Living Intermission

By using living silk-moths, the experience became a collaboration between the insect and the artist. The elaborate container, multiple bulbs, and excessive interior hanging apparatus were intended to create walls of imposing light and fluttering shadows, however, the moth collaborators decided to transform my setting into something else. The exterior walls when lit were bright yet tranquil with the only shadows visible being four curious objects slightly above eye level. It seemed to draw the viewer beneath the floating cube revealing the network of wires which were transformed into line work. As the viewer observed beneath, the main lights turned off allowing the eye to wander within the warm glow that the fabric picked up from an exterior light. At this point, the viewer may notice one large silk-moth hanging from the ceiling of the fabric and that the four obscure silhouettes previously noticed were produced by the cocoons of other moths waiting to emerge. They took on the representation of life waiting to begin and to end. With Living Intermission, I created the space and allowed the moths to define the experience.


Jeremy Tan
Living Intermission, 2007
Fabric, wire, bulbs, Polyphemus moths and cocoons
9' X 12' X 13'

Eyes

this project was an exploration of flirtation and the role that eyes have in flirting. how eyes draw in the person and are considered windows to the soul. i loved the idea of how manipulated and extreme people make their eyes and to expand and enlarge that to a grotesque creature.





Eyes
2007
about 9'X16"
fabric, foam, strong , hair gel, feathers, paint ,hot glue

The Process of Progress Leads to a Stalemate

The greatest discoveries are usually the simplest ideas. Using a semi-hydroponics method, I germinated and eventually grew grass on shaped sponges. The three legged bases are carved from wood. Upon damaged LCD screen (that have been removed from their cases) I used Vacuum-Formed plastic that I continued to manipulate with a heat gun. The plastic was used for both a visual aid (giving a petal like appearance) as well as a functional form to provide protection to the electronics from water. I also used rope to allow water to flow into the sponges, in addition they were to compliment and play off the electrical cords attached to the monitor.

This piece I was mainly attempting to tell a story, similar to the way a painter would tell a story. I provided characters and a setting as well as visual imagery to suggest the idea I was wanted to portray. I wanted to lead the viewer into the idea of how, with all of our progression and advancements in technology that benefit our lives, we have been causing harm to our environment which is beginning to effect and degrade our lives. The result here is that while the light from the LCD monitor provides energy to the grass it requires energy to operate, hence perpetuating the problem leading to the stalemate.

The Process of Progress Leads to a Stalemate
October 2007
LDC screens, Wood, Sponge, Grass, Vacuum-formed Plastic

Droplets

"Droplets" 2007
Welded Steel



The balance of large objects on one another is the main attraction of this piece. It attempts to capture the delicate shape of a droplet of liquid in a large, heavy material. The droplet forms are balanced on top of one another to create a tension. The tips of each droplet touch the underside of the next to create a system of balancing shapes.

Splatter

"Splatter" 2007
Aluminum, plaster, resin, gel, clay, foamboard, wood, foam, oil-paint


This system of forms attempts to exemplify the relationship between material, shape, and texture. Much like our own systems, and the solar system in which we live within, "splatter" allows the viewer to link nine foreign objects, all differing greatly in appearance, and linking them together by displaying them in an identical environment. Displayed on a clean wood veneer surface, each splatter takes on its own interpretation of what a splatter looks like, how it feels, and what it does to the surrounding space.

Threshold

Threshold, deals with the idea of the bridge between reality and imagination. Inspired by Lewis Carroll's, Through the Looking Glass, and more recently Frank Beddor's, Looking Glass Wars, Threshold presents the viewer with an opportunity to cross back and forth between imagination and reality. The piece is a simplified ramp which acts as an invitation to participate with the piece. Above the center is scented air which pumps down onto the individual to gently provoke them into their imagination or back into reality. The olfactory sense is different from person to person creating infinite reflections of imagination. The ramp itself is completely symmetrical save for two symbols at the base of either side one signifying reality by thinking within the box, while the other represents imagination by thinking outside the box.

Threshold
November 2007
Wood, Copper Tubing, Air
13'x3'11"x8'

Drama

Drama, is a piece which examines the aspect of a persons own daily interactions of the superficial and unnecessary, "drama," in their lives. The idea that we are surrounded by drama which we wish to at times cleanse ourselves of, is represented by the flowing water surrounded by faceless people in monitors reciting monologues that loop from various dramatic plays, ranging from Aurthur Miller's, All My Sons, to Moss Hart and George S. Kaufman's, You Can't Take It With You. The effect of the piece becomes an assault on the senses specifically the auditory ones as the sound of water mixed with four different voices and conversations draws the viewer away from the piece. As one would hope to want to steer clear of drama, this reaction is a desired one.

Drama
September 2007
Pressure Treated Wood, Copper Piping, Water, Various Video Components
4'x5'x8'

Mammy in the Middle

Mammy in the Middle was inspired by my mother's past. Born in a typical Southern family she, along with her 7 brothers and sisters, was primarily raised by a hired woman of color. Fanny Mae also had three children of her own. Fanny Mae's time and energy was spent helping her employer's children, thus her own children suffered from not having their mother present.

Using a 19th century door frame from a Delaware row house, old timber from a Delaware farmhouse and railroad ties, I fabricated a structure reminiscent of an antique pivoting picture frame. The doll is based on that of a child's Topsy Turvy doll which has two heads, torsos, and arms. A skirt separates the two and hides whichever is on the bottom. By using the ropes, which are attached to both sides of the frame, the doll may be flipped upside down and rightside up.

This action seems to play upon the idea of struggle between two girls: a struggle for power, for recognition, for love. The title alludes to Mammy being the skirt that serves two purposes... to shelter what is underneath and to clothe what is on top. It also references the game Monkey in the Middle.

Mammy in the Middle
September 2007
1800's Door Frame, 1800's Farmhouse Wood,
Railroad Ties, Rope, Fabric, Newspaper, Fiberfill, Metal
12' x 14' x 1' 6"

Inanimate Animation

Jeremy Tan
Inanimate Animation, 2007
paper, mono-filament, plastic, helium gas
dimensions variable

The piece began as a focus on the object in attempting to metaphorically represent a flock. The pinwheels would spin separately as the balloons lifted them into the air, and the kite would direct the motion of the entire form; just as birds act as individuals but move in unison. However, as I finished the construction, I realized that what was more interesting to me was my prediction of how the object would act in the sky, rather than the object itself.

In reality, I understood, that I could never actually predict how it would function, because that would entail controlling the wind, moisture in the air, how the cars were parked in the parking lot, along with other factors of my expected presentation space and nature in general. To me what was most interesting was my trying to figure out how to make the object do what I wanted it to do. Therefore, the final piece was a performative act of me learning how to fly the flock. Towards the close of my interaction, I thought I was finally controlling the way it was moving getting it to go into the air when I wanted it to, but I realized it would only do so when I was running and only in the direction of the wind; it ended up controlling me.

Phillip

Kat Riley
Phillp
mixed media
6'x4'


Phillip was a translation of one of my drawings to sculpture: an extreme interpretation of the goofy feelings that come too often in my life. He was put together roughly, stitched together with colorful string from bottom to martinet stand. Ideally, I want people to react to him by having their childhoods come back to them; but also by understanding the parallel between then and now.