Amelia Marlatt - Small World

 03/01/26

Artist Inspo:

Gohar Dashti

I first saw Dashti’s photography in a museum as was immediately drawn to it. After researching her I found her body work titled Home. I loved the way she captured the feeling of absence (in relation to hu an life) alongside this duality of growth (from the plant life). These photographs very much capture the feeling I would like to create within this project. 

Ideas: 

For my small world I have chosen the doll wardrobe that Ashley had from a previous installation course. At first i thought it was a tool box but after learning it was a doll wardrobe, I wanted to continue with the environmental route I have been taking.  Found a baby doll I would like to take apart and place within the wardrobe. I want this piece to comment on the idea that Lon after we are gone nature will reclaim everything around us. I plan on using mainly flocking and doing some needle felting. I am also thinking about using some of the crochet forms I have used in my past works. I don’t want this piece to necessarily make the viewer think negatively or positively about the environment or our impact, but rather just be an art work people can sit with and come to their own conclusion. This is very much opposite of my THIS gallery installation, but for this project I would rather focus on the materials of the piece rather than the message behind it. 

I didn’t draw the baby parts inside the box because I was unsure exactly where I would want to place them and didn’t want to make the decision until I could physically move them around within the box.

Madelynn - Materialistic

3/1/26

This weekend, I gathered all my supplies and dove into creating what can be called the “architectural” veins. I’m experimenting with a mix of materials, different colors of fabric, various threads and yarns in reds, blues, and magentas, and floral wire. The process actually began on Friday, when I went to Keely, Megan, and Amelia’s installation opening. I was especially drawn to Keely’s work, I wanted to understand how she created some of the organ-like textures in her piece. When I asked her, she explained it was wrapped fabric with string coiled around it. That little insight sparked a new direction for me. I realized I could use a similar technique for my veins: wrapping fabric with string to create physical structures that feel “architectural,” while still leaving room to paint most of the veins onto the surface.

It’s exciting to think about the balance between physical and painted veins, how some can stand out in three dimensions, while others will remain subtle, flowing across the walls. This weekend was all about experimenting with materials and thinking about texture, form, and color. I can already see how this approach will give the veins a sense of life and structure that painting alone might not achieve.

2/26/26

After reading the feedback on Tuesday, I decided to continue developing Idea #2 because it feels more personal and emotionally grounded than my other concepts. Since this installation connects to my experience with anxiety and having a pacemaker, I think it has the strongest potential to create a meaningful atmosphere rather than just an abstract visual space. After talking through ideas with Ashley today, I refined the concept into two related installation possibilities.

The first idea is transforming the entire room into the inside of a heart. The walls would be covered in clear tarp or skin toned fabric with veins painted across them so the space feels organic and immersive. Some of the veins may include visible wires to reference my pacemaker and the mechanical support connected to the body. The lighting would saturate the room in red (possibly with subtle blue tones), and the sound design would include an irregular heartbeat to reinforce the emotional tension and physical awareness of the body.

The second idea builds on this environment but adds a physical focal point. In the center of the room would be a small podium holding a felt heart. Wires would extend from the heart outward into the vein-covered walls, visually connecting the central object to the surrounding “body.” This option emphasizes the relationship between the organic and the artificial, and it makes the pacemaker reference more literal. The irregular heartbeat sound would continue to shape the emotional atmosphere.

Based on the feedback about restraint, I am starting to think more about limiting the elements to focus on what actually drives the emotional experience. The central emotional mechanism is the feeling of internal awareness, being inside the body while also being aware that something is slightly off or unstable. More specifically, the piece explores the tension between loss of control and stabilization, represented by the contrast between a natural irregular heartbeat and the presence of a pacemaker helping regulate it. The irregular heartbeat and saturated lighting would physically affect how the viewer experiences the space, encouraging them to slow down and become conscious of their own body.

Over time, the experience could shift through subtle changes in sound or lighting intensity, moving from calm to more irregular patterns to reflect anxiety building.

Right now, I am leaning toward combining painted vein walls and sound as the main elements, with the central heart object as a possible addition if it strengthens the focus rather than overcrowding the space.

Maddie,

This is a strong refinement. You’ve moved from “immersive mood” into a clearly defined emotional mechanism — internal awareness and the tension between instability and regulation. That’s the right shift.

The heart-as-room concept works because it is embodied, not symbolic. The key now is restraint and clarity.

A few things to consider:

1. The Room as Body
If you transform the entire room into the inside of a heart, commit to that fully. The veins should not read decorative. They should feel structural — almost architectural. Think about scale and placement carefully so the viewer feels inside something, not just surrounded by painted lines.

2. Wires and Pacemaker Reference
The visible wires are conceptually strong, but be careful they don’t become illustrative. They should feel integrated, not attached. Subtlety will make the mechanical/organic tension more powerful.

3. Central Heart Object
Right now, the room-as-heart may be enough. The felt heart on a podium risks becoming literal or pulling attention away from the immersive experience. Ask yourself: does the space need a focal object, or does that reduce the viewer’s bodily awareness?

You may find that removing the central object strengthens the work.

4. Sound + Light
The irregular heartbeat is doing the conceptual work. Keep it restrained. Avoid dramatic volume shifts. Subtle irregularity will be more unsettling than obvious spikes.
With lighting, saturation is fine — but test how much red becomes overwhelming rather than immersive.

5. Shifts Over Time
Subtle changes are stronger than theatrical transitions. Anxiety builds gradually. Let the sound and light reflect that.

The strongest sentence in your post is this:

The piece explores the tension between loss of control and stabilization.

Stay with that. Every decision should support that tension.

Right now, I would encourage you to simplify:

• Painted/veined walls

• Subtle red lighting

• Irregular heartbeat

Add the central heart only if the space feels incomplete without it.

You’re very close to something focused and embodied. Keep editing. Proud of you!!

2/19/26

Idea #1 - Emotional Response Room

For my first idea, I designed an Emotional Response Room based on my reaction to the Epstein files and the public response surrounding them. After reading some of the released emails and documents, I felt a strong sense of anger, disgust, and frustration. It also feels like the topic has been pushed aside or emotionally numbed over time. I want this installation to explore that emotional cycle… how outrage can slowly turn into overwhelm and then into numbness.

I was heavily inspired by the installation work of Olafur Eliasson and James Turrell, especially their use of light and atmosphere to shape how a viewer physically experiences space.

The room would use fog and strong lighting to create a slightly claustrophobic environment. The lighting sequence would move from red (anger, chaos, exposure) into blue (sadness, emotional fatigue, numbness), followed by a blackout, and then repeated. This looping structure represents how public attention and emotional response often cycle and fade.

I am also considering projecting or painting short phrases or words into the space using opposite-color lighting. For example:

• During red lighting: phrases like “pending,” “under review,” “no comment,” and “insufficient evidence.”
• During blue lighting: phrases like “remember,” “pay attention,” and “this still matters.”

Sound and projections may also be layered to increase the sense of emotional overwhelming.

Idea #2 - Internal Anxiety / Heart Space

For my second idea, I wanted to explore something more personal by focusing on my own experiences with having a heart condition. Unlike a temporary illness, it is something that is always present, even when it is not visible. This installation would explore the constant background feeling of anxiety and physical awareness that comes with that. This idea is very similar to Project 1, “Small World.”

I was inspired by the sculptural material work of Eva Hesse and again by the atmospheric lighting environments of Olafur Eliasson. I am interested in combining soft materials such as yarn or string with fog and lighting to create a chaotic and slightly claustrophobic environment.

The yarn would hang throughout the space, creating layered visual tension and forcing the audience to physically navigate through it. A heartbeat sound would play continuously, possibly shifting tempo to reflect anxiety or irregular rhythm. Lighting would pulse subtly with the sound to reinforce the connection between the body and the environment.

This piece would focus on the idea that internal experiences, especially medical or emotional ones, can be invisible but still deeply present.

Idea #3 - Fabric Reflection Room

For my third idea, I am considering a quieter and more reflective installation space that still connects to emotional and bodily awareness. I was inspired by the immersive fabric environments created by Ann Hamilton along with the lighting and texture-based environments of Olafur Eliasson.

This installation would use hanging red fabric to surround the viewer and create a soft, enclosed environment. A beanbag chair placed in the center would encourage the viewer to sit and physically settle into the space, making the experience slower and more personal.

Fog, soft lighting, and sound would be used to create an immersive atmosphere. Depending on the final direction, the room could function either as:

• a reflective emotional space
• a symbolic internal body space connected again to heart awareness

Sound could include low ambient tones or a subtle heartbeat to reinforce the sense of presence and connection to the body.

 

Inspiring Artists

Olafur Eliasson - https://olafureliasson.net/

James Turrell - https://www.pacegallery.com/artists/james-turrell/

Eva Hesse - https://www.hauserwirth.com/artists/2810-eva-hesse/

Ann Hamilton - https://www.metalocus.es/en/news/sheer-magic-ann-hamilton

Okay, Madalyn, breathe deeply in and out right now. 

Katie Campbell- Materialistic

 This/That/Other Installation:

3/1/2026

For the background, the blue serves the concept of the water, making it look like the fish are swimming and moving around. I do like the fabric on the ground as it makes it feel more real and coming out of the ground.

With the smaller fish, I had an idea of most of them being blue, but I made some a contrasting color, following the bigger fish, but I am not sure about this.

I will just paint on the wall and use nails and washers to hang the fish up

I’ve made 40 fish so far, which feels good. Seeing them all together makes the work feel more real and steady.

I also found the fabric I want to use for the floor and the colors that feel right for it. That part helped everything start to connect more in my head. It’s starting to feel cohesive rather than just a collection of separate pieces.

For paint, I’ll need the blue colors shown in the pictures below. I’m trying to keep the colors intentional and simple so everything flows together.

It still feels slow and steady, but I like that. I’m just continuing to build and letting it grow naturally.

2/23/2026

I’ve been continuing to work on my paper fish and have made five more paper fish since my last update, along with six wax fish. The process is repetitive, but it’s actually kind of calming. Even though the fish follow the same general form, each one turns out a little different, which I like.

I’m using/ going to be using paper, wax, fabric, spray paint, and glue to make the fish. Working with both materials has been interesting because paper feels really light and delicate, while the wax feels heavier and more solid. Seeing them together is helping me think more about contrast and material choice.

Some things I have been considering are whether I should paint the background or use fabric, whether I should paint the fish light blue, and whether it blends in too much with the background. I am also wondering how I would install it. Should I tape the fish or nail every since one also with the background? Should I use wood or cardboard to make it easier, so that I do not damage the wall much? 

Katie,

I’m really pleased to see you continuing with the fish and leaning into the repetition. The fact that the process feels calming is important — that rhythm is part of the work. The subtle differences between each fish are also a strength. Repetition with variation is far more compelling than perfect uniformity.

I also appreciate that you’re paying attention to material contrast. Paper vs. wax is a meaningful decision. The lightness and delicacy of paper next to the weight and solidity of wax can support your concept — especially if you’re thinking about hierarchy or direction within the installation. Be intentional about where each material appears and why.

Regarding the background: ask yourself whether it serves the concept or just the aesthetic. If fabric is simply acting as a color field, paint may be cleaner and more resolved. If fabric adds physical depth, texture, or affects how light behaves, then it may be worth it. Keep it purposeful. Avoid decoration for decoration’s sake.

As for color, blending is not necessarily a problem. If the smaller fish recede into the background, that could reinforce hierarchy. The larger fish or the one moving differently should carry more visual weight. Think in terms of emphasis rather than matching.

Installation-wise, do not tape them. Tape will read temporary and unresolved. If possible, install directly into the wall with small nails or pins. That commitment will make the piece feel integrated with the architecture rather than applied to it. Only use wood or cardboard backing if there is a conceptual reason to separate the work from the wall — not just to protect it.

Overall, you’re moving in a strong direction. Keep refining your decisions so that every choice — material, color, attachment — supports the idea rather than just solving a practical problem.

Let’s talk through the layout in person so we can make sure the corner installation has the impact you’re envisioning.

2/9/2026

I decided what I want to do for the other installation. I want to continue my fish. For this idea, I was thinking of putting the fish in a circle and having the big fish go one way, and the small ones go the other. I am going to make way more fish than last semester, like I want to cover an entire corner of the room in them. As well as I want to do it on the bottom corner of the wall in the gallery space. I think doing it that way will make it feel more overwhelming with fish. I want to add a blue fabric background and use an ombré effect as they go out. I want a light blue by the big fish to show light and guide your eye in that direction. I was also thinking about adding light under the big fish, so it glows. I also want to do it where I add more fish every day during the week my art is up. I am thinking about painting the small fish a light blue so you can see them, but they are also hidden as I do not want them as the main vocal point.

The idea is that the big fish swim towards God by swimming in the opposite direction from the small fish. This installation reflects faith as the choice to follow God’s guidance, even when it means moving against the current. While most of the fish move together in a continuous loop, one turns toward the light, breaking away from the familiar path. This moment of separation speaks to trust, courage, and surrender—the decision to follow God. Light marks divine presence, guiding the solitary movement forward. The work invites reflection on faith as an intimate act of listening and choosing, even when the way forward feels uncertain.

 

So far, I have four ideas for this project. I am not sure about these ideas as right now I feel like I am struggling with what I want to do. I want to do something with nature, light, faith, and abstraction.

My first idea is with a dandelion. I wanted to create the middle part of the flower as part of the wall. Create a cardboard piece for the wall side with some seeds attached, and paint some on the walls. I also want to create seeds blowing off the dandelion and floating up to the ceiling. I was thinking about adding lighting to the seeds, like they were glowing, since I wanted to do something with light. I want to add a fan somewhere so when you are in there, it feels like you are floating off with the seeds. I also want it to smell like a fresh flower in the outdoors.

This idea concerns looking at the small things in life and the found-object installation. It was always a fun thing as a kid to blow on the flower and watch the seeds float off, and to make a wish each time. This one is a little more nostalgic and always a fun thing to do, which I sometimes forget because I am so focused on my stress. This also brings in my theme of nature and faith, as I love the small things God created for us to enjoy.

Some things I am stuck on are what I will do with the background. I have an idea of painting wind patterns all over. I have another idea: painting a meadow to make it look like the wind is blowing. Another idea of painting just the shadows of the seeds with a yellow glow. I am also not sure how to add the fan and lighting.

 

My second idea concerns my fish from last semester. This idea concerns my faith, nature, and light.

For this idea, I was thinking of putting the fish in a circle and having the big fish go one way, and the small ones go the other. I am going to make way more fish than last semester. I want to add a blue fabric background and use an ombré effect as they go out. I want a light blue by the big fish to show light and guide your eye in that direction. I was also thinking about adding a light under the big fish so it glows. I also want to do it where I add more fish every day during the week my art is up. I am also considering adding a fresh-water smell.

The idea is that the big fish swim towards God by swimming in the opposite direction from the small fish. It represents going against the current, as fish do when they try to make it back home.

A current struggle I have is deciding what color to paint the small fish, as I did not like how I painted them last time.

 

My third idea is more abstract. It show God, faith, peace, and light.

For this project, I want fabric to drape from the ceiling. I want to create a large, narrow pathway to walk around, really immerse in light and shadow. I want to add a nature design to it to add this calming beauty. I want to make the leaves out of paper, since getting real leaves would be difficult with the snow, too. I do not want it to be just found objects like fabric. For the fabric, I want to use a white translucent fabric. I also want to add warm light surrounding the fabric to give it a glow.

The concept is that this installation reflects the light of God as a gentle, surrounding presence rather than a spectacle. Soft layers of paper, fabric, and natural elements filter light as it moves through the space, creating an atmosphere of calm and attentiveness. The work invites viewers to slow down and notice subtle shifts of shadow and movement, suggesting that beauty and peace are often found in quiet moments. Light becomes a metaphor for faith—something not grasped or fully seen, but felt through presence, stillness, and care.

I am not sure how I feel about this one I like it but at the same time I am not sure.

 

My last idea has to do the two gates. This shows God, faith, nature, and light.

For this ideas I am thinking about making two gates one big and narrow. I am thinking about either finding two old doors and making them out of wood. I want to use branches to create trees. I also want to make bushes. I am not sure what materials I have yet. I want to put light behind to make them glow. One more than the other. I want to paint the walls with a nature background and paint the doors with a depiction of heaven, featuring clouds and pastel colors. I am also going to create two paths one wide and one tight. Since I have the other gallery this can help by making my room into a rectangle.

This installation is inspired by the biblical idea of the narrow gate, which suggests that faith is not found through ease or spectacle, but through intention and humility. The space offers two paths: one wide and open, the other narrow and partially obscured. The narrower passage is surrounded by soft, abstracted natural forms and filtered light, suggesting protection, care, and quiet presence rather than restriction. Light glows gently beyond the narrow opening, functioning as a metaphor for God’s presence—something not fully visible, but deeply felt. By asking viewers to choose how they move through the space, the work frames faith as an embodied decision, where beauty and peace are discovered through attentiveness, restraint, and trust.

Some thoughts so far is how difficult could this be and how much time do I have. As well as creating the nature part and how I am going to do that.

There is a lot of sincerity and care in your thinking. The next step is refinement: clarity, restraint, and intentional use of space and scale.

You have clear, consistent themes across your ideas: faith, light, nature, calm, and guidance. That clarity is a strength.

It makes sense to continue with the fish, especially since repetition and making have helped you build confidence and material skill. That growth is visible.

For this project, the next step is to let repetition do more work in the room, not just on the object. Think about what happens when the viewer is surrounded by many fish rather than focused on individual ones.

Try shifting your attention away from details like color choices and toward placement, density, and direction. How does the accumulation shape movement, atmosphere, or focus in the gallery?

Choose one primary idea and simplify. Fewer elements, pushed further, will create a stronger and more immersive installation than trying to include everything at once.

Keep feasibility in mind. A focused, fully realized installation will be more successful than an ambitious one that feels rushed.