Samantha Smith

Industrial vs natural

Above are some pictures of the second and final part of my project. I wanted to incorporate aspects of the outdoors into the project so I brought the outdoors in. The tree is a steel skeleton that has a built-in seat for the viewer to interact with the piece directly. The piece is in a small room that is filled with an earthy smell from the damp soil and rotting bark, twigs and leaves that I scattered about around the metal tree. 

Steel flat bars, dirt, branches, bark, leaves, plants (?)

Steel flat bars:1" width and 2" width

8.5' x 3'

Rebecca Guzzo

Rebecca Guzzo

Craters

2015

Hand-cut Cardstock Paper, Wood, Paint

19" x 19" x 12.5"

My development with the medium of layering cardstock paper was to convey the idea of "scooping out" or discovering what exactly lies beneath a solid surface. Picture a solid white block, if one were to cut into the block and pull the pieces out, what would it look like? I loved the idea of vibrant color hiding beneath a plain white surface. So I made my own white block and scooped out pieces to reveal the colorful interior of my imagination. 

Owen DiRienz

161 Essex Street

Owen DiRienz

2015

Wood, Brass, Steel, Plastic, Oil Paint, Spray Paint

80 x 36 x 1.5 in.

This piece explores the unique ornamentation found on doors in New York City. The door was crafted from scratch with standard measurements to match city code. Once completed, it was adorned with colorful monikers of actual graffiti artists. Functionality, accuracy, and cultural influence were the main components of my concept for this work.

Rachel Truskolawski

Interconnected

2015

Aluminum, Wood, Moss, Hot Glue

25" x 8" x 8"

This piece talks about sacred geometry and it's relationship with nature, the mind, and the soul. Geometric shapes protrude out of the hollow head symbolizing the belief that sacred geometry is the key to unlocking the secrets of the subconscious mind. The aluminum structure that pours out of the head symbolizes the belief that sacred geometry also holds the key to unlocking the secrets of the human soul. The head grows out of moss which begins to cover the head and work it's way inside of the structure to symbolize how sacred geometry is found all throughout nature and how it connects everything in the universe. The face itself begins to grow a fungus like structure which intertwines with the moss to further the idea that we are all interconnected with nature and all forms of life.

Caroline Udell

Caroline Udell

Involving Me, Revolving You

2015

Plastic, steel, spray paint, parachute chord

28" x 48" x 36"

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Aocheng Shi

Aocheng Shi

Rain
2015

Wood, Nylon

88" x 63" x 21"

It is about a raining day, a man walked on an empty street. He doesen't know where he should go. A broken umbrella doesn't keep him from the heavy rain because his mind is flooding.

Jessica Anton

The Little Caterpillar That Could Not

2015

wire, shrink wrap, lighting

3'x1.5'x4' 

Ana Jackson Chaves

Land(e)scape
2015
wood frames, wire, ripped plywood, watercolor paper, gesso, acrylic paint, leaves
top piece: 23" x 28" x 35.5"
bottom piece: 36" x 27.5 " x 12.5"

An installation that combines sculpture and painting to make bright, vibrant works. This is part of what will become a larger installation of various sculptural landscapes depicting forests, oceans, deserts, mountains, etc. The frame represents control; the curvilinear shapes defy it. Depicting abstracted elements leaping out from picture frames, this piece explores ideas of the unbridled energy of nature.

Mary Claire Birmingham

"Ripped Fingerprint"

Mary Claire Birmingham

2015

acrylic on canvas

5 x 4 '

A process directed by an obsessive compulsive drive to make a colorful canvas string. I tore up and painted hundreds of canvas squares of varying sizes, folded and cut them, and glued each one together to form a long chain. The result being a spiral, a ripple or a fingerprint left on the wall.

Emily DiMaio

Hand Over Hand

2015

Acrylic, oxygen tubing, framed inkjet prints

10' x 20' x 2'

An installation displaying selected products of a performative painting series.  In an effort to put my self in the position of a disabled body, I allowed pairs of people to bind my limbs with fifty feet of oxygen tubing in ways that limited my mobility.  The participants were then asked to paint with my hands using the hand over hand technique without any further instruction.  Unique marks were created based on how my body was bound.  I am interested in how personalities, participant left/right handedness, relationships and drawing styles (abstract versus figurative) play a role in each final drawing.

For the large painting in this installation, I faced away from the wall with my arms tied tightly behind me and the tube wrapped around my neck.  As one arm moved higher or lower than the other, the tubing around my neck made breathing less comfortable, but not fully restricted.