tradition

this project started with a video i watched about the Tibetan monks and their tradition of making the mandala. i then went from there to find out what the general public thinks of tradition. i used youtube and searched the word tradition and cut together the videos to make one large definition of todays "tradition". i then projected this new tradition onto several small monks as they watched the video off of the laptop.

Painting Machine

Painting Machine
2008
Welded Steel, acrylic paint, stretched canvas, machine components

By allowing a machine to create the painting entirely by itself, I have removed the human element from creating artwork. Specifically In painting, the interaction between the artist and the canvas is necessary to achieve a results. A machine takes the place of the artist and creates a painting without any human interference. Using scientific elements such as the forces of gravity, physics, and chemistry, the machine creates an elaborate mix of color to attract the viewer.

Somehow We Are All Connected

This piece was a direct inspiration of nature, specifically the roots. I was working off the idea of smaller organisms collectively coming together to form a larger entity. The piece itself represents three parts. The roots are the smallest form, coming together to form the individual "puzzle" pieces. These pieces then create a larger form that spans the space. Each "puzzle" piece is a simplified abstract of a life form, specifically the human form. It has both male and female features. The grass represents life and growth. In addition, the grass is the part of the piece represents me, as it requires my constant care in order to survive.

Grow 2.0

This is the second installation of this piece. I was given the opportunity to be a part of an Outdoor Sculpture event at Georgia Perimeter College outside of Atlanta. This version 2.0 has increased in size from its original form, but the concept still remains.

I made casts of my feet using materials ranging from pure plaster to pure concrete. In the molds I set steel posts and inserted the feet into the ground. The spiral I choose is to represent both the journey of ones life as well as the ancient symbol for the Universe.

Guidance

Guidance, is a representation of the idea that life is all about the journey not the destination. The four staircases give the viewer a choice how to ascend the piece, and at the top a blinking light which resembles a lighthouse blinks in the direction North to give the viewer geographical guidance. Yet the light is merely a suggestion as the viewer must make their own decision to embrace or turn down the guidance given to them.


GuidanceAaron Davis
December 2007
Pressure Treated Wood, Steel, Various Electrical Components, Lights. 12' x 12' x 12'

Meet with Perpetual Gaze

It is a physical interaction that I am asking for with this piece. I am attempting to present a sense of emptiness in the ceramic forms at first glance. Secondly, I tried to derive an action - namely a ritual - with the unlit incense and matches.

 The materials I chose to construct the space alluded to ancient tribal tradition, as in the twine, as well as modern industry, as in the pipe; a presentation of how I have been trying to presently identify myself. I left it up to the viewer to decide whether or not they would take part in my "ritual", but for those who did, I presented the alternate view of the empty ceramic forms of faces made with colorful clays and glazes that would only be seen from the kneeling, squatting, or crouching position. For the duration of this two-day installation, 112 incense sticks were lit by viewers.

Meet with Perpetual Gaze, 2007

Jeremy Tan
porcelain, raku, stoneware, steel, twine, fabric, wood, sand, incense
7' X 12' X 13'

Her Toll

Her Toll
Ava Larkin
11.5' x 6' diameter
Antique furniture, 16 piano player
paper rolls, light fixture, dress
maker's form, metal, metronome
Her Toll is a play on femininity, architecture and personal space. Using antique piano player rolls of paper, a "wall" is constructed over a fabricated steel hoop skirt, grossly disproportionate to that of a hoop skirt worn in the 1800's. Under the skirt is an environment: a room constructed out of desperation, loneliness and confinement. An antique ceiling fixture illuminates the interior and an old table with stool that reside inside. The steady rhythmic pulse of a metronome ticking resonates from within, toying with the idea of pacing, an abnormally slow heartbeat, waiting: the song of one's existence. On top of the skirt is the figurehead: a vintage dress maker's form, able to be conformed to whatever standards may apply during one's existence.

Beyond

This is a simple yet complex pieces. It's a piece about life and death. About possibilities and the flow of energy. It's about the perception of time. But mostly it is about finding meaning in the meaningless.

Beyond

Chuck Mahley

2007
Wood, Styrofoam, PC/Webcam, Sponge and Grass

Untitled

This piece evolved from Ganesha, the god with an elephant head. From there I explored the child in all of us with playful ball pit balls and soft textured fabric. The animal has an elephants head and a long spine leading down to a small duck like body that is weighing down the end of the spine .Untitled

Kat Riley

 11 ' x 15' x 2'
fabric, plastic balls & string

Droplets II

Droplets II 2007
Welded steel

This reconfigured project is a continuation of thoughts that have evolved from the critique of the first Droplets sculpture. I compacted the forms to create a more complex and visually pleasing design.

Light machine

Light Machine 2007
Welded steel, Lights, and gear system


The light machine utilized negative space to cast spinning forms of light along the interior of the room. Negative space allows for provocative illuminated shapes to vent outwards and stimulate the viewer. The viewer powered hand-crank allows them to become a part of the piece. The hand-crank powers an internal gear system which spins a column of truncated steel cylinders. Underneath the cylinders is a system of xenon lights which project the spinning forms onto any surround surface.

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.

A Conversation

Sean Doll

A Conversation, 2007

fabric and wood stools, 12' x 6' x 2'

A Conversation is an idea which presents itself in a simple, abstract form. The piece is reduced to two “head” forms and two stools. The muslin heads are long simple tube forms. They hang to the level of the stools from seemingly far above. The height of the stools place the individuals in a child-like position. However, the deeper beauty of the piece arises when observing others take part in the conversation.

This piece presents many ideas and questions. This abstraction of the head into a thought or idea leaves the viewer to decide what they will take from the piece. The individuals taking part in the conversation are placed in a very intimate closeness yet are very disconnected. This piece raises many questions about human relationships and forms of communication.

O Lord

Sean Doll

O Lord, 2007

thread, fabric, stuffing, cloth

This piece is about the level of comfort that comes with a belief. The bears have no identity; they are pure, simple beings with hopes of something greater. The bears are hand stitched, making me their creator. Their hope of a heaven after death leaves them content but has ultimately taken away their ability to think for themselves. A child plays puppet master over his collection of teddy bears much like a preacher would influence his church congregation. This idea of losing oneself in order to gain a sense of security is of great interest to me. The piece questions every individuals self conflict between actual beliefs and mere hopes.

Was I ever really more than ordinary?

Was I ever really more than ordinary? focuses on the question of what it is about ourselves that makes us exceptional, that helps us to stand out amongst the rest. Using the most basic of construction materials (1/4" plywood) five 5 gallon paint buckets have been recreated almost entirely to specs. Each paint bucket contains a speaker which resonates with inaudible whispers of thoughts, actions, events of a person's life. The buckets lay in a seemingly haphazard arrangement on a pressed particle pallet which has been highly lacquered and sprayed with construction orange underneath.


The work addresses a concern within our culture regarding personal identity, finding oneself and being ok with who we are in the collective we've chosen to embrace. The materials used and objects portrayed allude to mass production: casually tossed away and used objects, things that are left behind or stored away forgotten, but useful and precious in their own right, for their purpose is beneficial to us all. More often than not we tend to forget how significant our presence, and the presence of those around us, is. Subtly, Was I ever really more than ordinary?, invites the viewer to re-examine the obvious, the overlooked and see more in the world around them.

Ava Larkin

Was I ever really more than ordinary?

Plywood, pallet, paint, speakers, audio

46" x 40" x 40"

2007

Life Support

This piece came about by considering the process of respiration. All life in some form or another requires this process to function and survive. As well the idea of breathing in humans is synonymous with being alive. The object itself came to form out of considering several forms of life. Single celled organisms, plant, animal and insect forms were all an influence.


The final piece utilizes fans and timers to simulate the “inhale” and “exhale” of breathing mostly found in mammals. The inflation of plastic “lungs” moves in from the Earth and out to the Air, this was to allow the piece to have a meditative quality. My hope was to create a piece that had a function but not a purpose, breathing for the sake of breathing not living

Chuck Mahley
“Life Support” 2007 Metal, Plastic, Wood, Computer Fans. 10’x 3’ x 1’
WATCH IT BREATHE:
http://copland.udel.edu/~kalron/lifesupportsm.mov