Shift: studio 1: Tee poem

shift

IMPROVED VERSION :

 

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I created this piece using photoshop. It was inspired by the system of complimentary colors. According to a color of choice, in my case Orange, I wrote a 5 -7-5  syllable poem about an object which incorporated this color.

I focused on transitioning between the two colours as a metaphor of shift of mood due to the Tee’s burning sensation. Within my poem, I mentioned a sense of pain, which I chose to convey within the image using the colour blue; however Orange represents an enigma of joy.

Hence the poem states ‘ Burned my thigh my hands’, I in particularly concentrated on darkening theses areas within the image, as well as the woman’s throat, as this is the area in which the shift takes part.

 

The overlap of  individual images creates a sense of transient and fleeting emotion, which is evident within the poem and hence relevant to my development. Furthermore, I focused on distinguishing a clear division between joyful association (joyful imagery, Orange) and painful association (pain of hot water, Blue), in order to make the transition of emotion most prominent. This way the two enigmas, directions of the poem are captured within this image, which allows the viewer to chose their own route, so to speak, positive or negative. Which creates  a more personalized experience for the viewer.

 

Tee:

Glide down my throat, smooth

Water scented joy

– Burned my thigh my hands

 

Objects convey political issues: The Rolex Watch

Seminar One:

Objects convey political issues: The Rolex Watch (Bridge 3)

Antonia Groh

The Rolex Watch

How can an object change one’s status – how can it change one’s perspective and identity?

It was peculiar how the watch came to me. I would have never expected it. It was like a gift, a friend, a loyal companion that one day was given to me and was never to leave my side again. An emblem of not only my parents but their unconditional love to me.

It was my 18th birthday when the exchange happened. The well-known watch that had been given to my mother for my birth by my father now was slid onto my bony wrist and looked shiny and new. Yet it wasn’t and that is what made it so special. I thought of the watch almost as if it was my protector, my little angel so to speak,  resting on my wrist, ever always by my side, protecting me.

I knew I could never loose it or I would be in deep despair, yet I was not afraid to wear it as I knew it was meant to be with me at all times. However, wearing a watch like this, a precious object, comes with the responsibility I could have never imagined. Walking back home late becomes an ever-growing struggle, as if the dangers of the night, a burger, an evil would hunt me down, it would not just be a possession that would be stolen from me. No. It would be as if they would ‘rip my heart of my wrist’, would take the last piece of my father I have from me, as the watch was his last present to me before he passed. So I never walk alone. I guess it is the name which makes it precious. Rolex. What does it mean anyway? How can a name create such demand, generate such excitement and jealousy over a possession?

I remember I was at school, it was the first day after my 18th birthday, I was wearing the watch. A girl approached me, staring at the watch as if she was thirsty for it. She stared into my eyes, her eyes bloodshot, scarlet-coloured, full of jealousy. At first, I was confused, how could I have upset her? I never knew a watch could create an enemy.

I will always remember this frightful look in that girl’s eyes, afraid she might not be ‘good enough’, ‘worthy’ to be my friend, simply because she did not own a precious watch as such. I shall never understand such stupidity. How would one not be worthy of being a friend simply due to the choice of accessory? It is a riddle to me.

One day, I was lost in thought, curious and eager to try a social experiment. How would people react if I did not wear my watch in school anymore, would they treat me differently? Ever and always wondering, I finally took it off, my wrist felt naked, exposed. I had not seen this part of my flesh in a while. 4 months I believe.  My skin was pale and soft and a tan-line occurred where the watch had rested.

It felt peculiar not wearing my watch. A strange sensation overcame me as if I was not whole anymore, lacking some sort of piece of my own. I joked with a friend, I was a robot and one of my screws had gone missing.

Once I arrived at school, I did not know what to expect, would people even notice I was not wearing it? Would it be different, would I be different in their eyes not rich enough anymore to be ‘cool’?

The day carried on as usual, which resulted in me being greatly disappointed with my social experiment, yet positively surprised that my naked wrist did not alter my friendships. Then, as this thought overcame my inquiring mind, a girl, the same one who had stared at my watch for the last months with a hunger greater than I could capture with words, she came up to me saying: ‘Where is that fancy watch of yours, lost it? I bet mom and daddy won’t be so happy with their little angel now, huh.’ Slowly turning my head, I looked at her. My bright green eyes burning themselves into her soul. Quiet, no words escaped my mouth, I said everything I needed with just one look. She fled. Never will I forget the sense of satisfaction she seemed to have felt, as she suddenly was able to talk down to me once again, simply due to me not flaunting my wealth, distinguishing me from her social circle.

How is it that we are pressured to be put within a social group or be defined by status? I often wondered if it was singularly Austrian society that was so defined by the material things in life and what they seemed to represent, yet I soon was brought to awareness, that in England and most other parts of the world worked the same way. It saddened me. However, I guess there is an upside to it, an association can be used to manipulate thoughts, make someone think of you as more important, more worthy of respect if you dress the part. A lesson I learned from very early age. Yet I don’t agree with this sort of lifestyle- always pretending to be something which might not be true to someone’s personality at all- a mask created by social insecurities. No. That is not a life fully lived.

Yet when I traveled to Greece, Paros, an island which seems to be sheltered from the rest of civilization, I had a bizarre awakening. When I encountered new people, made new friends, shaking their hands exposing my watch, it did not seem to define me whatsoever. It was incredibly refreshing, almost exhilarating. It was me who was seen, liked for my wit and heart, not my wristwatch or what it may represent. This occurrence made me rethink the identity this object had given me, the status and the light in which it represented me. I asked myself – what impact did I have on society and in which sense or rather than myself, what impact did my watch and in particularly its brand have on my fellow peers? I never knew how much power one objects could have in persuading someone to be your companion or treat you more respectfully, think of you with more admiration and desire you to be part of their social group. It shook me to my bone. Ultimately I came to the conclusion, my watch, my identity of wealth, it was like a secret ‘super power’. Like a magnet. It would catapult me to new dimensions, new possibilities, open doors for me, yet also make me invisible at the same time.

The watch or much more its meaning, its association made me become a shadow of myself, a ghostly figure shaped by others believes. Strangely this was only the case when I was surrounded by the wealthy.  I found myself getting lost in the excess and blinding beauty of possessions. Strangely the second I found myself surrounded by others who were of a less excessive social class, more exposed to a traditional lifestyle and culture, I wasn’t overlooked. No. I was radiating, I was seen as different, the ‘odd one out’, as no-one else could have possibly been able to afford to own a watch of this worth. So I was confused, does that mean I cannot win, no scenario can lead to a ‘happy end’ in which material possessions are indifferent and humanity cares for one’s heart, one’s character, not just one’s bank account and what it could provide? Will I always be an outsider, not ‘rich enough’ for the ‘big league’, not ‘poor enough’ for the ‘ordinary people’? I guess the pursuit of a sensation, commonly defined by the term ‘fitting in’  it is a losing game. I felt like a lone cowboy stranded in the desert. No-one around who could possibly comprehend my wondering, my curious yet humble nature. All I wanted was to wear my watch as an homage to my parents, not as a symbol of prestige.

I guess society has been blinded for a long time by the ‘shiny’ things in life.  So I find it exceedingly humorous how most people constantly insist on pretending not to worship any material possessions, as it is made out to be uncouth to care for wealth, yet it is a constant component of the definition of one’s esteem. How very amusing.

Young Artist in Focus: Lila Dittersdorf

Antonia Groh

Bridge Paper Two: Artist Statement

 

Young Artist in Focus: Lila Dittersdorf

Lila Dittersdorf is a witty young artist who tackles her fascination for architecture and sustainable design within her work enclosed by fashion design and painting. This fascination can be traced back to her ancestors who, predominantly on her mother’s side, were active within this industry. Dittersdorf´s mother, in particular, seems to have been the artist’s main person of reference and predominant influence as she grew as an artist, due to her mother’s contribution to a program called ‘the art embassies program’. This demanded Dittersdorf senior to manage art and distribute various pieces throughout U.S. embassies worldwide, which enabled Lila Dittersdorf access to up-market art from an early age. The artist herself also states ‘I just like have the gene from my mom’s side of the family’.

Additionally, Dittersdorf reveals her current artistic influences, divulging urban artist Sigma Pulp. Pulp is known for creating unique patterns within his art pieces, using  classic stencil techniques, then combining these with vibrant and unconventional color compositions. Lila Dittersdorf explains, she is memorized by Pulp’s work due to his unorthodox style and color amalgamation, which could be connected to the fact that Dittersdorf has found herself drawn to vibrant colors, in particular, yellow since early childhood, and tends to incorporate these within her designs.

Furthermore, the artist declares she is also greatly inspired by music and in fact finds herself unable to work when not constantly surrounded by it. ‘ I’m also really inspired by sound, like I think sound is the most interesting thing, I record sometimes, like the audio of my walk home, I just think it’s so interesting and like poetic ‘. This, she feels, can be traced back to her father, who she describes as ‘just like your classic New Yorker ‘. In fact, it was him who introduced Dittersdorf to the music of all-time greats such as Patty Smith, who she states, to this day, has a great influence on her work.

Moreover, Lila Dittersdorf describes herself as a visual learner and urges the importance of information being written down or drawn onto paper, in order for her to be able to transition the information into her art. ‘I have always recognized I’m a visual learner like everything has to be written down or drawn or something like that for me to get it’. She mentions herself being challenged to ‘just paint’ and rather prefers to put an object into context with another, as she feels this way she is able to apply her fondness for painting to the ‘real world’. Furthermore, it was this demeanor of creation, that foster intensified Dittersdorf’s attachment for her work within fashion design. When discussing the artist’s fashion work, Lila Dittersdorf mentions she seems to be predominantly drawn to the ever-changing design of shoes, as she expresses having a distinctive awareness for footwear, stating ‘shoes, this is where the fashion thing comes out for me,’. Nevertheless, the artist describes herself somewhat caught in a state of impatience with irresolution, whether to abandon fashion in order to focus on her other interests, such as painting, or whether to remain, as she finds herself repelled by the fact, that the fashion industry is second to the oil industry in terms of pollution.  However, it is this fact exactly, which also creates a sense of urgency within Dittersdorf to carry on her work within fashion design and create more environmentally friendly creations.

Minimal Surfaces: Experience: Space Project (Bumble Bee)

Space materiality:

The idea of my space mat final project was to generate a minimal surface inspired space, which one could experience in some sort.

When first creating this minimal surface structure, I seek inspiration from  ‘animal architects’ (animal nests). After thorough research, I chose to observe the bumble bee as my reference animal. I was fascinated by the bee’s larvae nesting qualities as its nests exhibit rather robust qualities, whilst being a delicate structure. This paradox fascinated me and therefore I chose to foster my research.  Relevant to my findings, I continued my project by thoroughly brainstorming ideas and drawing sketches for possible designs, which ultimately led me to the final piece.

Furthermore, I wanted the viewers to engage their senses and ‘experience’ the piece, rather than singularly visually observing it.  Thus I focused on making the design hollow inside so that one could lie underneath/inside it, creating a sense of being inside the bees comb. This sensation is supposed to recreate an enigma as if the viewer was part of the bee comb family so that one could experience  life as a bumblebee larvae.

When regarding the matter of how my surface stimulates human sense, I decided to incorporate various techniques. Firstly, using the sense of smell, I spray the entire comb area with honey and sandalwood scented perfume, as this would create a sense of being inside a bee comb as a larval, smelling the bees fresh honey (larval nurturing food).

bumble-bee-structureAlso, I placed little honey flavored pieces of candy inside each of the little nest structures, so that the persons experiencing the space may take a candy.(A) This aspect can be seen as a metaphor for the larval being nurtured by honey the bumble bees create, so when the human eats the candy, it is as if they were nurtured by the structure.

The structure will be located at the side of elevator NR 1 in the lobby of the Parsons 2W 13th Street building. This is so that the seating inside this lobby area can be combined with my structure. The round beds would be inserted inside the structure so that the viewer can lie on the bed and be located inside the surface at the same time and rest like a larval.

(A)How person interacts with sturcture

CHOSEN SPACE BY THE LOBBY:

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Prototype:

 

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The detailing (larval nests) I am producing from paper. It will be placed upon the structure as if growing outwards from the center of the piece :

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AFTERLIFE OF THE STRUCTURE:

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A                                                                 B

A: Removing the Larval  – Cups, making them into various objects of various use(vases, lights etc)

B: Using the structure as a work place ‘aid’.

Nan Goldin – Exhibition – The Museum of Modern Art, New York.

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Nan Goldin – Exhibition –  The Museum of Modern Art, New York.

 

Nan, formerly named Nancy, Golding is an American Photographer, who lives and works to this day in the one and only New York city. However, she has also worked in Berlin and Paris. Born September 12th, this artist is known in particular for her features of lgbt related themes within her photography. Her work is currently exhibited at the Museum of modern Art. 

When visiting the exhibition, what stoke me most was the incredible use of lighting and color composition within Golding’s work.  Her way of capturing the selected moments, using light to create emotion and a sense of intimacy, if wanted, is mesmerizing. Furthermore, she seems to use the method of the golden ratio multiple times.  This again creates impact upon the viewer as the eye is guided toward a particular part of the photograph; yet then he or she discovers what lies in the background slowly. This method of visual decoding an image carefully can be seen as a metaphor for Golding’s relationship, not only between her and her lover, but also towards the exhibit.  By this I mean the way in which she slowly and continuously unveils her own personal story piece by piece with each of her photographs. 

I was in particularly drawn to two of her pictures, which seem to represent milestones, so to speak, within her relationship. One photograph portraying Golding herself lying on a bed and her lover facing into a bright light and the other picturing a self portrait Nan took one month after she had been abused by the very same man. 

When analyzing these two images, one can very clearly distinguish the two different enigmas of each picture. For example, when observing the Image of her and her lover, the fact that the man faces a bright light, causes him to be seen as almost angelic and gentle, even though, based upon the other picture evidencing Golding abuse, this is not the case. Nevertheless, even this ‘angelic’ photograph seems to capture a sense of hostility and space between the two lovers. This is due to the male facing away from Golding, as he is smoking a cigarette. Meanwhile Golding is portrayed in a sinister lighting, which is making her appear small, insignificant and fearful. She looks as if she is almost in awe of him; however portraying a tender yet scared glance towards him, which is received as endearing yet spine chilling at the same time. 

This very aspect within Golding’s work, how she continuously manages to capture rare and incredibly vulnerable moments within her Photographs, almost as if time stood still, is what fascinates me and drew me in.

Furthermore, Golding’s use of a sepia lens, which was very popular within the time period, creates a sense of nostalgia and further deepens the enigma of ‘time capture’. 

Also the fact that Nan Golding chose to position her lover within the golden ration, foster puts emphasis onto him, which introduces a play upon proximity, as his body, as it is closer to the camera lens appears larger compared to hers, placed within the background. This composition can be seen as a way to strengthen the matter, that their relationship mainly revolved around him as the figure of significance and power. However, this can be interpreted in many ways, may it be as Nan’s abuser (physical power) or as her lover (He possess mental power over Golding, due to her obsession with him) . Whichever way one choses to interpret the piece, it without doubt is well thought through and impeccably composed. 

Moreover, when analyzing the second ‘milestone – photograph’, showing her one month after her abuse, it is evident that Nan’s body language has completely shifted. She is now pictured by herself, centered within the frame, seemingly strong and undefeated, even though she has most obviously fallen victim to beating. This particular image is a self portrait. 

Golding wears heavy jewelry and looks almost dressed up, as if she was about to attend a special-occasion event. This can be seen as her way of representing that she will not let the abuse define her, she shall still be the powerful woman she once was. The jewelry therefore takes on the role of a symbolistic item, representing strength, rebellion to victimhood and pride.  Furthermore Golding’s photograph plays with using a complimentary color composition within this photograph. Green and red stand opposite each other within the color wheel, which enhances the contrast of Golding bruised eye and red lipstick against the pale green background, which seems to display her embroiled kitchen curtain and matching wall.  This use of complimentary colors helps the picture appear more striking to the viewer and more esthetically pleasing, even though it portrays a gruesome image. 

 

ANIMAL ARCHITECTS: NESTS

EXAMPLES FOR ANIMAL ARCHITECTS:

 

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THE BUMBLE BEE

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THE COMPASS TERMITES

These huge wedges are the nests of the Compass Termite. The wedges are generally north-south oriented, which gave these insects their unusual name. It is believed that they mounds are build that way to regulate the temperature of the underground nests.

 

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THE EUROPEAN WOOD ANTS

The European Red Wood Ants build their anthills in huge mounds on forest floors. The colony will often build several mounds, interconnected with the main hill, and would move to the adjacent mounds if the main one is damaged beyond repair.

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THE SOCIABLE WEAVER

Native to Southern Africa, the Sociable Weavers build huge communal nests that host hundreds of the little flyers, many of whom are part of the same family. Using sticks and grass, the weavers make these permanent homes, using the inner chambers of the nests to stay warm during the cold season.

 

 

 

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THE BUMBLE BEE 

VARIOUS SPECIES EXAMPLES:

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I CHOSE : Bombus impatiens is one of the more common North American bumblebees, it can be found in Ontario, Maine, Georgia, Kentucky, Maryland, New Jersey, New York, Pennsylvania, South Carolina, Virginia, West Virginia, south to Florida, west to Michigan, Illinois, Kansas, Missouri, Wyoming. Body lengths, queens 21 – 23 mm, workers 9 – 14 mm, males 12 – 14 mm. Their hair is short and smooth, and they nest underground.

Bombus impatiens is one of the more common North American bumblebees, it can be found in Ontario, Maine, Georgia, Kentucky, Maryland, New Jersey, New York, Pennsylvania, South Carolina, Virginia, West Virginia, south to Florida, west to Michigan, Illinois, Kansas, Missouri, Wyoming. Body lengths, queens 21 – 23 mm, workers 9 – 14 mm, males 12 – 14 mm. Their hair is short and smooth, and they nest underground.

 

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THE BOMBUS IMPATIENS NEST:

 

In comparison to ordinary bumble-and honey bees and paper wasps, this breed of bomus impatiens does not create nests of a certain structure, rather it creates a chaotic gathering of egg clumps. Therefore the nests vary in all sort of shapes and sizes depending on the particular space the bee choses to create rather then a predictable pattern. Also the structure is dependent on the space in which the nest will be build, for example if he bee builds its nest inside a pipe the nest will be of a more circular shape, whilst if the bee chooses to nest inside a cardboard box the nest would be square or rectangular. The structure of the nest is not hanging, rather it lies on the ground horizontally.

 

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The nest exhibits a hierarchy of labor and a sort of social organization. Tiny bees create smaller zones of space and are located rather close to the center of the nest. However bees which were “in charge” of feeding new larval are located in the actual center.

 

 

Sources: source: http://www.bumblebee.org/faqNests.htm

source: http://www.bumblebee.org/faqNests.htm

 

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