Sam R - Materialistic

 Filled Space - Continued

I've been able to rework/figure out my vision a little more clearly. I now understand that masks and wires are an essential part of what makes up my installation. Another important factor is because its digital vs organic it makes sense to make digital things more organized and organic things more organic. wires coming from digital objects will be straight and organized wires passing through and out of organic components will be more vein-like and branched, attaching to the wall. 

    the first idea I have drawn out felt a bit messy so I re worked it in the second page and makes more sense thematically, more info on pages below

My biggest concern right now is figuring out how to make the masks, what to make them out of and what color to make them. My initial thoughts led me to chicken wire and gauze to then be able to color it in some way? some other thoughts may be paper casting from masks and faces of students that have already been made?

Filled Space - Installation ideation / materialistic 

Following the theme inspired by Nam Jun Paik's work "TV Garden," I wanted to continue making things that speak about technology vs humanity/technology vs environment. 

There are only two movable walls. 

This time I want to explore more with the technology aspect and play with a matrix panel. it could debatably take up more time than I have to experiment with something like that which in that case it can be replaced with some other entrancing piece of technology to set in the middle of the piece. I think the main mood I want to convey is whatever the faces are attached to is something that is inherently "entrancing". to inhibit this more entrancing affect I want to incorporate the use of line to radiate emphasis. 

Materials:

Sculpey

Maroon-colored tissue paper

Maroon/ blue yarn

22 gauge electrical wire

RGB LED Matrix Panel

Big Picture

You’re onto something with:

• Technology vs humanity

• Entrancement

• Radiating line

• Wires as connective tissue

But currently this reads as a central sculptural object with decorative extensions, not an installation that consumes space.

If you’re inspired by Nam June Paik and his work TV Garden, remember: the power wasn’t in a single object — it was in the environment. The TVs were embedded in a field. The space itself became the content.

You need to shift from:

“What am I building?”

to:

“What is happening to the room?”

---

1. Move From Sculpture to Spatial System

There are only two movable walls. That constraint should drive the design.

Right now:

• Sculpey heads = sculptural

• Yarn = decorative surface

• Matrix panel = central object

Instead, ask:

• What if the wires dominate?

• What if the walls become the field?

• What if the faces are absorbed into the system rather than sitting on it?

Installation is about relationship, not object.

---

2. The Wire Is the Strongest Material

The 22-gauge electrical wire is conceptually perfect:

• It references circuitry

• It references nervous systems

• It can radiate, connect, invade

Push that.

Instead of yarn radiating emphasis, what if:

• Wires stretch from wall to wall?

• Wires converge at the panel?

• Wires attach to faces like neural connections?

The line becomes literal and conceptual.

If the mood is “entrancement,” then the wires should feel like:

• Pulling

• Plugging in

• Feeding

• Draining

Make the wires the protagonist.

---

3. Move Away From the African Mask Reference

What you have currently drawn risks:

• Cultural appropriation

• Formal borrowing without context

• Distracting from the concept

Options:

• Photographs of real faces (taken by you)

• Screenshots of scrolling faces from social media

• Large-scale printed faces adhered directly to wall

• Faces drawn/painted directly onto the wall surface

• Chicken wire facial structures that feel incomplete or hollow

The wall can hold the faces.
The space holds the wires.
The wires connect to the technology.

That becomes installation.

---

4. The Matrix Panel Question

The RGB LED matrix panel could be powerful — but only if it:

• Emits flickering light

• Displays scrolling code

• Pulses rhythmically

• Mimics algorithmic patterns

If it just “sits there,” it becomes a gadget.

If time is limited, consider something simpler but effective:

• A looping glitch video on a small monitor

• A phone mounted and endlessly scrolling

• A light source that pulses like a heartbeat

Entrancement is about repetition and glow.

---

5. Rethinking “Filled Space”

Right now your materials feel surface-oriented (tissue paper, yarn).

Instead ask:

• Does the viewer walk through wires?

• Do the wires cross the room?

• Do they cast shadows?

• Does the light from the panel project wire shadows onto the wall?

Filled space means:

• Air is activated.

• Negative space matters.

• Movement through space matters.

---

6. Material Notes

Sculpey

Feels heavy and craft-based unless treated very intentionally. Might flatten the conceptual strength.

Tissue paper

Could look decorative unless distressed or treated conceptually.

Yarn

Unless it’s functioning as line in space, it reads soft and textile — which may contradict the tech tension.

Wire

Keep.
Push.
Multiply.

---

Right now this is leaning sculptural — individual heads attached to something central. I want you to push it further into installation. Think about the room as your material. The wires feel the most conceptually strong. What happens if they dominate? What happens if they stretch from wall to wall and the faces are absorbed into that system rather than sitting on top of it?

Also, I would move away from the African mask reference. It complicates the work unnecessarily. Consider using faces you photograph yourself, or printed faces transferred directly onto the wall. That keeps the focus on technology and entrancement rather than cultural form borrowing.

The matrix panel only works if it actively produces glow and repetition. Otherwise it’s just an object. Ask yourself: what is the viewer physically experiencing in this room?

---

Where This Could Go (If Fully Pushed)

Imagine:

• Two walls with large-scale printed faces

• Hundreds of thin wires radiating from a glowing matrix panel

• Wires attaching to faces’ eyes or mouths

• Viewer walking between wire lines

• Light flickering

• Shadows multiplying the wires across the wall

Now the room becomes the nervous system.

That’s installation.

Delaney- Materialistic

3/10/26

This week, I finished making my installation and installed it in the "That" gallery. I wish I would have taken more pictures of my project, but I got a little too into it and forgot unfortunately.

    The bulk of the work I did was sewing in strips of hair into my piece as I thought. I also had to order some additional hair because covering my structure took a lot more than I expected. My helper had the idea of needle-felting into the foam-base of my piece to cover more ground, which helped a lot. I do not think I would've ever been able to cover the entire surface in hair if not for this.

    The part of the process I enjoyed most about this project was painting the face and the hand. I always enjoy painting things the most in any project, so doing this was like a little treat. I really didn't enjoy sewing strips of hair to the hammock though- that part of the process almost made me lose my mind. If I could do this piece again, I may consider a different method for attaching hair.

3/2/26

    So far, I am comfortable with the amount of progress I'm making. I've been able to follow my planner for the week and meet the milestones I made for myself on-time, which I'm happy for!

    Over the weekend, I began sculpting the face for my piece. I received suggestions in class not to try and sculpt a face from scratch considering the time constraint, which I agree with. However, I didn't really want to use the face-casting idea for this piece, because I don't really want the girl depicted to look like me- or anyone else, really. As an alternative, I decided to sculpt a face over top of a mask I found, which saved me a lot of time while still allowing me to make a face.

     I am not finished painting her yet- I got kind of tired and plan to finish her tomorrow. However, I am going for a painterly-vibe for her face and hand (I found a plastic hand which I am very excited about!). I'm not entirely happy with how her face came out- I think I may be happier when I finish painting and refining her. I also keep reminding myself that portions of her face will have strands of hair over them, so I have a bit of wiggle-room here.

After that, I decided to begin experimenting with making hair out of yarn. I planned on doing this from the beginning- but I would like to note that I found a really long wig, which means I'll probably be able to cover more ground than I thought with wig hair and the hair extensions that were ordered for me. I do still think I will need to use yarn-hair to cover more ground though. My plan is to use yarn on the bottom-layer of the cocoon and use my nice-hair overtop.

Anyway, I think I've figured out how to make yarn look somewhat hair-like! Here is my first weft of hair with yarn:

    I've decided this will be the most time-consuming part of my project, so I plan on focusing most of the week on finishing the body-parts for my lady and making hair! I'm attaching a piece of yarn to the top of each weft I make so that I can tie it to the hammock that was ordered for me- it's a rope-hammock, so I think this will make the assembly process much easier. 

I'm definitely feeling a bit more confident about my installation now that I have my process and materials figured out.

I also bought a shower drain cover this weekend for my piece!

Answering questions from Last Week:

I am focusing more on an idea of Isolation/Containment. I've seen hair used as a metaphor for memory before, which is an idea I think is interesting. There's sort of a belief some people hold of hair holding memories, which I like. More than that, I think hair is difficult to get rid of- we find stray hairs all around, maybe in our beds, in the cracks of a couch cushion, the holes of a shower drain, etc. Hair is perpetually present in our lives. If we go by the logic of hair holding memories, its like no matter what, these things will linger somehow. That can feel suffocating and confining, in a way. This piece is supposed to approach the idea that life experiences mold us, and that everyone we meet will affect our lives in some way, and view this idea through a lens of contamination and something binding.

The drain in this piece is meant to remind us of a shower- a place where we clean ourselves. However, for me, when I see a hairy shower drain, I feel reminded that being a person is dirty- having a body and existing is inherently gross, which is usually easy to overlook because we inhabit our bodies- but there's so much about the human body that is gross, and then I feel like not even a shower is truly a clean place. This thought process, to me, makes the hairy drain a good indicator that the feeling of being contaminated is not a feeling that you can just wash away- it's not a physical dirty-ness, after all.

To be clear, though the visual of this piece and the concept was inspired by an experience I had, I don't necessarily intend for the piece to be about me specifically, or even about that specific thing that happened. I draw inspiration from things that have happened to me because I don't feel like I can do a good job conveying a feeling I haven't felt or a type of experience I haven't had. But in the end, I've decided that the meaning of this piece is a bit more vague. It depicts a girl, plagued by memories held in the hair she's cocooned in.

For the installation, I want the cocoon to be in the corner of the room, with the shower drain somewhat in front of it. I want her to hang up sort-of high, but not so high to where she feels inaccessible to the viewer. I want some hair to hang down from the ceiling too. I also  want to make the lights red to create a feeling of unease and discomfort in the space. I am also somewhat interested in including sound in my installation if possible- I think a subtle dripping-faucet sound might be neat and contextualize the shower-drain a bit more. Dripping faucets to me, indicate that a sink/shower may not be well-maintained or looked-after, which makes me feel a bit uneasy about using them.

2/24/26

    After bouncing my ideas off of other people, I've decided to go with my second idea with the hair-cocoon, as I think it is more feasible and maybe a bit more visually interesting. I will be refining it a bit and drawing up a few more concept sketches so I'm sure what my plan is before I get too far into my process.

 

Here's my materials list:

• Black Yarn
• Hair Extension
  
• cardboard
• air-dry clay (I have)
• Paracord or something for hanging?
• white fabric for ceiling and floor.
• something I can put over the lights to make them red? I'm not sure what I can use for this.

2/19/2026

    I'm still a little bit undecided on what idea I want to go with, but I have two solid concepts that I'm happy with and excited about.

Idea Development

Idea #1

    My first idea was for my installation to be depicting a wake. I think wakes are an interesting thing- I think sitting there with the body of a loved one, really spending time with their body, is kind of a unique experience. I can't speak for everyone but I think spending time with the body really helps the grieving process, as you are confronted with the reality of the situation and must let the fact that they're gone sink in. For me, when I haven't gotten to spend time with the  body, I find myself struggling to come to terms with what happened in my mind. Like, logically, I know that person is dead- but because I haven't seen it, I feel like I almost forget that they're really gone, or have trouble wrapping my head around it. Whereas, when I have spent time with the body, I feel like my grieving process is more grounded in reality. It still sucks and is sad, but for me, it is a bit of an easier mourning process.

    Anyway, My idea for this piece is to have a sculpted-body laying in a bed. Their face is veiled, but you can still see the contours of the human face- vague nose shape, etc. My intention with this is to strip the individual of any set-identity so it can be interpreted as anyone. Then, by the bedside, I would have a small table and chair where a viewer can sit and spend time with the work. On the table, there would be an open notebook where the viewer is invited to, if they choose, write about their experiences with grieving or about a loved one. There would also be a vase with flowers where the viewer is allowed to take one and lay it over the body to sort of pay respects.

Idea #2

    My second idea is based  on a feeling from an experience I had a few years back. I'll be vague, but for context, I used to date somebody who was not very mentally stable and I had a lot of scary experiences with him as a result. For some reason, even though this was by no means the worst thing to happen, what stuck with me was this time when he was on top of me- I'm not very strong, but my fight or flight kicked in, and I bit his hair, pulling it out. This really haunted me- I felt guilty even though really, I know what happened wasn't without reason. But I found myself constantly feeling like I had hair in my mouth, even when I didn't. I don't think I'll ever forget the feeling of hair between my teeth. I was left with this lingering feeling of being gross or dirty.

    So, that's what this piece would be about. I depicted a girl wrapped in a cocoon of hair, with a shower drain beneath her that has hair coming out of it. I obviously can't find that much hair, so my idea  was to sculpt and paint some of it, but use brushed-out yarn for a large portion to get the effect of hair. Then, for smaller strands I would use some wig hair- I actually have a pretty long black wig that I'm not really attached to, so maybe I'd use that. I would like to sculpt some of the girl's body parts- mainly her face, an arm, and a bit of a knee, but I will be obscuring a lot of this with hair, so I'll probably only sculpt some parts to make it lightweight. I thought I would mostly use some foam, paper mache, and maybe some air-dry clay for certain features, all sealed with a few layers of mod podge to keep it together. To suspend this from the ceiling, I figured it would probably be most structurally sound to use some sort of cord that I can easily hide with the "hair". I'll try to make this pretty light-weight, but I will still have to be careful that it's structurally sound so it doesn't fall.

    I'm not set on either of these ideas yet. I really like both, so any input on which one I should go with and develop further would be appreciated!

Conceptual Strengths

1. The sensory trigger is powerful.
The “hair between the teeth” memory is visceral. It’s not just narrative — it’s embodied memory. That’s strong installation territory.

2. Hair as material = metaphorically loaded.
Hair carries associations of:

• Intimacy

• Bodily residue

• Disgust

• Gender

• Power and entanglement

You are working with a material that already holds meaning, which is good.

3. The cocoon form is promising.
A cocoon suggests:

• Protection

• Containment

• Metamorphosis

• Isolation

But right now you needs to clarify which of these ideas you activating.

Where You Need to Push Further (Conceptually)

Right now, the piece risks being illustrative instead of immersive.

• Is the girl trapped? Or self-wrapped?

• Is this about guilt? Or violation? Or contamination?

• Is the drain symbolic of release, or accumulation?

• Is the cocoon protective or suffocating?

If you dont define this, the work will read as “trauma sculpture” rather than a focused installation.

You have the core — now you need precision.

---

Installation Questions to Push You

Since this is installation, not just sculpture:

1. Scale

   • Is this life-size? Smaller? Suspended at eye level?

   • Does the viewer walk under it? Around it?

2. Viewer Relationship

   • Can the viewer see the face clearly? Is it female? Is it you?

   • Is the hair dense enough to obscure and frustrate visibility?

3. Space Activation

   • Is the drain on the floor?

   • Is the hair touching the floor?

   • Is this in a corner? Center of the room? Overhead?

Right now, you are describing an object. You need to describe an environment.

---

Material & Structural Feedback 

 Material choices could cheapen the emotional weight if not handled intentionally.

1. Foam + Paper Mâché + Air-Dry Clay

This combo is workable, but:

• Air-dry clay cracks easily.

• Mod Podge is not structural.

• Paper mâché can sag over time.

If you are suspending this:

• You need an internal armature. ( I bought you a hammock so that should help)

• Lightweight = good, but structural integrity matters.

Suggestions

• Chicken wire to help form body shape

• Plaster cloth over structure 

• Clear fishing line or aircraft cable instead of visible cord

---

2. Yarn as Hair

Brushed-out yarn can work — but it can also look crafty.

I encourage you to test:

• Different yarn types (acrylic vs wool)

• Density layering

• Matte vs synthetic sheen

• Incorporating real wig hair for realism

The difference between “haunting” and “Halloween” will be density and restraint.

---

3. The Drain Element

The drain is strong symbolically — but it could easily become too literal.

Questions to refine:

• Is hair emerging from the drain?

• Is it being pulled into the drain?

• Is it a cycle?

You could consider:

• Real metal drain fixture

• Hair trailing down into the drain

• Or drain mounted vertically instead of on floor to disrupt expectations

---

Emotional Arc

Right now, the work is stuck in “gross / dirty.”

 Consider:

Is there transformation?

If it’s a cocoon, what happens next?

Even if the answer is “nothing,” you need to consciously choose that.

---

Safety + Sensitivity Consideration

Given the content (physical threat, bodily memory), I suggest:

• Do you want a short wall text?

• Do you want to contextualize it?

• Are you emotionally ready to display this publicly?

Not to censor — but to protect you.

Amelia - Materialistic Ideas

02/24/2026

These past few Sundays, I just spent sewing together more of the webbing which is why I didn't have any new updates or photos to show. I did start using the sewing machine rather than hand sewing which did significantly speed up the process. Once finishing the webbing I began nailing it to the walls. Once that was finished I have spent these last few days pinning more clothing onto the other clothes.

Originally I planned to have the clothes only go up to 6'5" with the drop ceiling to give a claustrophobic feel. However after realizing the height of the door was taller and talking with Ashley and other students, I decided it would be better to continue adding the clothes to grow taller.

At this point I am finishing filling in the whole on the walls as well as giving the 'top line' more of an organic shape rather than having the clothes end in a straight line. I am also going to be adjusting the lights to see how I would like them. 

I also received comments that I should try to continue the clothing all the way up. I think I would like to see what it would look like with the drop ceiling, but if I choose not to go that route I will try and slowly add more clothing going up throughout the time the installation is up.

sewing with machine

webbing nailed on the wall

moving clothes up higher

^ example of a finished section

02/01/2026

    Currently there is not much to update on, except that I have chosen to do the clothing room as a continuation of my BFA work. I have begun sewing some clothes together to create the 'webs' we discussed. I think at this point I am just trying to decide if I am going to want to try and fill the entire room, or somehow make two false walls, or at least framing for two walls, to make the gallery space appear smaller. I am unsure of how to successfully do that. I wondered if I made framing and then took muslin or large sheets to cover the wall and attach the clothing to that (either before or after attaching it to the wall. I also have to take in consideration the price of wood or if there would be enough available in the wood shop and I don't necessarily have the funds to buy all the wood myself. So it could be cheaper to just buy more clothes (from second hand stores) and try posting again for more donations. I think I just worry about running out of clothes.

I would also like to make a drop ceiling of some sort and am trying to decide if it should just be a dark large sheet which I attach some clothing to or if it should be completely covered.

At this point I am going to continue making the 'webbing'. Since a large part of this installation won't be able to be worked on until I am in the space I will also start sketching out my ideas for my small world and getting those up.

laid out webbing ft. my cat

sewing together with embroidery floss (repurposed friendship bracelet string)

This is developing in a strong direction, and the webbing is already doing the conceptual work it needs to do. Rather than filling the entire room, I’d encourage you to think about filling the walls and ceiling instead. Let the installation wrap the viewer without completely occupying the floor.

Treat the walls and ceiling as continuous surfaces where the clothing webs accumulate, overlap, and connect. This will create immersion while still allowing the viewer space to move and breathe within the room.

You don’t need to build false walls for this. Using the existing architecture and letting the clothing become the structure will keep the focus on material and labor rather than construction.

For the ceiling, a lowered or darkened fabric plane with clothing integrated into it could help compress the space without overwhelming it.

Keep focusing on producing webbing now. Repetition and density across vertical surfaces will matter more than adding new elements.

You’re on a good path — commit to coverage on the walls and ceiling, and let restraint on the floor give the piece clarity and control.

P.s. I would not waste floss on sewing. Use cheap string and lets get you the pins in the am so you know where they are. Remind me!

01/24/2026

Artist Inspiration

    Guerra de la Paz

    Guerra de la Paz is a collaboration between two artists, Alain Gueraa and Neraldo de la Paz. I am drawn to the themes and messages they explore within this work. I also appreciate how they allow the materials they use (in this case clothes) to speak for itself.

 

    Chiharu Shiota

    I am constantly drawn to the visuals of Chiharu Shiota's work. I appreciate the organized visual chaos she creates. I am also drawn to the materials she uses and the ways in which she uses them.

Carolee Schneemann

I discovered the second image first and was immediately drawn to it. After trying to figure out the artists I found that it must be the recreation of a performance piece done by Carolee Schneemann (as seen in the first image). 

Ideas/Sketches

    For this project I have two main ideas I am circling between, both of which fit in with my portfolio.

    Idea #1:

    My first idea is an expansion of my BFA work. This work focus on the environmental impact of fast fashion and the textile industry. Within my BFA work I created a large tower of clothes, I hoped that could represent the overwhelming waste that we create but are lucky to not have to address. When thinking about this idea originally, I thought it would be visually interesting as well as push the feeling of overwhelm further if I created an entire room covered in this clothing. This idea was not possible during an exhibition where I was sharing space with other artists, but having the THIS gallery space would now give me this opportunity.

I would like to cover the entire room in clothing. This means wall to wall and the floor and a drop ceiling. I think taking large sheets of fabric and attaching the clothes to these would be the best method. I would also like light to be apart of this work in some way, possibly just having small slivers of light shining through the ceiling.

The aspect of this idea I am most concerned about is having enough clothes. I currently still have a large amount of clothes, however a lot of it is cut up and I worry about running into the problem of repeating the same patterns and fabric too many times. A solution I thought would be to make the room feel much smaller than it actually is by using the large sheets of fabric to create false walls (possibly needing a wood structure for some stability).

    Idea #2

    

    My second idea is an expansion of my work from my Honors capstone work in Fall of 2024. I wanted to create a piece that visually expanded on the work I have already created while exploring a new aspect of the theme this body of work surrounds. When making this body of work I was interested in created an piece I felt represented the way anxiety can lead me to spiral, but I didn't end up getting around to this. I would like to create this now. I want to create a large scale installation that feels like the inside of my head, specifically with decision making. I want to make this work chaotic and messy, using simple materials such as paper, markers, crayons, and string. I would cover the floors, walls, and make a drop ceiling from a large paper (possibly butcher paper). Then fill the walls with my own version of mind maps and thoughts, etc. Similar to one of the other pieces in my exhibition, I was considering making this piece interactive and allowing people to come and write on the walls as well.

However, I have noted and after talking with Ashley that this piece could also be very successful as my 'site specific' installation in my bedroom. I do agree with this and think that could give me the opportunity to experiment more with having string run across the room as the work would be viewed through my own documentation of it rather than the viewer actually needing to walk through the work itself.

Amelia, this is a strong and thoughtful set of ideas, and your artist references are well chosen. You’re clearly thinking about material, scale, and immersion in ways that align well with contemporary installation practices.

Both directions you’re considering make sense conceptually, but they operate very differently in terms of space and feasibility. The clothing installation feels especially strong for the THIS gallery. It builds directly from your BFA work, uses material as meaning rather than illustration, and takes advantage of the opportunity to fully surround the viewer. Your instincts about compression, false walls, and limiting the scale of the room are good, and those strategies could help manage repetition while intensifying the feeling of overwhelm.

The anxiety / mind-map installation is also compelling, but I agree with your observation that it may function more successfully as a site-specific, documentation-based work rather than a public gallery installation. That idea relies heavily on personal interiority and process, and placing it in a private space could allow you to push it further without needing to manage viewer flow or durability.

At this point, I’d encourage you to choose one direction for THIS gallery and commit to refining it. Think about which idea:

• depends most on the physical room,

• allows the material to do the conceptual work,

• and can be fully realized within the time and resources available.

Whichever direction you choose, focus on restraint and clarity. Let fewer decisions do more work, and keep asking how the viewer encounters the space physically and emotionally. You’re asking the right questions—now it’s about narrowing and committing so the installation can fully resolve.

Keeley H – Materialistic

02/22/26

Install and Completion 

Process:

    I am so incredibly grateful that we got into our spaces a week earlier than we originally thought. It truly allowed me to fully envision my installation and have it all come together in my head. I do think I could have gotten it done in one day, but having the time to completely set up the objects and materials, and knowing exactly how to go about it, opened up so much more time for the more intuitive process in the fabric form. I worked my way from the biggest elements down to the more detailed ones. First, we hung the grid above the lights, and thanks to David, that went super quick. Next, get all the plastic drop clothes hanging from the walls. I knew that I didn't want to lay down the floor drop cloths until the very end. I then got some help installing the chain and meat hooks. Then went up the light gels and the final form. And lastly, I laid down the plastic on the floor, cut the doorway strips, and configured the fiber pool. 

Images:

Reflection:

    In hindsight, I should have done all the light work and hung the drop cloths before installing the chain and meathooks. Maneuvering the ladder around both the light rails and those elements was tricky and not a fun time. So any high installation required should be done with the least number of elements in the room. Learned that very quickly. There are many elements I want to incorporate if I get the opportunity to show this installation again, that I just didn't have the time or experience to incorporate this go-around. But for my first-ever installation, I am proud of how it came out. Some of those other elements include: a way to cool down the room, incorporating a scent, and possibly adding slight movement to the empty chains. I fell in love with the way they slightly swung when I first installed them. 

    I am not entirely happy with the components on the floor. It just feels like something is missing, and maybe that is just "more".  I'm hoping to add more fibrous materials to see if that helps. I also think that the plastic could have been a bit less see-through. It works for the room it's in now, but in the future, I'd want to use either a heavier-duty plastic or something with less transparency. In hindsight, I should have made a level mark at the height I wanted to hang the plastic sheets from to make the install easier and ensure everything stayed at the same level. It looks quite messy with the way I went about it this time. I should also notch the steel bar that runs through the feet so the butcher's hook can rest in it for better stability and balance. 

Statement:

My artistic practice centers on creating space for difficult conversations about violence against women; conversations that are often dismissed, minimized, or silenced. Girlhood: begging to be believed. I create work not only for myself but for those who are quiet and well-versed in being gentle despite the violence they’ve walked through, for individuals who value mindfulness and observation over hasty action. As a woman, I have frequently experienced my perspectives being overlooked or interrupted. Visual art has become the place where I can assert what I have not always been allowed to say aloud. By transforming these experiences into tangible, visual forms, I aim to create work that demands attention, invites reflection, and fosters understanding. My current work takes the form of large-scale cast forms and sculptural installations, using materials such as cast iron, bronze, knit thread, cast paper, and fabric to embody the tension between vulnerability and resilience. 

02/17/26:

In Progress Update:

    I made some progress over the weekend, but I could really use the next week to hunker down and focus on this installation alone. I started adding fabric to my chicken-wire forms, and I'm going to use actual cuts of meat to help determine the color of the fabric I place and stitch on. I intend to cover these forms completely, then add details before adding additional layers of fabric and other details directly to them.  I'm using these forms as the building blocks for the overall form. 

    The next steps for this week to focus on and complete for install are:

• Paint feet and add detail to wounds where bar punctures
• Continue to add fabric and details to forms
• Build fabric loops for things to hang from inside feet. 
• Hang plastic drop clothes
• Measure and cut chain - 5 feet

02/08/26

Updates:

I began building smaller elements within my overall installation this past week, and really got down the measurements for the room and the height. After getting some measurements and fully dialing in to what the form will look like overall, I'm feeling much better moving forward. The bottom measurement between the figure and the floor may vary depending on how much overlap there is between the meat hook and the feet.  Dave also gave me a rough estimate of where it's easiest to hang the grid, so the measurement at the lowest point is subject to change. 

I spent a few days putting together various sizes of chicken wire that mimicked meat cuts or even figural elements, and I'm hoping to finish those up tomorrow and begin the plaster gauze process. I want these forms to create the illusion of mass without its weight. Since I am hanging from the grid, I'm trying to keep everything as lightweight as possible. I was also able to forge two meat hooks from a steel rod. I attempted this at first with a quarter-inch pencil rod, and after some advice, I decided to redo them with a much thicker one. I think they look much better and much more realistic this way! I just need to fabricate one more and shine up the metal before sealing it.  

One thing not pictured above (I feel a little weird about it right now lol) is the mannequin feet I ordered. I drilled holes through the ankles and cut off the tops of the feet to allow a steel rod to pass through and support the rest of the figure. I also decided to brush wax on the feet to give them a more realistic texture before priming them and getting them ready to paint. Once those get to a better point of resolution, I will include photos. (Once they don't gross me out)

I was also planning to spend this past weekend finishing the miniature version of this installation, but I was hit with a pretty nasty cold, so I intend to finish it by the end of this week, with more focus on the elements of the large-scale installation. - I will work harder in the future to prevent this setback!

02/01/26

Refinement:

I realized after posting yesterday that my update doesn't make much sense if my idea hasn't been refined and shown here. Things are a little out of order, but it'll make sense soon! I redid my original sketch after pondering the questions given to me, and I answered them below.

• How many hanging forms are necessary to create the intended atmosphere?

• What is the minimum number to still communicate weight, repetition, and presence?
• Which elements must be physically built, and which can be implied through space, light, or restraint?
• Would fewer forms intensify the experience?
• Could one area carry the most visual weight while others recede?
• Where does restraint create more tension than accumulation?

    After allowing for this idea to exist in my head for longer than just a moment, like it did last semester, and listening to those around me, I realized that I don't need to fill up the room with figures for my idea to still strike hard. The question "What is the minimum number that still communicates weight, repetition, and presence?" is the most inspiring one to think through. I began to break down the idea to the bare bones. What are the bare necessities for creating the atmosphere and visually communicating the idea? I really enjoy the point that restraint can create more tension. 

    So I've decided to move to just one figure within the room, not centered, but maybe off to the side. I'm not totally sure about this decision yet, but I think it will be addressed in both the mock-up I'm creating and during the install. The repetition could come from other hooks hanging alongside the one being used. Insinuating that there is intention and space for more to join. Maybe allowing audience members to place themselves there. The suggestion of red lights, the buzzing sound of fluorescent lights, and cooling the room down are incredible, and I would love to include them. 

Materials I am building:

• The abstract form that follows the feet. I want to construct some of this out of stiffened fabric and fiber thread. I want this part to be intuitive. I was also thinking that creating a chicken-wire and plaster gauze form might help clarify the overall shape before I start going all haywire with other materials. 
• After thinking about it, I think I will blacksmith the three meat hooks. One, because I love blacksmithing. Two, I can control the look of each hook fully throughout the process. And three, because they are three of the same form that can be easily fabricated. 

Materials I am gathering or ordering:

• It's crazy that I'm building a piece that involves feet even though I hate them so much. I decided to order a pair of mannequin feet (not super expensive), both as a reference or even as a base to add more naturalistic details on top of. Feet are weird, and I'm not interested in making a mold of mine (I don't want to use a model either, the less real feet involvement the better), so I figured this was the next best option. 
• Plastic sheets: I plan on just utilizing plastic drop cloths.
• Chain?
• Sound?

Some questions from me:

• What is the best way to hang the drop cloths? I want them to go fairly high, as I don't think I need to hide anything within the ceiling for this piece. So maybe that doesn't matter as much now that I think about it. 
• I want to use a chain to hang this piece from. Is there a light-weight chain that would keep the overall weight of my form light enough for the grid to handle? Or should I consider a different material to use? Rope? Cording?
• What are the dimensions of the "That" gallery space? 
• Is it possible to implement a way to make the room colder? I really love Megan's suggestion!
• Is it possible to have sound coming from up above? Like in the ceiling, mimicking the fluorescent light sound?

Core idea
The work places the viewer inside a meat-locker environment: cold, sterile, fluorescent, and quietly violent. Rather than filling the room with bodies, the piece relies on restraint. One suspended figure is enough to carry the emotional weight, while empty hooks and open space imply repetition, absence, and the potential for more.

The figure is suggested through the feet only. The rest of the body dissolves into an abstract, weighted mass. The viewer crosses a plastic threshold to enter the space, immediately encountering a controlled, clinical atmosphere.

––––––––––––––

What must be present for the piece to work

• One clear hanging event that reads as industrial and intentional
• A plastic threshold the viewer physically passes through
• A cold, sterile environment created through light, sound, and material restraint
• Evidence of repetition through unused hooks or empty hanging points

Everything else is optional and should only be added if time allows.

––––––––––––––

What you are building
Three forged meat hooks (only one needs to be used; the others can remain empty)
One suspended form: mannequin feet attached to a hook and hanging line
An abstract mass beneath the feet, built intuitively using fabric and fiber
A simple armature (chicken wire and plaster gauze) may be used first to define the overall shape

––––––––––––––

What you are sourcing

• Mannequin feet to use as a base or reference
• Clear plastic drop cloths for walls and threshold strips
• Lightweight chain or cable for hanging
• A subtle fluorescent hum or industrial buzz for sound

––––––––––––––

Key decisions to lock in now

• Limit the work to one hanging figure
• Let restraint do the work rather than accumulation
• Choose one symbolic detail for the feet, not multiple
• Keep the violence suggestive rather than graphic

––––––––––––––

Installation notes
Plastic should be hung high, cleanly, and with intention. Fewer large sheets will read better than many small ones. We have some. May need to order more.
Use a lightweight chain, cable, or cord rated for the ceiling grid, with a discreet safety backup.
If actual cooling is not possible, rely on cool lighting, sound, and plastic to imply temperature.
Sound should be subtle and plausible, as if coming from the lights above rather than from a speaker.

––––––––––––––

Three-week build focus
Week one: confirm dimensions, finalize hanging plan, test one hook and feet connection
Week two: fabricate hooks, finish feet, build the abstract mass
Week three: install plastic, hang the form, add sound and lighting, refine and clean

––––––––––––––

Primary goal
Clarity over quantity. Control over excess. The viewer should feel unsettled immediately, before they fully understand why.

01/31/26:

Updates:

    After the first week, I have a few updates on this installation. All of which I am very excited about and really itching to work on. I decided that in order to do this right, especially for my first time doing an installation at this scale, I wanted to map out the room and build my own at a smaller scale. I did this with cardboard and hot glue, and even got the wall color and a cute little sign down. Once I finished this, I began working on what would go into the space. I didn't get too far, but I'm excited to continue to work on it while materials for the large-scale installation are still being shipped. Here are some images I took of the in-progress work, and hopefully by next week, I will be working on the real deal! (Many of my materials should be here by Wednesday)

Here are some different angles of the "That" gallery I built. I had so much fun with it and now realize all the different ways to improve it so it can be so much better next time. I don't necessarily like how the edges turned out, but now I know what I'll do differently!

I realize that this totally doesn't look like anything recognizable yet, but I started on modeling the feet and attaching them to the meat hook and chain. I want to paint them to make them look a bit better and to also figure out a color story that will go with the fabric, fiber, and other materials that will be hanging from it. 

 01/25/26:

Initial Idea and Sketches:

I went back and forth about whether to make this installation human-scale or mini, and I finally decided on human-scale. I think the impact is there, at least for me. I haven't personally been in the meat locker of a butcher shop, and I'm not sure how many others have, but I fully intend to do research and visit one to get the details right. I want to place my audience in that space. The cold and sterile environment with the trace amounts of blood and violence that don't ever go away, no matter how many times that room is scrubbed and rinsed down. Instead of using fully recognizable female bodies for the figure, I only want the feet to convey what is actually happening.  I want the entire room covered in clear plastic sheets, and for the viewer to walk through a visual and physical boundary of "sterile" plastic strips before they can take in all the details. 

There are so many different kinds of meat hooks online, and I could either buy them or have them made. I think my decision will depend on my timing, but they really shouldn't take too long to fabricate. Each form will have recognizable feet, and I was trying to find ways to make them symbolize female bodies, but maybe they don't. We have so much violence against people in general in this country that it could be anyone hanging there. Maybe some have heels, or some have painted toenails. I don't know exactly, but I'll find out as soon as I start making. After the feet, I just want the feeling of carnage. Of dripping. Of weight and destruction. 

Artist Inspiration:

Tamara Kovianovsky:

"Tropical Abattoir"

Teresa Kovianovsky's work is so beautiful. When I first stumbled across her work I was in awe for at least an hour. I really suggest visiting her website (which I do have linked) and viewing the rest of her work because this is just the beginning. Her use of fabric and patterns to create such grotesque and also beautiful renditions of meat and animal bodies is fascinating. I want to cry and throw up while looking at them, but also cuddle up to them because they look so huggable? How can those two visceral reactions coexist? I don't know, but this work encapsulates it. 

Tara Kennedy:

"Hope Emerging"

Tara Kennedy has been a massive inspiration for my work the last couple years which is why she keeps appearing in my artist inspiration list. I find her use of color and fabric/fiber to be so inspiring, and I hope to one day achieve a semblance of this in my work. I also enjoy the knots and texture added to some of her work as a way to give visual interest and keep the eye moving. 

Feasibility & Scope Questions to Consider

• This is a strong and serious direction. As you move forward, I want you to think carefully about what is realistically buildable within the time and resources available.

• Ask yourself:

  • How many hanging forms are truly necessary to create the intended atmosphere?

  • What is the minimum number that still communicates weight, repetition, and presence?

  • Which elements must be physically built, and which can be implied through space, light, or restraint?

• Consider the labor involved in:

  • fabricating the hooks

  • constructing the hanging forms

  • installing plastic sheeting safely and cleanly

  • managing weight, balance, and attachment

  • de-installation and clean-up
    How much of this can be completed confidently within the timeline?

• Think about where simplification might strengthen the work:

  • Would fewer forms intensify the experience?

  • Could one area carry the most visual weight while others recede?

  • Where does restraint create more tension than accumulation?

• I encourage you to identify one or two elements that are essential to the concept, and treat everything else as negotiable.

• This project doesn’t need to be maximal to be powerful. Focus on clarity, control, and what the viewer encounters in the space rather than the total amount produced.