Sean Doll Given that r sub one equals fifty-three, 2009
wood, wood glue, bolts, steel wire
106" x 106" x 4"
and r sub two equals thirteen. Diameter equals height equals width. Diameter equals two r equals two times fifty-three. Diameter equals one hundred and six. Height equals one hundred and six. Width equals one hundred and six. Circumference equals two pi r. Circumference equals two pi times fifty-three. Pi is about equal to three point one four. Circumference equals three hundred thirty-two and eighty-four hundredths. Area equals pi r squared. Area equals pi r sub one squared minus pi r sub two squared. Area equals pi times the quantity fifty-three squared minus thirteen squared. Area equals two thousand six hundred forty pi. Pi rounded to the nearest hundredth equals three and fourteen hundredths. Area equals eight thousand two hundred eighty-nine and six tenths.
While making these pieces the layers of the wax became something more and felt like open wounds, the bright colors that i so often use are still represented. Each wax figure has its own personality without it referencing people or animals strongly.
This piece is a continuation of my study of the crane and the way my family has changed the meaning of the form. The slip enabled me to do this visually by creating a hundred different gestures frozen in clay. The piece consists of 5 black boards which are separate but have the potential to fit together. The cranes are then arranged in such a way that although they are grouped on separate bases, they create an illusion that they are meant to be together.
"Where My Dogs At?" Slip Log, Concrete, Toy Dog, Paint The materials used oppose traditional statues or depictions of icons. I use the wood as a structure based in nature, the cement as a material based in industry, and the toy dog as the trivial object it is. Adding bronze, gold, and chrome surfaces suggests a transformation into a desired or cherished item as a whole. The outcome pokes fun at a gaudy taste, like your crazy neighbor with pink flamingos in his yard.
A relationship is created between the two natural objects through their masking with a synthetic material. The steel rods references the stability they once possessed in nature. Their base mimicks the shape of fallen logs, which was their state of existence when found.
A mixture of concrete and organic materials creates a material prone to decay. The concrete structure was mixed with organic matter found on site, and the constant exposure to the elements dictated its transformation.
Esteban M. Pilonieta Vera Wood, nails, string, wire and acrylic paint Dimensions Vary
The piece is intended to suggest a movement towards the corner, as if the piece continued inward in the wall and the viewer actually stands in the back of the displayed piece. The agglomerated cube shapes, which are simplistic representation of houses, seek to create the sense that the small world we look down on continues onto the blue corner.
Esteban M. Pilonieta Vera Soil, dry hay, horse manure and metal Dimensions Vary
This mud-adobe column monumentalizes a memory and the passing of time. A memory of home which is in constant replay in my mind, and those details that slowly get lost with the days that are added since my departure. My departure from my real life.