Cultivated Memory

A. Identifying information
Under The Skirt
Yarns, Steel wire, Plaster
6′ H x 22″ W x 15″ D
B1. Images & Videos
Note: click video links below to view full scope and experience of the piece.
B2. Process Images
C. Written Reflection:
1. Write a short poem using any form (including free form) in which you evoke the
nature/feelings/character/atmosphere/sensations of the memory you cultivated through the making of your project.

It’s 8:06 in the morning and my mouth is on fire. I’ve spent the whole night reading, poring through articles like “The Marriage Cure” and “Am I Too Weird And Contradictory to find love?”, with little reverie-intermissions where I thought of my noodles. I’d completely forgotten they were lying around, still in the deli bag and sitting on my floor under a coat and backpack and camera bag, but when they resurfaced I knew instantly I had to have them. At an acceptable hour, though, of course– if I waited long enough my internal calorie counter would reset, or something. For someone who stayed up all night and not because they wanted to, eight in the morning was the skinny silver bridge between acceptable breakfast hours and a time where I’d stare myself in the mirror after scarfing my food down and lament that it was why my stomach’s puffing out more than usual, and exactly how long I could stand waiting while they were on my mind. So it’s eight in the morning exactly and I’m emptying a packet of sauce that looks like halloween blood onto freshly boiled noodles that came from a packet labeled “Mania HOT Chicken Ramen Stir-Fry Noodles” with some fire symbols and other writing I can’t parse. The goop that looks like it could have bled from my wrist or my cunt looks more like food now and while I’m anticipating putting it in my mouth is when I first think of writing about it; I don’t know where or when but I do think it’s very funny that the sauce looks like the largest chunk of the budget of Evil Dead 2 and that I’m very clever. I’ve only had the noodles once before, bought with the ones I’m about to eat now but never finished. Out of the monolith shelf of instant noodles at the deli, each vibrant block of packaging sat in undisturbed rows save for these, two vinyl-black chunks of gold in a pan of two-dollar, noodly pith. The logic was simple; clearly they had to be something special if they seemed oh-so-in demand. The lady at the counter gave me a thinly-veiled warning, half to avoid a complaint in three days’ time and half a well-founded underestimation: “You know those are spicy, right?”

I assured her I knew and that I enjoyed it (“I put hot sauce on ALL my fries,” I remember saying), cooked the first package up the moment I got home with them and was struck with how un-spicy they were on first swallow. My roommates were hearing uninvitedly about the same cashier in less eloquent terms (“They were SPICY, she said,”) just as my cinematic comeuppance came; the sweet bite I anticipated was nowhere to be found and instead I found myself consumed all at once by a dry, suffocating burn.

2. Describe your process of making an alginate body mold and a plaster cast, and explain when and how in that process you altered the cast including how you decided on the gesture, orientation, and alteration process.
I chose a very sexual gesture for my plaster cast, one I knew from the get-go. It was one I knew would be familiar to many women, and I wanted to replicate it as much as I could. I altered my plaster cast by carving it out to look gruesomely wounded on the part that is my hand, a choice predicated upon both aesthetics and necessity due to plaster breaking. I also wired on the cast fingers of a male partner performing the gesture, as if our bodies were wired together. This was to represent my complex relationship with intimacy as a result of past trauma, asking who is in control and what has been damaged. The process of making the plaster cast itself was fun however, and an oddly unique and intimate experience for the aforementioned male participation.
3. What kind(s) of inhabitable space(s) in the real world inform the inhabitable space you made?Carefully and specifically describe the structure, materials, processes that you used to make your inhabitable space. Describe how these choices contribute to the quality, character, psychological state, sensations, and atmosphere you would like your inhabitable space to evoke from your memory.
My inhabitable space was informed by wombs, nests, and dresses. I used yarn to evoke the softness and appearance of flesh, and structured it to simultaneously look like an exaggerated, suspended womb and a ball gown. Combined with the placement of the cast (under, and mostly obscured by, the “skirt”), the viewer is forced to “violate” the piece in order to view it, enacting a sort of traumatic experience a la memory. The form also speaks to the general concept of the piece.
4.Write about two specific ways your work for this project relates to the work of artists we studied for this project, which include artists from the videos, the readings, and class lecture (reference the project sheet for names). Make sure you include each artist’s name (ask if you cannot remember), and make sure to explain the reference you are making beyond obvious formal features.
This project is a major homage to Louise Bourgeois in its feminist and sexual themes, and the use of a material like yarn to convey flesh, which is an homage to her pieces Fabric Totem, Heart,  Structures of Existence: The Cells, Knife Figure, and more.
5. Discuss the design elements of mass, texture, and volume and their relationship to each other in your project.
As mentioned earlier, a major goal was for the yarn to resemble reproductive flesh, which I executed quite to my own satisfaction. I also wanted the soft texture and large size of the yarn space to contrast and envelop the cold, white, small plaster cast, which is why they are designed as such.
6. How does the design principle of repetition play a role in the organization of space or material in your project?
The repetition of the bands of woven yarn were integral to my making process and creating a banding that resembled the organs I was modeling after.
7. Explain how you tailored your inhabitable space to your cast, or how you customized a space specifically for your cast to inhabit (discuss ergonomics, contact points between structure and cast, the relationship between surfaces, the size of the space, and the proportion of negative space to your altered cast).
As I mentioned, I wanted the inhabitable space to obscure and envelop the cast so that the viewer would be encouraged to peer beneath the inhabitable space. I fitted the wire frame of the space over the cast while making it and tested it a few times to ensure it was large enough to have the effect I wanted without hiding too much. The cast and inhabitable space do not actually contact each other at any point, representative of the rift between intimacy and the body in the traumatized girl.
8. Discuss how and where in the classroom you presented your finished project 2, and why you chose to display your piece that way.
I suspended my piece from above, hovering over my cast just below eye level, as I wanted to add to enveloping I mentioned before without completely lamp-shading the cast, and the height placed an emphasis on the viewer peering beneath the space to view the cast.
9. Discuss other important aspects of your project not mentioned above, such as how you delineated
interior/exterior space, how you designed a threshold, how energy flows into, through, and out of your piece, how senses besides sight are involved in experiencing your project, how you used light or color, or anything else you wish to discuss.
There is not much; I used the varied pink color of the yarn to evoke flesh especially.
10. To you, what is the most important or exciting aspect of your project or your process for this project?
The most exciting aspect of the piece itself is probably the act of the viewer peering beneath, but I also had a lot of fun making both the cast and space.

Leave a reply

Skip to toolbar