up.
The east and west walls both have doorways. The east wall is mirrored as well, covered with the same sheer covering as the north and south walls. The west wall will be covered with some kind of tactile material.
A Girl Before A Mirror Room
– European Object – Object n.2 –
“A [room] is not an end in itself; it frames, articulates, structures, gives significance, relates, separates and unites, facilitates and prohibits.” – Pallasmaa The Eyes of The Skin
The room should elicit a mellow atmosphere. All four walls will have mirrors attached to them, the mirrors will be fogged with a sheer white coating. The ceiling is inlaid with a light space inspired by James Turrell’s Shadow Space Constructions and Skylight Series.
In the center of the room there would be a large seating area that would actually be a large cylinder seat with a radius of about 10’ or perhaps more. People would be able to enjoy the painting as well as the atmosphere created by the lights and mirrors while resting on this lounge area.
“Aftermath of Obliteration of Eternity” 2009 – Yayoi Kusama
– Present Day Object – Object n.3 –
Space and Materiality: Project 1.2
Studio 2: Homage to Lower East Side 1800-2000
