Katie Campbell-Site Specific

 Katie Campbell-Site Specific

5/4/2026

Proposal:

       This proposal presents a site-specific installation of small cast bronze squirrel sculptures placed throughout Prexy’s Pasture on the University of Wyoming campus. Each sculpture represents a different college within the university, using subtle, integrated details to reflect areas of study such as education, law, agriculture, arts and sciences, and energy resources. The squirrels will be placed in natural, high-traffic areas such as trees, benches, and rocks so they feel like part of the existing environment rather than something separate from it. Instead of being immediately noticeable, the installation is meant to be discovered over time, unfolding gradually as people move through space.

      The project builds on the already strong presence of squirrels on campus. Over time, they have become an unofficial mascot through everyday student interaction and even on social media, where students document and share their encounters. These squirrels are comfortable around people and often approach them, creating small, memorable moments in otherwise routine days. This installation takes that familiar experience and transforms it into something intentional. By incorporating details that represent each college, the work connects directly to student identity while still maintaining a sense of humor and familiarity. It does not introduce something entirely new but instead builds on what already exists within campus culture.

          Prexy’s Pasture is especially suited for this installation because it is one of the most active and recognizable spaces on campus. Students pass through it constantly, often without stopping, while at the same time, it is filled with squirrels that are a normal part of the landscape. This overlap allows the installation to exist seamlessly within the environment. The presence of both real and sculpted squirrels creates a moment of uncertainty, encouraging people to slow down and look more closely. Because the space is open and spread out, the sculptures can be distributed across different areas, allowing each viewer to encounter them in a personal and unplanned way. This approach makes the installation feel a part of daily campus life rather than staged or separate from it.

         The sculptures will be produced using cast bronze, a material chosen for its durability and ability to hold detailed form over time. Each squirrel, including all its identifying features, will be sculpted by hand before casting, ensuring every element is fully integrated into the final piece. This ensures both structural strength and visual consistency across the installation. Surface finishes, such as patina, will be used to bring out detail while maintaining a cohesive appearance. The works will be installed using secure methods that protect both the sculptures and the surrounding environment, ensuring they remain stable without damaging existing campus features.   

       The overall goal of this project is to enhance how people experience a familiar space. As individuals move through Prexy’s Pasture, they may not immediately notice the sculptures, but once one is discovered, it encourages a shift in attention. What begins as a routine walk becomes something more engaging, as viewers start to look more closely and search for additional pieces. These small moments of discovery create a sense of connection, not only to the artwork but also to the campus itself. By working within an already active and meaningful environment, the installation invites people to slow down, observe, and experience their surroundings in a new way.

4/27/2026

So far, I have made all my squirrels either digitally or out of Sculpty. I have not painted them yet, but they are all made. I have made the trees and glued on some grass for the aerial map of Prexy's pasture. I am stuck on how to set everything up like all the pictures, since I have a lot of them, like the squirrels and pictures I took of prexy's. Should I use one of those poster boards used for presentations? I am also stuck on what else I need to do, like the research part of this project, for example, how much money I would need to make this project, and how I would go about that.

4/12/2026

Lately, I’ve been kind of stuck between two directions with my work. I really love making Christian art and pieces that reflect my faith, and that’s something that will always matter to me. But at the same time, I’ve been leaning toward doing something a little more light-hearted and fun. I think I just need that right now—not to replace the deeper work, but to give myself space to try something different.

That’s why I keep coming back to the squirrel idea. Instead of doing one for different colleges, I want to base it around the University of Wyoming and focus on the different colleges within it, like the business college and others. I like the idea of making one squirrel for each area and giving each one a small outfit that represents that specific college. This could be through colors, symbols, or small details that connect to what that program is known for, making each one feel unique but still part of the same overall idea.

I also think this idea could really push the site-specific concept further. Instead of just placing something in a space, each squirrel would actually relate to where it is. It would feel like it belongs there, almost like it’s part of that environment. Each one would reflect something about that specific college, which makes the piece more thoughtful than it might seem at first.

Another thing I like is how approachable it is. It’s something people could notice, smile at, and maybe even connect with if they recognize the details. It doesn’t feel as serious, but it still has meaning in a different way.

Right now, I think I’m leaning this direction because it feels more natural for where I’m at. It lets me have fun with my work while still being intentional, and that feels important to me.

Below is a map with a label of each building on campus.

4/5/2026

So far, I have two ideas. I struggled with what I want to do because I want to keep with my theme of faith and or small quiet moments in time. I am still not sure of these ideas and maybe expolore more.

For my first idea, I wanted to create something lighthearted that connects to the idea of quiet moments in time. I thought it would be interesting to use humor and surprise to make people pause and smile during their day. My idea is to place small sculpted squirrels throughout Prexy’s Pasture on campus, positioned in natural but unexpected spots like hanging on trees, sitting on trash cans, or resting on benches.

Each squirrel would have accessories that reflect campus life, such as a Chick-fil-A bag, a UW beanie and gloves, or a backpack with books. These details would make them feel relatable and connected to student experiences. I would continue adding more ideas to represent different parts of campus culture.

This project is site-specific because squirrels are already an important part of campus life. They act almost like an unofficial mascot, with social media pages dedicated to them and students interacting with them daily. Because of this, the sculptures would blend into the environment while also creating a sense of surprise.

The goal is to create small moments of joy that interrupt people’s routines in a subtle way. By noticing these squirrels, viewers are encouraged to slow down and be more present. Overall, the installation uses playful, familiar imagery to bring attention to the often overlooked details of everyday campus life.

The artwork that made me think of this is the Trolls by Thomas Dambo. As they are placed around places, but each troll is not the same as the one below. The troll is taking the lamp posts and gathering them like flowers. There are multiple trolls, but each is different on the site and does not work anywhere but their site. Another artwork is Humpty Dumpty by Kimber Fiebiger in Colorado Springs. These sculptures are specifically placed in the Rocky Mountain regions, and each of them shows a characteristic of Colorado. 

For my second idea, I wanted to create something more faith-based and reflective. This installation would take place in my church, specifically in a small hallway room that people pass through before entering the sanctuary or other areas. Even though the space is small, it serves as a transition point, making it a meaningful place to prepare people’s hearts and minds before worship. This makes it very site-specific, as the layout and purpose of the space are unique to this church.

My idea is to paint a mustard seed tree on one of the walls, symbolizing how faith can grow from something small into something strong. I want to combine painting and sculpture by adding dimensional elements, such as paper leaves that fill the tree and extend out into the room. This would make the piece feel more immersive, as if the tree is growing beyond the wall.

I would also add texture to the trunk, like bark, to create the illusion that it is coming out of the wall. In addition, I would paint birds mentioned from the bible, such as doves, to represent peace, and attach paper wings to give them more depth and movement.

The goal of this installation is to create a quiet, reflective moment as people enter the church. By surrounding viewers with imagery of growth and peace, it encourages them to slow down and mentally prepare for worship while experiencing a sense of calm and spiritual connection.

Bethany- Site Specific

May 4

I did a lot of work this week on this project to finish up. I started by finishing up the house. It needed the last wall and trim as well as the stairs. The 3D printed stairs turned out really well, and I painted them to match the wood. My husband helped me make a floor-plan in CAD to layout where everything would go.

After I finished the house, I started working on making the stair piece. I tried a few different variations with different colors and thicknesses, but I was really not liking how it was looking. I ended up making them ceiling pieces that have the four pillars of the organization on them: proclaim, grow, live, last. I feel like this is also pretty site specific. I wanted them to be fabric patterns, so I designed a pattern that was doable, made a new sketch for the room, and made a mock-up of the “live” panel. I wanted them to be short enough that people wouldn’t hit their heads on them, so I made them about as low as the doorways.

For the prayer room, I had to iron the fabric into folds because it was too stiff to drape at such a small scale. I pinned the bottom into wrinkles and then just set my iron on top for a bit. I accidentally cut up one of my panels for the stair part when I was working that out, so I had to redo that one.

 I hung everything with fishing line and some toothpicks.

I think overall, I am more happy with this design, and I think it fits the assignment a little better as well.

You can see the sewn mock up in the center with a dark piece of paper backing it.

April 27

Well, due to a really hard week and other frustrations, I am going back to my original idea with revisions. This version focuses more on the social aspect of installation and has a clearer message. This would be a temporary installation that would be focused around a single event. I would still have the fabric on the stairs, but instead of lace they move from darker to light to signify my transition away from a dark place. The fabric will get longer and drape down to the floor the further down on the stairs it goes. There would be fabric in the hall and through to the next room guiding viewers to a fabric square where they are encouraged to stand with another person. The lighting in this room is fairly dramatic, so there would be cast shadows onto the viewers when they stand in the fabric areas. The doorways have curtains with religious quilting.

 In the main hall, there would be a space to write names of people that the viewers have met at the event or in the past at the house and what it meant to them.

My friends have been really helpful with my progress. My husband and some of the guys from the house took measurements and photos for me.

From the measurements and the photos, I've been able to start on my model. I made the walls out of cardboard and then papered and painted them to match the wall texture. I made some wood trim out of balsawood, but I ran out. I will have to get a little bit more before finishing the doorways and walls. I also cut and painted the Styrofoam to look like wood flooring.

 To make the tile, I have a photo of one block that I made into a pattern that I am going to print out and glue to the ground.

As for the stairs, I am a little intimidated. Another friend of mine has offered to help me 3D print some stairs, but if that doesn't pan out, I think I will make them from cardboard and balsawood as well. I made my base a little too small on accident, so I will need to add half an inch before adding the last walls. For the fabric, I plan to cut up some scraps from my last project and coloring them with markers. 
Then I will hang them from the walls and probably some kind of ceiling piece for the stair section. 

April 20

My new idea is to make a memorial to my friend Ryan who passed recently. He loved making music and was an accomplished trombone player. I want to make a trombone statue in front of the Buchanan Center for the Performing Arts since he was so involved in the music program. It would be a cast metal trombone draped in a blanket that reads “make a joyful noise,” which is a Psalm I think both perfectly describes his life and can relate to other musicians as well. 

I would like it to be outside the entrance of the BCPA. I had two spots in mind, but I think I like the one off to the side of the steps.

Option #1

Option #2-preferred

To make my model, I was going to cast my brother’s trombone Christmas ornament, but unfortunately he left it back at home. So instead, I am making one out of sculpy, which is pretty difficult. I forgot to take a photo, but I am not great with clay. I am hoping to make the trombone and then cover it with fabric after it is cured. Then I will spray paint it all a bronzy-brass color.

I haven’t gotten to do much with the landscape. I may want to lazer-cut the exterior of the building or otherwise just use a photo. 

 

April 6

I want to do my instillation in Harvey Hall- a house that my college ministry uses to host events. It is named after the original owners from the ministry, Jesse Harvey, Steph Harvey, Ian Hal, and Tylinn Hall, and it is where I first met a lot of my college friends. It also serves as a pivotal turning point in my life, when I had gone from being severely depressed to finding friends and community.

I was inspired by artist Tomislav Topić, who makes these colorful paneled works made from thin sheets of transparent color that become vibrant when looked at in a mass. It creates the illusion of volume and shading.

Artist Tomislav Topić

I am thinking of doing a piece that hangs over the staircase in Harvey Hall with multiple panels each featuring a section of lace. When looked at from the front, the lace would cover the whole section, and from the side each this piece would be about the impact and strength of communities  and how encountering different people at different times in your life shapes who you are. I think the lace works in communicating this because lace is an intricately woven material.

Side view of stairs

 Front view of stairs

If I were to make this, I would need to get fabric, lace, and some sort of hanging device that wouldn’t damage the house. I would also need permission from the guys that live there currently.

Madelynn Kulmus - Site Specific

5/4/2026

This week marked the completion of my miniature model of the Mel Cox Dance Studio, bringing the project from a technical challenge into a resolved representation of the space. After encountering structural issues last week, I reinforced the model by adding a thicker chipboard backing to the laser-cut pieces. This gave the model the stability it was previously lacking. I also printed a point perspective image of the studio and applied it to the model so it more closely reflects the original space. This decision allowed me to maintain the clean, minimal architectural qualities of the room without getting lost in hand-rendered details. It also made the model feel more precise and grounded in the actual site, which is important as my installation relies heavily on how it interacts with the existing environment. Alongside finishing the model, I gathered and finalized my presentation materials, including sketches, site photographs, spatial dimensions, and artist research. My influences from Ernesto Neto and William Forsythe became more clearly integrated at this stage, especially in how I am thinking about movement, material responsiveness, and the activation of space. Their work helped me frame my installation not just as an object within the studio, but as something that reveals and responds to the presence of bodies moving through it. Looking back, this process pushed me to think more critically about translating how a real, lived-in space can be interpreted, simplified, and reconstructed through design. Building the model required balancing accuracy with practicality, and it made me more aware of how even small spatial decisions impact the overall experience. As I move into presenting this work, I feel more confident in how my concept, model, and research all support one another as a cohesive proposal.

4/27/2026

This week I shifted from site observation into the more technical phase by  starting my miniature model of the Mel Cox Dance Studio. I started by drafting my file in Adobe Illustrator so I could laser cut the structural components. While the software itself felt fairly intuitive, translating the space accurately proved to be more challenging, especially when trying to capture the subtle but important angles of the architecture. The studio’s perspective in the reference image exaggerates these angles, which made it difficult to determine what should be measured precisely versus what should be interpreted for structural stability. Once the pieces were cut, I began assembling the model. During this process, Ashley noticed that the angle of the floor in the photograph reads as much sharper than what is physically practical at this scale. To compensate, she slightly softened the angle of the base so the structure could actually stand. As I continued assembling, I ran into a few structural issues. Some of my pieces didn’t align as cleanly as expected, likely due to small measurement inconsistencies or the limitations of translating a 3D space into flat cut pieces. More significantly, I realized the model lacks a skeletal framework to maintain its form. Moving forward, my goal is to reinforce the model by adding a backing layer and internal supports so it can stand more securely. I’m also planning to print photographic pieces of the actual studio space and apply them to the surfaces rather than hand-painting every detail. This will allow me to maintain the clean, minimal quality of the architecture while focusing more attention on how my installation will interact with the space.

4/20/2026

This week marked the commitment and refinement in my site-specific process, as I officially chose to move forward with my installation in the Mel Cox Dance Studio. While at first glance this concept might not immediately read as “site-specific,” I’ve come to better understand and articulate why it absolutely is. On this campus, the Mel Cox studio is unique in its relationship to natural light. It is the only dance space where sunlight actively enters and transforms the room throughout the day. That quality alone makes it distinct, and it directly shapes how my installation will function. The translucent fabrics I plan to suspend will not just respond to movement and airflow, but also to shifting light, making the work inseparable from this specific environment. After settling on this direction, I began translating the concept into more concrete visual plans. I created two new sketches: one focused on mapping out the measurements of the space, and another aimed at better visualizing how the suspended fabrics will occupy and interact within the room. These drawings helped me move from a purely conceptual idea into something more spatially and structurally grounded.

Throughout the week, I also spent time in the studio taking detailed and accurate measurements. I documented not just the overall dimensions of the room, but also specific elements like the mirrors and windows, which will play an important role in how the installation is experienced. This process made me more aware of the precision required for site-specific work, especially when the goal is to create something that feels integrated rather than imposed.

In a really helpful conversation with Ashley, I started thinking more strategically about construction. She suggested using Adobe Illustrator to digitally map out the space using my measurements. From there, I can use a laser cutter to create the walls of a scale model. This approach feels like a major step forward in both efficiency and accuracy. Instead of relying on manual measuring and cutting, which can be time-consuming and prone to error, I’ll be able to construct a much cleaner and more precise model. What’s especially exciting is the potential to incorporate materials like plexi for the windows, which will allow me to simulate how light interacts with the space. The laser cutter opens up possibilities for a higher level of detail, making the model not just a representation of the studio, but a tool for testing how my installation might actually behave within it.

This week felt like a shift from imagining to engineering. I’m starting to think not just about what the installation means, but how it will physically exist. Moving forward, I’m excited to start building the model and begin experimenting with how the fabrics, light, and structure come together to fully realize the piece.

4/13/2026

This week marked a shift from observation into creation, as I began translating my site research into visual and conceptual proposals. I developed two initial sketches, one for the Berry Center butterfly path and one for the Mel Cox Dance Studio, each responding in very different ways to the environments I encountered last week.

For the Berry Center, I found myself returning to the butterfly path and thinking about its seasonal limitations. When I visited, there were no butterflies present, yet the space is clearly designed to celebrate them. This absence sparked the core idea behind my installation: what if the presence of butterflies could be felt year-round, regardless of season? In my sketch, I centered the installation around a large cocoon form placed within the circular seating area. The cocoon is tethered both to the ground and to the surrounding trees, creating a sense of tension and transformation that extends beyond a single object. Conceptually, the cocoon represents potential and becoming a suspended moment before emergence. I’m interested in how this form might suggest unseen life or imminent change, allowing viewers to imagine the presence of butterflies even when they are not physically there. It builds on the site’s existing themes of nature and education, while also introducing a more symbolic and immersive layer.

In contrast, my proposal for the Mel Cox Dance Studio focuses less on representation and more on activating the invisible dynamics already present in the space. Inspired by installation artist Ernesto Neto and choreographer William Forsythe, I began exploring how material, movement, and environment could intersect. This installation, Breath Held / Breath Released, consists of translucent fabrics suspended from the ceiling throughout the studio. While visually minimal, these materials are highly responsive, they shift, billow, and tremble in response to airflow, proximity, and the movement of bodies.

What excites me about this concept is how it reframes the studio itself. Dancers already occupy this space daily, but the installation would make their presence newly visible by capturing the traces of their movement. Breath becomes a central focus: something usually internal and unseen is externalized through the motion of the fabric. In this way, the installation creates a kind of secondary choreography, one generated not by deliberate steps, but by the residual energy of bodies moving through space. It also invites non-dancers to engage physically, transforming viewers into participants whose subtle actions activate the work.

Across both proposals, I’m noticing a shared interest in suspension whether it’s the cocoon holding a moment before transformation or the fabric capturing the space between inhale and exhale. Both ideas attempt to make something intangible feel present, whether that’s seasonal absence or the invisibility of breath and movement.

Moving forward, I want to continue refining these concepts by thinking more concretely about materials, scale, and audience interaction. I’m especially interested in how each installation might change over time, whether through environmental conditions or repeated use. As I develop these ideas further, I plan to create more sketches and began measuring the spaces for the small-scale models.

4/6/2026

This weekend ended up being busier than I expected, but I still made time to begin exploring ideas for my new site-specific project. I took a walk around the University of Wyoming campus with my fiancé, who knows the area much better than I do, so I let him lead the way and focused on observing the spaces we moved through.

We started by parking on 9th and walking up past the STEM center and surrounding science buildings. One of the first locations that caught my attention was an entryway I photographed. There was something about the structure and framing of the space that immediately felt like it could support an installation. 

From there, we walked along a butterfly path near the Berry Center, which ended up being one of the most compelling areas of the entire walk. I took a couple photos of the central seating area that features bronze animal sculptures accompanied by informational placards. This space stood out to me because it already invites pause and reflection, but it also feels like it could be transformed into something more immersive. The circular layout and existing elements create a natural focal point, and I can already imagine how an installation could build on the themes of nature, education, and interaction that are already present.

We continued past the Education Lab Building, where I noticed another seating area that has potential, though it felt slightly less defined than the previous space. Still, I’m interested in how more open or undefined areas might allow for greater flexibility in design, especially if I want to create something that evolves as people move through it.

Finally, we made our way down to the conservatory. After stopping to read the placard there, I was struck by the open grassy area beyond it. Compared to the more structured spaces earlier in the walk, this area felt expansive and full of possibility. It would allow for a larger-scale installation, something that could interact with the natural environment more directly having wind, light, and movement becoming part of the piece itself.

Overall, this initial exploration was less about settling on one final site and more about starting to see the campus differently. I found myself thinking about how people already use these spaces, what draws them in, and how an installation could either enhance or disrupt those patterns. Each location offered something unique, and I’m excited to continue developing ideas that respond not just to the physical environment, but to the experiences already embedded within it.

Looking ahead, I plan to start translating these observations into sketches later this week, using the photos I took as a foundation for developing more concrete design ideas. I also want to continue my exploration by moving indoors and investigating how interior spaces might function differently for a site-specific work. I’m especially interested in photographing the Buchanan Center lobby and the Engineering Building, both of which I think could offer unique architectural features and spatial dynamics to respond to. Exploring these interiors will help me consider how lighting, circulation, and enclosure might shape the experience of an installation in ways that differ from the outdoor sites I’ve been drawn to so far.