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.

Skylee- Site Specific

Location for the art piece

Here are all slightly different versions of what I can do for the peice that would go in Prexy's Pasture. All of them have an element of interactive stress relief; some have glass or plastic you can turn, glass or plastic balls you can spin, fun textures to feel, or swings that you can also use. The other major aspect of this work is to educate the community and students about the resources available on campus and in the community, including the counseling center, DVR, DSS food resources, HDHD meetings, and more. The contact info for those resources will also be included in this piece; it would be the same as the other ideas that are under these. 

These two pieces would be located somewhere on the Prexy Pasture. I still need to find exactly where that will be. This piece is meant to relieve the stress of people by interacting with it. The other major aspect of this work is to educate the community and students about the resources available on campus and in the community, including the counseling center, DVR, DSS food resources, HDHD meetings, and more. The contact info for those resources will also be included in this piece. 

I would like for both of these pieces to be interactive in some way. One would be interactive because you feel and touch the different textures, and you can spin the pieces of glass that are in the cutouts of the piece. I have also considered the peice having globe balls(glass or plastic?) in it as well. 

Idea 1

Bernard Katz Glass

idea 2

This piece would be made of steel and glass sheets. Steel for the structure and glass for the color to make a comfortable place. This piece would be interactive because it would have swings hanging from it. 

glass or plastic sheets to have a ton of color to brighten the light and environment. A steel frame, and some of the sheets could be metal (maybe that is where the engraving is.) 

A couple of extra sketches of the same idea. The only thing that would be individualised would be the face. Name tags would be the ranks of the various employees. 

All of the following ideas are about how corporations treat people. This one would be located at T-Mobile. At many corporations, we are not treated as people but as numbers and as disposable. I have a lot of stress in my day-to-day life at work because there is a lot of pressure. Pressure to get good sales, good reviews, and just overall be at the top of the company. We are constantly judged by our performance. Currently, we have daily check-ins and weekly check-ins to see if we are doing well. I personally have an extra day off, and I'm under even more pressure to perform well with my numbers, so I am still valuable. The drawing below shows that dehumanization. This image is supposed to show my coworkers and me, but is made of our stats, specifically the sales we have, if we have been late, the reviews we have, and more. Exactly how we are valued as a person at T-Mobile. I don't think that they would have hair; however, the faces would be specific and personalized.

Idea 1

This installation explores how corporate environments reduce individuals to measurable data, and how that reduction shapes identity, self-worth, and daily lived experience. The work reflects on the ways employees are evaluated through statistics—numbers that determine performance, value, and ultimately access to stability, income, and well-being. In this system, identity becomes tied to productivity. The individual is no longer seen as a whole person, but as a set of metrics to be tracked, ranked, compared, and weighed.

The sculptures are constructed from printed performance data, including statistics such as phone line sales, protection plans, customer satisfaction scores, credit card applications, and other tracked metrics. These papers represent accumulated performance over days, weeks, months, and years. The figures are carved or formed from this material, physically embodying the idea that workers are built and defined by their numbers.

Each sculpture represents an employee within a T-Mobile retail environment. While the figures wear recognizable uniforms, their identities are altered: instead of names, they are labeled by rank within the company. The sculptures feature individualized faces, suggesting personhood and specificity, but lack other identifying features such as hair. This creates a tension between individuality and anonymity; each figure is both a person and a generalized worker. This partial personalization reflects how employees are simultaneously recognized and reduced within corporate systems: visible enough to be evaluated, but not fully seen as individuals.

The installation is intended for placement in a T-Mobile retail store, with the actual workplace serving as the exhibition site. The figures represent employees who work in that specific location, reinforcing the connection between the physical environment and the systems that operate within it. By inserting these sculptural bodies into the corporate space, the work makes visible the otherwise invisible pressures of performance tracking and evaluation.

This piece examines the dehumanization of workers within corporate systems, the role of statistics in shaping identity and self-worth, and the relationship between labor, survival, and value. It considers how performance metrics impact access to income, housing, and overall well-being. Ultimately, the work questions what it means to be seen as a number, and how living within these systems affects one’s sense of self.

Idea 2/3

The following drawing shows 2 different ideas that are similar. They would take place in a corporation, such as Walmart or some sort of franchise (maybe also could be T-Mobile) 

On the left, these objects would be spools of numbers. Those numbers would either represent the numbers that Walmart uses to track all of its workers. Numbers such as their picking numbers. Picking numbers is how fast one picks up the groceries that online shoppers order. These numbers on these giant spools would include the people who are fired. Fired for being late, not fast enough picking numbers, etc. Really, the idea is to show just how focused these corporations are with numbers. 

The second idea is just another version of the same topic. It would be a series of people with all their stats. what their picking numbers are, hours they work, or how many times they were late or called in sick. (At Walmart, someone can only be sick or call in 5 times. You get 5 Tally Marts. Being late or leaving early counts as half a tally mark. It takes 6 months for that tally mark to disappear, and if you hit five, you are automatically fired.) On the left is another idea, people would be represented by mannequins made of meat. This work is kinda inspired by performance artist Zhang Huan, with his meat suit. The other option for the one on the right is that the mannequins represent real people, but they would have their numbers around their necks. Maybe a list or another sort of attachment to the statues. They could also be a stack of their stats, like from their idea above.  

Keeley Hagen – Site Specific

04/20/26

Initial Ideas and Sketches

    I've been scratching my head about this project for quite some time, but once I had time to visit the building and take some photos, ideas for this site-specific piece came to me right away. When I first pulled up, I was immediately struck by the sight of an imposing black metal gate. I totally understand why it needs to be there for security reasons, but it was intimidating. I was deterred from entering in any way. I wondered if there was anything a public art project could do to maybe lighten that a bit. To light a path for survivors and ensure that they felt comfortable enough to walk into that space to receive help. 

    I still want to sit down with the individuals who work at the SAFE Project to understand the overall limitations. Whether a project like this would be logical and would uphold the safety and privacy measures they already maintain. Also, present the project as one that could be worked on with the survivors they've helped or housed, so they can leave a more lasting mark on the world. Nothing identifiable, of course, but being a part of the overall project so that it signifies what they've overcome. Which is why I have a meeting with them on Thursday to possibly fully flesh out an idea and see if it could become an actual project! (Very exciting, but we'll have to figure out costs and funding, etc)

Here is a little script I wrote out before making the phone call:

Hi. My name is Keeley Hagen, and I am a student at the University of Wyoming Visual Arts department. I was given an assignment to create a site-specific piece somewhere in Laramie. The majority of my work centers around violence against women, and with research, I found your project. Before I get into the details of what I hope to accomplish, I do want to note that this entire project is just a mock-up and won't actually come to fruition. Unless, of course, you are interested in any of the designs and concepts I create while working on this assignment. From your website, I got your mission statement, and I want to begin to create work that is more supportive of victims and survivors rather than detailing my own experience as a woman dealing with the normalization of violence in society. Creating better outreach and extending the overall voice of my work from me to many other victims. I was calling today to just see what that could look like or if it was even a possibility. 

Here is some light inspiration I have been looking at that is related to dealing with situations that SAFE Project does:

Beaten with a Hammer by Bettina Landgrebe.

The month of October is the month of Domestic Violence Awareness, and a candlelight vigil is often held for both victims and survivors of DV. I was thinking of incorporating light in an outdoor installation to hold a vigil every single day for victims and survivors of violence. I think it could also act as a way to light the pathway forward to receive the necessary help and the support of everyone who came before. Here are some inspirational photos for that:

04/14/26

Thoughts and Prayers

    Scratch everything from my original post because I have a new idea that requires some work to be done before I can come up with the idea. I want to work with the Albany County SAFE Project, whose mission is to empower and advocate for survivors of domestic violence, sexual assault, and stalking while promoting sustainable practices that support long-term healing. They are also focused on educating and bringing awareness to prevention, improved community response, and outcomes in Albany County. To approach this project seriously, I want to meet with those who work at the Laramie office because I do want to place this piece there. Which means I need to see what that looks like and talk with them to figure out exactly what this piece could look like. 

 04/05/26

Ideation & Initial Sketches:

    When I first started thinking about this project last week, many of my initial location ideas were quickly ruled out. My current body of work explores violence against women, and I initially wanted to find a location that could continue to uphold those themes and fit within my overall portfolio. While researching what Laramie had to offer, I came to a single conclusion. Many of the available resources are discreet and kept under wraps, and for good reason. When dealing with situations of domestic violence, sexual violence, and even stalking, women are searching for shelter or a place to hide. Public art or site-specific art wouldn't benefit these shelters or locations in any way. So I quickly turned away from that idea. 

    Another thought I had was to work within the space of these shelters. This would allow it to remain more low-profile and enable the women within those spheres and situations to participate in the installation itself. I really do love this idea, but I wonder what that process would look like. Especially since I have no idea what the space looks like and would have to pull some strings to figure and put that whole initial meeting together. (If anyone has any further information or ideas on how to move forward with this piece, I'd love to hear! I think even if it isn't what I end up presenting, it will be a plan I can move forward with outside of just this class.)

    Another feasible option that could be more thought-provoking for the community as a whole is to fabricate a site-specific piece for the Women's Health Clinic at Ivinson or the Wyoming Women's History House. I need to do more specific research on

each one. 

    For both sites, I want to incorporate women's voices. I think the one located in the clinic should have tones that are hopeful and comforting because many procedures related to feminine care can be intimidating and sometimes scary. How could an installation in the waiting room help uplift women going through those experiences, and how can we continue to push for more research and greater dedication to women's health as a whole? Maybe the tones or information presented in the History house could be more serious or depict individual stories told by women currently living in Wyoming. Bridging the gap between generations and allowing for stories from the past and present to coexist. 

    I am going to begin sketching tomorrow to get my head around exactly what I want to do. The more I ideate currently, the more ideas I have. I also have no idea what the inside of both of these locations looks like, so I intend to either find decent images online or go to the sites myself to create my own documentation. 

    

    

Bri -Materialistic

4/19/26 - Finished Installation and Statement

Statement:

Memories With You

            I remember all those brisk fall mornings years ago. The same ones that happened at the start of every new school year. There was excitement in the air; for us, it was all the things to come being a year older, for our parents, it was peace knowing summer was over, and they could have their sanity back. Despite this, Mom probably had to drag us out of bed three or four times so we wouldn’t be late for the bus. Living out in the country meant we were the first ones on and last ones off, making the hour-long ride feel like an eternity. But at least I had you to keep me company.

            We’d walk up the gravel driveway that felt like a mile long when we were only about four feet tall. I don’t know exactly what we talked about, maybe video games or our hopes for field trips and desire to go back to bed, but what I do remember is the sounds of the sandhill cranes. They would only visit for a few weeks in August and September, but they were one of my favorite parts of the morning. During our walk, they would stand in our grandfather’s barley field, preparing for a long day’s flight. Their distinct coos and our footsteps in gravel filled the air, sounds I could never forget.

            The beige birds would peer at us curiously from afar, their little red heads being the only speckle of color in the golden fields nearby. Their calls were reminiscent of our own childhood chatter. I’d imagine the young cranes complaining about how far they still had to fly, and their parents reassuring them that it would all be worth it if they were just patient.  As the sun began to peek over the mountains behind us, the sandhill cranes would start their journey once more, voices echoing one another, signaling to the group it was time to begin the new day. I’m sure we had big grins on our small faces as we watched the birds leave just as we were, and just as we would tomorrow.

            I remember how blissful these days were, even if it didn’t feel like it in the moment. The worst thing we had to worry about was learning simple multiplication or deciding who to sit with at lunch. This was twelve years ago, when the world just revolved around the two of us. I haven’t lived with you in three years, but you, Mom, and Dad have always been the constants in my life. We’ve both found new people to walk alongside us on our journey, but I know that whatever the world throws at us, I will always love you, I will always find my way home, I will always remember the sandhill cranes, and I will always cherish the memories with you.

4/12/26 - Progress

I was able to cut out all of my birds this last Friday, and started painting and assembling over the weekend. I drastically underestimated how long it would take to paper and paint the birds, so I will have to work on them through the week with help from friends. I'm hoping to have half of my birds installed by tomorrow, then finish most of the other half that evening. I was able to move my walls and spotlights into position today, and also figured out where my birds would be installed on the moving wall with tape. Soon, I will buy the bedsheets I need for the roof of the tunnel to finish everything off.

4/5/26 - Getting Started

This week, I started making the Illustrator files for my cranes. I decided to make 11 silhouettes to be laser cut. They will be mirrored for the other side of the tunnel, so I will be making 22 birds in total. My goal for this week is to get my birds sectioned out to be upscaled to fit within the bed of the laser cutter, like the body of crane D. To assemble these birds, I am planning on doing some papier-mache over the seam lines to mask where I had to cut the birds to fit them in the laser cutter. Then they will be painted with acrylic paint and ready to be installed in the Other gallery.

3/29/26 - Finalized Ideas

I agree that I have been too wishy-washy on my ideas for this project (this is something I want to work on next year), so I wish to make the crane idea for the sake of time, transport, and space.

The birds: I like the idea of having the smaller cranes possibly trail from one wall to the next, but I am worried about the height of the moving walls not allowing enough space for the cranes if tall people walk through them. It could be that the birds converge and get smaller as the viewer leaves the tunnel, so the birds are trailing migrating off into the distance as the viewer leaves the installation. Also, what if my birds are like a zoetrope that follows the movements of a sandhill crane as it walks and takes flight? As the viewer walks through the tunnel, they follow along with the movements of the birds as they take off. These designs would also be mirrored on both walls, possibly with slightly different poses, but mostly the same on both sides. 

Tunnel: I would like to paint the general gradient of a sunrise within the confines of my tunnel, with blues fading to yellow and orange, but I am unsure if the walls could become too busy with both the paint and birds. This effect could be accomplished with dyed fabric rather than paint for easier deinstallation. Or I could scrap having different colors to keep it simple and just play with what my lighting could do. I think I will make some color sketches to decide on if a sunrise is needed or if lighting can do the heavy lifting. 

The Gravel: I agree that having physical gravel could become a hazard. I'm curious if I could somehow glue rocks to chipboard or tarp to make modular pieces that aren't messy to clean up. They would just follow the edges of the walls and leave a path in the center, similar to the installation we visited in the museum. If this isn't possible or too time-consuming, I could just rely on sound. 

Sound: I'd like to include sounds of footsteps on gravel that are faint in the background to give the illusion that the viewer is walking on gravel or walking alongside my brother and I. I also agree that the sandhill cranes need to be somewhat faint and almost distant. 

3/15/26 and 3/22/26 - BFA Intermission

I have not worked on anything for this project the week before and the week of spring break. On the 8th, I found out that my wolf had cracks in its neck, the surface design didn't turn out how I wanted it to, and my iron collar does not fit its neck. I spent the majority of the last two weeks fixing these problems while painting and assembling paper flowers, as well as troubleshooting how my wolf would safely hang on the wall. I lived here for about 16 hours every day to finish my BFA projects before installation on the 24th, and I am very happy with how they turned out. Next week, I will be heading to NCECA, but I will be refining my ideas for my materialistic project while I am gone to prepare for the 2 weeks I have until installation. 

3/8/26 - Refined Ideas

Over the course of the week, I have realized that I am not super happy with or excited about my original idea for this project. It just seems like a lot of hassle and will be a pain to make, store, and ship. The new idea I have in mind seems more enjoyable to make and would be more doable in our timeline. For this idea, I am thinking of trying to capture the sense of what it was like growing up at home in the Wyoming countryside, specifically, the peaceful fall mornings when my brother and I would walk down the end of our long dirt road together to meet the bus. One of the most prominent components I remember is the coos of the sandhill cranes that would fly overhead and rest in our grandfather's field nearby. 

To replicate this moment, I want to laser-cut a flock of Wyoming birds I see at home (probably all sandhill cranes after thinking about it more while writing this). I'd like to have 3 or 4 variations of birds, all in different poses, with some just taking off and others flying that will trail down the wall and eventually become smaller as if flying off into the distance. I'm curious as to how thick a material the laser cutter can go through, because I think this project would be best with some stiffer material than the chipboard. These pieces will all be separate so they can be hung up and taken down easily, but will also store flat and be light. I'm considering adding some paint to the etchings as well to add some extra detail to the birds.

The walls for this project will be positioned in a way that makes a tunnel between the stationary wall and the moving walls. possibly with a light blue colored sheet or fabric over the top that gently filters light through it. If possible, I want to paint the walls in a gradient that mimics the sunrise, probably being more of an abstract representation rather than true to life, so the room feels immersive, as if the viewer is taking an early morning walk. I'm also wondering if I could lay some small gravel on a clear tarp on the ground in the tunnel to portray the sense of walking down our dirt driveway. 

The final component that will bring the whole thing together is having 4 speakers play the coos of sandhill cranes (and possibly other birds), hidden behind my cutouts.

The sketch below is not blobby penguins, but an abstraction of the above sketch to show the layout of the walls to make the tunnel for the viewers to walk through.

New Materials List: 

• chipboard or a thin wood
• paint (yellow, orange, blue)
• blue or white sheets
• fine gravel
• clear tarp

However, I understand that it isn't fair to others to change my idea now, so I have a few new iterations of my original concept that make it more immersive. The first is making more cones that can hang from the ceiling and the wall to cover the corner of the gallery by the window in a wave of cones seen below). I would try to make 30 - 40 of these forms to fill the space, but it is possible that I may need even more than that, which makes this idea harder to accomplish in the time we have. 

The second new iteration I have is to make a hallway/tunnel with the moving walls and stationary walls that are covered in the cone forms, so the viewer is surrounded when they enter (below). I would like to make a ceiling out of fabric from sheets or something else that is long and wide to filter light from the spotlights into the tunnel so there is a soft ambient light. To help with time constraints, I have considered having the cones nearest to the window slowly fade into illustrations on the wall or flat cutouts made from chipboard or cardboard to still fill the space but reduce the amount of work needed. 

I would like to engineer the cones to be able to slide over the metal rods so they can be packaged separately. I'm also curious if the rods should be short and not visible or if they should look like plant stems. I'm worried that if they are too short, it would be a little too similar to your show in Fort Collins, but the shorter rods would be less time-consuming.

Brianna,

I appreciate your honesty here. Realizing that an idea is not sustainable or engaging for you is an important part of the process. The concerns you’re raising — making, storing, shipping — are valid, and they are exactly the kinds of things working artists have to consider.

That said, we are at a point where you need to commit to one direction and follow it through.

Your new idea has a lot of strength. It is:

• Personal and specific

• Spatial (the tunnel is a good instinct)

• Atmosphere-driven

• Much more feasible in terms of fabrication and storage

The memory of walking to the bus and the sound of sandhill cranes is clear and grounded. That specificity is what makes it compelling. Stay with that.

A few things to refine if you move forward with this direction:

First, the birds. The trailing flock that shifts in scale is strong. Be careful that it doesn’t become decorative. Think about how they activate the space:

• Do they move across both walls?

• Do they cross the viewer’s path?

• Do they feel like they are moving through you, not just along a surface?

Second, the tunnel. This is where the installation really happens. The walls and ceiling need to:

• Compress the space

• Guide movement

• Control light

The fabric ceiling filtering light is a good move. Keep it simple and intentional.

Third, the gravel. This is effective conceptually, but think carefully about logistics:

• Safety (slipping, shifting)

• Cleanup

• Sound (which may actually be a benefit)

If it becomes too complicated, you may need to suggest the ground rather than literally recreate it.

Fourth, sound. The cranes are the emotional anchor. Keep it subtle and spatial. You don’t need it to be loud — just present enough to locate the viewer in that memory.

Now, regarding your original cone idea:

You are right — 30–40 cones is likely not enough to fully activate the space, and making more is not realistic in the time we have. The tunnel version improves it, but it still requires a significant amount of fabrication and may not resolve as strongly as your new idea.

Also, your instinct to make the cones modular is good — but again, that’s adding engineering time on top of fabrication time.

At this point, I would rather see you execute one idea well than struggle to complete a more complex one.

So my recommendation is:

Choose the crane/tunnel installation and commit to it fully.

It aligns better with your timeline, your interests, and the level of resolution I want to see from you.

2/15/26 - Materialistic Ideas 

Joris Kuipers: Paper and wood-based installation

Website

 Joris Kuipers' style combines painting and sculpture through the utilization of hand-painted laser-cut shapes that are combined to make larger organic forms suspended in the air.  His colorful compositions bring the beauty of nature indoors, offering a sense of calm, wonder, and connection. Joris celebrates nature’s organic forms through dynamic and lively installations that energize interiors.

For my own installation, I have been interested in utilizing paper or wood components that are suspended in the air or held on the end of steel rods. I like Kuipers' use of color and plant-like imagery to transform a space and liven up a neutral colored space. 

Jardins Suspendus, Aluminum Alloy, Acrylic Paint, 2026

Floral Abstraction III, Acrylic paint and gold leaf on wood, 2019

Jardin Supendus I, Acrylic paint on wood, 2012

 

My Ideas:

I have been struggling to get any ideas down that I liked because most were either too complex for the time we had or too simple, so I didn't feel they reflected my work ethic or pushed my skills. I finally found one today that uses some of the forms of my wood and paper piece but are made with materials that are quicker for me to use while also filling the space. I plan on making multiple conical shapes that are held up by steel rods, either welded to plates, with three branching feet or welded to other cones to make interconnected bundles. They will stand at around 1 - 1.5 feet tall when complete. The cones themselves will be around 4 inches tall with a 2 - 2.5-inch opening made from chicken wire and plaster gauze, cast paper, or rolled/forged steel sheets. I would like the cones to stay a white color to match the walls (possibly with some dry brushing of other tones of grey) while having pops of color within the inside of the cones with purple colored fluff of various shades. I'm unsure if I should use fluffy faux fur or wool roving for the texture on the inside. 

With this installation, I would like to portray the feelings of unity and interconnection, with each form being different yet visually connected to the others. I also want this area to provide a sense of peace, like standing in a field of flowers. To push this, I wonder if having some sort of sound playing would help, like the rustling of plants or a gentle breeze. 

Examples of the cone forms standing up and with texture on the inside.

This image is the sketch for how I would like my pieces to be displayed, with some being attached to the walls and floor. I'm curious as to how this installation could look if I hung some of the cones from the ceiling (It might be too much going on.)

Materials List:

• Steel rod (30 - 40ft)
• steel sheets?
• chicken wire
• plaster gauze or paper
• faux fur or various bundles of purple roving

Bri,

You are thinking carefully about material, and that shows. I appreciate that you’re considering scale, repetition, structure, and fabrication time realistically. That’s mature decision-making.

However, right now this still reads as a series of sculptural objects placed in a space rather than an installation that transforms the space.

The cones themselves are interesting forms. The contrast between a restrained white exterior and a saturated interior has potential. The idea of unity and interconnection is strong — but that concept needs to show up spatially, not just symbolically.

A few things to consider:

1. Scale + Quantity
If the cones are only 4 inches tall and mounted on 1–1.5 ft rods, they risk feeling like a field of small sculptures rather than an immersive environment. Installation depends on density and repetition. How many are you realistically making? Ten will not change a room. Twenty might begin to. Think about volume and how it alters space.

2. Spatial Activation
Right now, they appear to stand upright like specimens. What happens if:

• Some lean?

• Some cluster tightly?

• Some emerge from the wall?

• Some interrupt the viewer’s path?

• Some hang at eye level?

Ask yourself: what does the room feel like when someone walks in? Are they navigating? Surrounded? Immersed? Installation is not just repetition of forms — it is how those forms reorganize space.

3. Steel Rods + Structure
Be careful that the rods don’t visually dominate unless that’s intentional. Are they purely structural, or are they conceptually part of the interconnection? If unity is key, perhaps the rods physically connect forms rather than simply holding them upright.

4. Interior Material (Fur vs. Roving)
Faux fur could quickly read decorative or artificial. Wool roving may feel more organic and restrained. Given your reference to a field of flowers and calmness, subtlety may be stronger than spectacle.

5. Think Beyond the Making
I also want you thinking about the life of this piece beyond critique.

• Where does this live after deinstallation?

• Does it break down?

• Are the rods detachable?

• Do the cones slip on and off?

• Can bases stack?

• How does it transport?

• If shown again in five years, will it hold up?

If everything is welded permanently, this becomes bulky and difficult to store or ship. Installation artists think about disassembly and modular systems. If unity and interconnection are your themes, perhaps the system itself reflects that — components that connect and disconnect, adapt, and reconfigure in new spaces.

Right now you’re designing forms. I want you designing a system — spatially and structurally.

Let’s talk through density and a modular strategy in person so this moves beyond a collection of objects and into a resolved installation.