Anderw Jacob

Andrew Jacob
Devoured
2011
Steel, Wood, Wood Putty, Great Stuff, Epoxy Resin, Fabric, Acrylic Paint
33" x 12" x 8 1/2"

My intention for this piece was originally to be an exact structure of a tiger paw - inside and out. The steel structure is a replica of the bones of a tiger. During the process of creating the paw, the form began to look less "real" and more "surreal." From then on, I decided for this sculpture to be an experimental project by combining many different materials. Placing the bird at the top of the paw inspired me to attach a short but bizarre story to it: The blind bird devoured the beast and now resting atop its remaining limb.

Sarah Freitag

March 2011
Fabric, Thread, and Found objects
This piece started as a reflection into my past. The combination of childhood toys and soft colors with the scientific subject of anatomy are meant to show growing up too fast. I believe it shows growing up too fast because a child would not know what anatomy was unless they had to learn adult material at a young age. The fabrics that I chose were all used and worn down which I think furthers the meaning of this piece.

Shannon Tomanovich

These images were taken of the model I made for my proposal for the sculpture in the entryway to the ELI office building on Main street. The actual piece will be made of colored vinyl sewn onto steel frames that hang from the ceiling by fishing line. The vinyl will have tracings of ELI students and general university students made as a collaborative effort by one another. The light through the windows and from the ceiling will cast nice reflections of colors and shapes around the room. This will form a gentle ambiance. The drawings and shifting light will change the piece with each viewing. It can be visually explored as people walk up and around the stairs revealing new things each time.

Samantha Mancuso

- Samantha Mancuso
- Acacia
- March 2011
- Plexi glass strips and Aluminum wire
- Size varies depending on how it is displayed

- My inspiration for this piece came from my trip to Tanzania and the Flat Top Acacia trees that are native to the country. I was inspired by the way that the branches twist and turn and look like they are going to grow out and take over whatever is surrounding them. I wanted to mimic the movement of the Acacia branches in a material that contrasted nature but could still maintain a fluid motion. I cut down sheets of plexi glass into various sized strips. Using a heat gun, I molded each strip by hand to mimic the organic lines and motion of the trees. Each strip was held to the next by wrapping aluminum wire around the two ends and eventually creating a small cluster. The aluminum clusters add another element to the piece and mimic the knots of the branches and splits in how they grow. The piece can be displayed various ways, however, draping it over a pedestal allows it to move into the viewers space. The plastic "branches"are placed to look as if they are growing and taking over the pedestal.

Kevin Bielicki

Kevin Bielicki

Binary Code

2011

Wood

36" x 138" x 12"

My intentions in this work was to create a continuous rolling code created by cutting strips of plywood that are then chisels in half. I composed three convex panels together to make a series of freeze frames of this code. This Binary Code or true and false code splits the panels in half horizontally. As I chiseled the wood in half the darker wood be placed in the mirrored spot of the lighter color related to the center the panel. I see this work as not a separation and splitting or even crossing of this code of true or false or light and dark ,rather as them existing side by side rolling together as to be resolved, both informing the other. I choose wood for this work because I came about an interesting texture with plywood through previous work. This texture was invocative of exotic woods, native American patterns, and perhaps even African like print. In this work, however, instead of using only half the wood I cut on the table saw I salvaged both sides as I split them to save on material consumption, adding a different constrasting dynamic to my piece.

kevinbielicki.com

Shannon Tomanovich

Catbox

2011
Sharpie on vinyl, pvc pipe, zippers, thread and two cats
27" x 24" x 24"

Earlier, I traced people on sheets of vinyl. I may have been trying to preserve something. That is a common use of plastic today. It protects food from air, furniture from humans and humans from humans.
The transparency is what attracts me to the material. The ability to see through it and record what is visible. The Catbox was the first time I constructed something specifically for a tracing and in the future I would like to custom build shapes specifically for the subject to be traced. With the cats I tried to figure out what it is about this process that I am so drawn to. I traced the cats multiple times over the course of a couple weeks and I think it lost something in that. It wasn't a rush to save something that was going somewhere else. With people you cannot keep them under plastic for long. It was a rush to compromise how much they are willing to stand being traced. The cats liked it though, they had plenty of air and they liked the attention. The cats movement made for a nice element. In my next vinyl piece I will use a specific human subject in motion.

Old Eyes
2011
Plastic
20" x 45" x 3"

Marcel Proust wrote, "The real voyage of discovery consists not in seeking new landscapes but in having new eyes." I seek those eyes as well as new landscapes and this piece was just another failed attempt to find them. I see it as hopefully subtle and beautiful if it is given the chance. My reasons for using the plastic are the same. The transparency and, to some degree, the cheapening of a first-hand experience. I melted and carved images from my sketchbook of people on trains, a black dog's leg, a cat's face, a horizon line, measurements and symbols from maps and navigational instruments. I may revisit this sometime elsewhere.

Susana Cortez

Untitled
Susana Cortez
Metal rods, fabric, clay slip, drawing transfers and monotypes
Spring 2011

This piece was inspired by the current violence in Mexico. About the way it is spreading throughout the country and is becoming more brutal over the years.

Mike Gates

Guillotine

10' x 12' x 36'

Light rail, wood, steel, paint, string, screws, spackle.

This work started originally on the vertical steel saw cutting a piece of light rail into thin strips on a whim. Intrigued by the process and the end result of thin slices, I began to investigate things that were also attributed to slicing and cutting.

Let them slice their cake too, Marie.

Melissa Carr

externalized pain

casting wax, glass, cables, ink

25''x9''x5''

Melissa Carr

Heart of Glass

Glass, Adhesive, Wood, Fabric, Dirt

8''x 9''x4''

Melissa Carr

Little Houses

metal

dimensions vary

Shannon Tomanovich

Leftovers (part B)
Sharpie on vinyl
40" x 60" x 10"
2010

Leftovers (part B)-detail

Leftovers (Part A)
60" x 40" x 10"
Wedding dress, ceramic, sharpie on vinyl
2010

These works seem to make suggestions regarding their subjects. The transparency of the plastic is the most important aspect of these works. The drawings on the vinyl were traced directly off of living people. Part A revolves around the dress, my Grandma's discarded wedding dress from 1963 and suggestions of someone being trapped inside it.
Part B is a colorful plastic depiction of a friend of mine. A 22-year old girl, the same age my Grandma was when she was married in that dress.

Susana Cortez

"It is Culture"
Metal rods,fabric, clay & intaglio prints
32" x 28" x 72"
Fall 2010

This piece came together by combining two projects. The intaglio prints of a female figure which represents an allegory of indigenous young girls & an amorphous shape that came from a dream. This piece was inspired after I came across an article about how now in 2010 there are still several towns around the world where females' rights are not respected. Once a girl reaches the age of 12 or reaches puberty her family will exchange her for an animal or money.

Mike Gates

Matches

Installation - Covers approx. 3' x 8' of floor space.

Steel, sand, matches

This piece is a study on different kinds of deforestation both natural and man made.