Site Specific-Fletcher

 3/27/23

I kinda love the idea of making real "gym rats" and placing them around half acre. I think it'd be pretty funny. The "gym rats" would be made of sculpey. And I might make their clothes out of fabric or just out of clay.

Fletcher_Small Worlds

My fav pic below

3/20/23

My original found object did not hold up to the cutting out of the windows. So I found a second option... cardboard box. I also decided to drop the idea of the blinds as there were proving to be more of a distraction to the project than anything else. The conceptual aspect of the piece has remained the same. 

3/6//23

Still trying to cement my small worlds idea. I would really like to do something similar to the idea I’ve already mentioned, but unsure how to make it more of an installation. Could I theoretically replace a galleries already existing window with my custom stained glass windows or maybe find a gallery with stained glass windows?? I’m not sure any feedback would be greatly appreciated 👍🏼

3/2/23

• What stands out from this writing?

I was surprised to see first person verbiage. Also it reads as not having a concise voice, which I guess makes sense because it is an AI pulling from a bunch of random sources. 

• What could be added to this writing?

I think a little more in-depth information could be added. It would name an artist and give some brief info on them, but then move on. Also I know that its called "CHAT" gpt but incorporating photos feels necessary for a writing on this topic.

• When was the first installation work created?

According to the AI the first installation works were in the 20th century, but if you ask me I believe installation art has been a thing for thousands of years. Whether that be cave paintings or  the backdrops to plays.

Here is my small worlds Idea, I have a container saved in the classroom. I believe it's like an old wet wipe or something like that container. I want to cut 3 windows inspired by gothic church stained glass windows. talk to me about your idea.  Why stained glass windows?  What makes this an installation?

Examples

On the inside of the container I want 3 almost wall to ceiling "canvases" with monochrome and abstract watercolor designs on them. Nothing flashy, I actually kinda want it to look like a mess. I also want to alter the lid to be a clear non colored structure. Like this...

The ideas is that if you look through the top the canvases look pretty lame or underwhelming, but when you look through the stained glass windows. The canvases come to life. I'm trying to communicate how a lot of the what is going on in our lives doesn't seem to be working or like we just aren't getting what we think we deserve. But when you look through the stained glass windows "God's eyes" you can see how your mess is part of something that will end up being beautiful. 

I also want to make the interior of the container look like an art gallery by adding benches and small little title cards under the canvases. I know I want to add atlas one figure, but not sure if they should be siting, standing, or a bunch of people walking around but one guy staring still looking at the shadow of the stained glass on the canvases.

Finished the main pieces for the installation. Still need to finish gathering the other objects that will fill the space along with hanging the boards, creating the title cards, and getting the lights pointed in the right spots.

 Get in that space and start working Fletcher. Maybe even put up a construction sign? :)

Make it yours. Make it interesting and make us think about what you are communicating. Are we to peer in?  That might be more interesting than allowing us to walk in?

My Idea for my installation is to try and convey both sides of my life. The first side being a "blue collar" worker who very little people ever think of as artists. And the other side being my artistic side that very few people seem as capable or willing to do hard manual labor. I want to use the gallery space to show that I can do both. I want to get 3 4x8 boards of osb (plywood) and paint them then cover them with thinset (tile glue) I want to show how beautiful the actions of troweling can be. I want to trowel on thinset and in abstract patterns as if I were actually going to use it at a job site. Then I want to hang them up on each wall as perfect as possible trying to make it look like a perfect art gallery. Then I want to transform the floor into the floor of a job site. With tools and other random crap that is always laying around on job sites. I also think it would be cool to set up some of my old beat up work clothes on the outside of the gallery. I also want to have some music playing via radio similar to the type of music I listen to when I'm working. 

My initial inspiration for this idea came when I was working over break and pulled a bathroom floor to find an almost pristine piece of plywood with such beautiful color and trowel marks. I actually set it aside to keep as due to how cool I thought it was. Unfortunately other workers didn't hear that I was saving it so it ended up at the dump. 

When it comes to the more conceptual side of this installation I got the inspiration after being questioned why an art major would be working a job like I was. This surprised me because I often enjoy working more than I do creating art. I primarily tile and find that as engaging any art project I've ever worked on. I have also encountered the opposite with friends who only know me from school being surprised to learn that I work a very labor intensive blue collar job. I'm just so surprised by both sides of this, how can people not see laborers as artists and how can people not see artists as laborers. I really don't get why there is such a gap between the two, for me they feel almost identical. The purpose of an artist is to create something that will invoke thought and look beautiful. The purpose of a laborer is to create something people that will provide function and purpose. They really are very similar. I am very excited to start work on my installation because of how much this idea means to me. 

Here is the board that inspired the idea for this project.

What a job site often looks like

This grout not thinset, thinset is thinner believe it or not. But it shows roughly what will be on the three hanging boards. 

sandy skoglund

I love how Sandy nails a sense of plays but them also makes it feel like another world. This is something that I am trying to capture to an extent in my installation. 

Refined Idea for Installation

Turns out 3 pieces of 4x8 plywood is just too expensive for this so I'll just use one board cut into thirds. I plan to complete two boards and hang them on the wall with a little note underneath with the dimensions title and description of the piece, something like, Abstraction #1/#2. Then for the third board I will partially complete it and then leave it propped up against the wall with note under it with dimensions a tile like, "Sub Floor" and a description like, unseen art under your feet.

This week all I have done is gathered supplies, I haven’t become work yet but have continued to develop my idea here and there. However it will still be very similar to the final idea posted above.

Fabian - The Other - The Toxic Growth

Final result "The Toxic Growth" 3-26-23

Whare I got the sound from

artist statement

The Toxic Growth 

There is no one particular meaning behind this piece, but rather a meaning derived by the viewers. Many views, many stories, many meanings. This piece was created with the thought of making an uncomfortable location and scene that the viewer may walk around and crouch under. It was also meant to capture the eye and continuously move the eye without rest through the piece. There is no resting place for the eye but the teal light that hangs on the back wall. The teal light interacts with the paint to make it seem as if it was glowing, therefore giving it a toxic thought and feeling. This light can be manipulated into other hues to change the aesthetic. Additionally to the discomfort, is the sound that has been chosen to interact with my piece. It is ominous and gives life to the piece as if it were still growing and breaking the space around it and spreading. This sound can also be heard as if the forms are communicating with one another and becoming a new form of life from this toxicity.

progress work 3-25-23

painted forms, arranged forms, covered the roof, and painted roof/walls and added sound.

progress work 3-24-23

covered forms in paper mache to smoothen rough areas and cover holes.

progress work 3-20-23

painted forms black, no paper-mache

progress work 3-19-23

building the form out of cardboard

progress work 3-16-23

Setting up the walls/space with black plastic

Update #2 (2/28/23)

Through some thought and the help of a fellow peer, I have thought more about what I want to do. and how to possibly do it. I want my piece to feel mesmerizing, curious, and uncomfortable. I am going with the height of 6ft tall. this will help with time available, and managing my piece. But also I want the option for someone to crawl under. and look up. I am planning in making a steel rod armature. like pencil rods. I would then use chicken wire to catch to the steel rod to create depth and volume. This will also allow for various thicknesses, and add visual weight. 

To connect the steel rod I was thinking about welding nuts and bolts to connect and disconnect my piece and make it easier to work on and move. (example in the sketch above). this does also open the possibility for modifications in the future or changing what can be placed out. Like interchangeable parts. I am still trying to determine what I want to use to cover the chicken white as I have many possibilities, but each option also has different effects. I was thinking about covering the chicken wire with various amounts of paper or paper mache (internal lighting may be a possibility). Another option is using opaque paper to see through (mainly for lighting reasons and possibly using the shadows of the chicken wire). I am also planning on painting the paper/material I cover the armature with, I was thinking along the lines of that toxic green relating back to my small world. I'm not using glow in the dark, or at least I don't plan to. I am open to other color options. In terms of the space it will be in, I want to black it out. I will create a roof to cover the outside lights and create some kind of entryway to minimize incoming light. I will also cover the walls with black paper so I don't have to paint and easier clean up. Leading me to lighting. I have many options as well as what I can do, and each will have different effects. Things that I was thinking about was having the light be inside the forms wrapped around the steel rod. This will also be affected by what material I use to cover the wire. I was also thinking of having the lights be on the outside of the form on the walls and have it glow on the forms. this will affect the paint choice. and feel of the forms. Another option was to have a light at the base and inside the form that shines brightest at the bottom and dims as it moves along the form, but it may not work as I may want it to. Additionally would be that I would use RGB lights to be able to change the color if I want to and have different effects. Nonetheless that last thing I want to add would be to add some kind of sensory aspect, like sound. I will have to randomly look for and listen to on Spotify or youtube for sounds I find fitting. another option for sensory would be to change the temp of the space, like a portable AC to make the space feel cold, uncomfortable, and possibly unwelcoming, and chaotic. 

 An idea that I would like to do for the installation is similar to that of my small world. 

So idea first? What are you after? Do you want us to feel uncomfortable? Should we want to stay in the space and linger awhile? Will your date dictate what you make the piece out of simply due to time? This below piece was made by a former student. How do you push past this to create a new piece?

Think about the forms, the shapes, the shadows, the what and why - then the how comes regarding how and what you will build it out of.

I want to make it possible so that you may be able to go underneath and look up. I may or may not have it be possible for people to walk around (given the available space) Though, I am leaning towards people not walking around and staying at the entrance and be able to go underneath. With that said the size that I'm looking to make this installation is 8 ft. tall, 10 ft. long, 6 ft. wide. I'm not sure what I should have the color of the forms be when I get to that point. I'm open to suggestions. Another thing would be the surrounding area. During the day time there is a lot of light, and I'm not sure if I should keep it that way and make my piece work with the light or find a way to darken/dim the room. I do want to add colored light with this form but I don't know where I would place the light. or even if I should.

possible building materials that I could think of is steel rods for the skeleton, then chicken fencing for the form and paper over the chicken fencing and zip ties. lots and lots of zip ties. A question that I have is. how would I make this so that I can take it apart and put together? what other materials do you think would work?

Bri's History of Installation Art

 March 2, 2023

History of Installation Art

What stands out from this writing?

• I think the part that really stood out to me about the writing was the fact that it talked so much about earth art/environmental art. The A.I. talked about it being one and the same, at least that is how I interpreted the writing. 

What could be added to the writing?

• I think there could be more of a definition of installation art. Another quality that could be added to the writing is depth and more explanation. I think some more examples of artists and their work would be beneficial to the writing as well.

When was the first installation work created?

• In a quick search, Allan Kaprow was said to be the first in the year 1957. However, after a slightly deeper search, I found Kurt Schwitters's Merzbau to be the first installation work created in 1933. 

Lewis-Materialistic

3/27/23

 

“Make Conversation”

 

Sensory overload and social anxiety is something I experience on a regular basis that leaves me feeling isolated and left out. I can easily become overwhelmed which becomes more intense when in unpredictable and new situations. I don’t understand small talk and often don’t really know how I'm supposed to respond to people. I miss social cues and get confused by people speaking with passive or indirect intentions. There are many obstacles to communication, eye contact makes me feel uncomfortable, I have unintentionally stopped paying attention before while evaluating if I am making eye contact properly or enough. I often just try to mirror the person I'm interacting with, trying to navigate a simple interaction. This becomes harder for me when the environment creates a lot of sensory input. Harsh lighting, strong fragrances and the indistinguishable chatter of a crowd of people for me is extremely overwhelming. It holds true even at events that I'm looking forward to attending. I don’t want to miss out, so I go and I know I will need to periodically hide in the bathroom for a moment of relief from sensory input. I accept it will be a draining experience , so I hold on to safe people and try to find joy in small moments that I forget what's happening around me. Outward perspective may pity this experience or tell me I'm overthinking and just need to relax. Neither are true, my experience is genuine and permanent, a part of who I am and the foundation of my art practice. I’m comfortable with who I am, I learn to adapt, a survival tool I've carried since childhood. In this space I have created an exaggerated experience attempting to demonstrate my perception of social events. Entering the room feels crowded with figures all around you, but the room is empty.  A non-verbal dialogue is created when interacting with sensory elements that take up cognitive space. I find the ways space is occupied very interesting physical and nonphysical,  and social spaces that feel arbitrary. Unable to communicate with the figures, you are left to observe your environment. Aroma of overly strong perfume, harsh bright lighting and loud audio are pushed in an uncomfortable manner. This is intended to be overwhelming to experience, and to create a feeling of tension and unease. A sense of hostility that comes from a threshold and not a place of danger. That reflects on the nature of how I feel in an interaction, the feeling of unease and tension are not created intentionally or from malice. A veil separates the figures from being accessed, limiting what is observable. A metaphorical boundary that creates a sense of isolation in a crowded space. This work invites you to experience it but the nature of the experience does not. Take note of your comfort and reflect what is your threshold for wanting to stay in the room. How long before you need to step out for relief? Do you think you could hold a conversation while experiencing this environment?

3/22/23

Guests begin to arrive. 

3/20/23

I have started the fabrication of the shadow figures, Im basing each of them off the scale diagram I created, although I will be adding some variety of personality for more visual interest. Based on their average size and the measurements of the This Gallery I will need to create 16 of them to fill it. Once installed they will be veiled with transparent material. To round out the experience the space will have harsh bright lighting paired with a loud sound of a chattering crowd.   

3/6/23 

After reviewing the handout This Gallery space has a height of about 11ft. With that in mind and the feeling I want to convey  I don’t intend to create any type of ceiling. Since I want aspects of intimidation I will keep the figures at the same scale, I want theses to be noticeably taller then anyone walking into the room. Something Im considering and would appreciate feedback on is using some type of flashing or moving light, similar to a bar. Something to the effect of colorful projections and strobe lights. On one hand it could be perceived as too much and  non cohesive  , or rather speak to the experience. At its core I want it to be overwhelming and for there to be alot of sensory input. For me this all together makes sense , but I want to know how people would feel in a room like that. Progress photos soon to follow…

2/27/23

I have been thinking over my concept and what I want to convey with this work. I need to measure my maximum height that the space allows , In the above sketch i was considering using a drop ceiling and what it would look like.  Although I have also thought of skipping a ceiling all together, the concept of harsh overhead lighting speaks to my concept. My work is intended to express how social settings can often become very overwhelming sensory overload. 

When walking in you will first notice the bright light and the sound of a loud noise of people speaking to each other in a busy room unable to make anything out of it.  Behind white panels on the wall you will be able to just make out a crowd of figures standing all around you. Its intent is to be overwhelming , and  be uncomfortable to the viewer to stay in the room long. For the noise loop sample I was considering going to the Union while it was really busy, I would then take that file and manipulate it to fit what I have conceptualized.

Project #2 concept:   

2/20/23  

Location: This Gallery

In this work I want to convey the over overstimulating and isolating  feeling that comes from social anxiety . Something so specific can be hard to express to a wide audience with unique experiences. For that reason the different elements to create a sensory interaction need to be dialed up for the experience to convey what it's supposed to. I want someone to walk in and first be met with the intensity of bright white light. This should give a sense of hostility to the room being too bright amplified by white wall paneling. Accompanied by a noise whisper/chatter loop, it will sound like many conversations are happening around you. It should not be able to be understood, it is supposed to create a feeling of disconnect from your surroundings. That partnered with shadows of figures behind the white paneling reinforces those feelings. Ultimately you find yourself in the center of these interactions amongst these figures that you don't know how to interpret. One may find the light and sound uncomfortable or bothersome making the viewer overwhelmed and want to leave. Although they are intended for their brain to still feel the desire to try to make sense of the chatter and figures and what they mean. It's through this intended experience that I will have successfully conveyed the emotions of social anxiety through my lens.

I intend to create some sort of drop down ceiling , I’m curious wheeather a tall ceiling that feels out of reach or if a low ceiling limiting space conveys my message better. I would love any feedback or suggestions on that.

You are limited by what we have- so that ay make the decision for you- but I would suggest lower than what is comfortable.

Artist inspirations:

Work by: Antony Gormley

Blog discussing Antony’s “Blind Light” https://elephant.art/antony-gormley-blind-light/

What interested me about the blog by Louise Benson is their quote “Ghostly figures appeared and disappeared amidst the fog,feeling their way towards unseen edges”. The way this work is communicates emotion is relevant to my work and installation ideation. I want people to reflect on societal boundaries after experiencing my work. Antony Gormley really knows how to communicate boundaries effectively. Yes he does. Key features I want to explore are blurred figures and the sense they are out of reach thus you are disconnected from what's happening around you.

Work by: Zimoun

This installation has several components I want to explore. I am intrigued by the way the boxes give a sense of organization and compartmentalization. I tend to feel more connected to sounds, for me and many others it can create comfort or be uncomfortable. Something about this chatter sits in the middle; it pulls you in , and makes you think what is it trying to say. I embedded a video below showing related works.

https://youtu.be/gpe0frCZ3jc Time: 4:24 minutes

Work by: Zimoun

Work by: Baptiste Debombourg

This work has a hostility to me , it's hard to explain but I think it comes from two things: the extreme artificial fluorescent lights and all the white material reflecting back. You are not invited to come inside and it is devoid of warmth or comfort. This inspires me how I intend to alter my space in the This gallery, something neutral yet uninviting. This is ALOT of packing styrofoam. You could make a call out to the community to get this much in the time you have? It is really interesting visually.