Chris Giuliano

Chris Guiliano

Untitled

2017

plasticine, wood, acrylic paint and steel

28" x 30" x 24"

Jake Sullivan

Jake Sullivan

Extracted

2017

Wood, Glossy Photo Paper

21.5" x 20.75" x 3.5''

I wanted to combine photography and sculpture in a way that wasn't expected. I researched a lot of artists who used photography within their work and I found a common theme was to pull apart the photo itself. I decided to take a portrait of an individual and simply dissect the major parts of the face. I then combined the pieces back together to create a sense of a portrait, using separate portraits.

Holy Ground

45" x 35" x 40"

Mixed Media/Found objects

 Deconstruction

87" x  38" x 12"

Found objects: Pipes, Chains, Dollhouse

Chris Stachowski

Suggestion of a Shelter

2017

Wood, Chain, Frustration

14' x 12' x 7'

 From the start I knew I wanted to explore the ideas of depth and dimensionality using a minimalistic approach. While arranging individual pieces, I came to the final decision to create a house form. Material wise, I went with the choice of found wood to create a sense of lightness and warmth for viewers entering the space, as opposed to the heavy coldness given off by steel and other metals. To further the sense of warmth, I also chose to paint the inner side of the structure with an intense red to contrast the dull, gray found on the outer sides of the structure. Furthermore, I aimed to create a sense of structural security by suspending individual pieces by chain. Lastly, I made a last minute decision to include a live plant in the center of the space to create a sense of life amongst the otherwise lifeless space. 

Arrangement (1)

8" x 4" x 1"

Fabric, wood, plastic, acrylic paint

      This piece displays common household objects in abnormal range. It brings in to question how we relate the objects involved based on the way that they are positioned in relation to the surrounding objects as well as in space. Arrangement (1) in the next step in a series of exploring the realm of the domestic. The objects paired with their orientation become a vehicle used to drive visual narrative in the mind of the viewer. 

          

Caity Serva

Mouse Model
2017
Resin cast mice, MDF
3' x 3' x 4"

Much of what we know about medicine starts with a mouse model, a representation of a human disorder using mice. These mice are specifically bred and genetically altered into strains to best depict each disorder so that researchers do not have to use humans to do research. Each of these strains is numbered and put into a database so that the perfect strain can be ordered online at any time. I emulated the process of creating an exact strain of mice by casting them from a mold but I included those mice that have imperfections and allowed them to interact with each other. I hope this piece speaks to the individuality of these mice and how many sacrifice their lives so that more people can be cured.

Adele Kaczmarek

Untitled

2017

Carpet and mirror

12' x 30" x 0.5"

I wanted to push my experimentation, and work with material I've never used before. This piece speaks on self progression, reflection, and human interaction. The mirror shards create physical paths and mark making through a surface that shows the depth, destruction and force. This piece called for a large amount of trail and error. Each phase opened doors to the next and it evolved in its own way. It also challenged me with its presentation and relation to the wall.

Bruce Turner

Bruce Turner

Backyard Whales

date?

material?

size?

I'm interested in animals that appear to fly through our world.  The pectoral fins were designed only to fit into our critique room and will be redone to add definition equal to the body and appear more natural to the humpback whale.

                                           
     Untitled
     Steel, wood, fabric
     4" x 5" x 7"

   This piece is an experiment in subtlety through the arrangement of objects.  The black steel frames the sheet in order to extenuate the existing beauty of the fabric. The cylinder acts as a bridge between the soft warmth of the pink fabric and the cold hard lines of the steel. The piece is most successful in its ability to create an abstract narrative in the simplest of forms. The viewer begins to interpret the these objects as a method of pulling or deconstructing fabric materials. in reality it is completely non functional and actually counter productive due to the sheet being held at both ends. The subtlety of hinting at function creates a poetic platform for narrative to form.

Andrew Gayda

                                           

Andrew Gayda
Remains
Acrylic Paint on Palette Wood
96"x84"x84"

My interests were to experiment with found wood and painted illustrations. Each palette was found, taken from it's daily life and repurposed into a work of art. I chose to depict each image in a monochromatic style to emphasis the raw color of the natural wood. The display was intended to mimic the origin of where the palette wood was discovered. Along roads, in dumpsters, and leaned up against buildings. A lot of my illustration come spontaneously out my head. Each element is an example of how random imagination can work. Individually, each panel has a relationship with the wood and can stand alone as a singular image. However when I've combined each piece together, your imagination is drawn toward connecting the symbols and creating a narrative.

Caged

Chris Stachowski - Fall 2017

Rusty Steel, More Rusty Steel

4' x 4' x 2'

Going into the project, I knew I wanted to work with the concept of an organism or organisms trapped within a cage of some sort. As I searched for materials, rusty steel seemed to be in abundance.  Considering this, I decided to create the darkest tone I could with my sculpture. The resulting process involved lots of torching pipes to create a damaged look for the "prisoners" within the caged space. 

Jake Sullivan

Jake Sullivan

With the Flow

2017

Wood, bamboo, Ramboard, video projection

108" x 47.5" x 11.2'

I wanted to create an installation piece that can be used in a number of commercial settings. The video aspect of the piece has a very slow and rhythmic style with interesting and cinematic qualities. I was aiming to target the surfing and skateboarding community so the piece can possibly be set up in skate shops or at an action sports competition. Along with the qualities of the video, I wanted to match that with the materials of my piece. I wanted to add natural/natural looking features. I feel as though the presence of the brown and green color tones along with real bamboo and leaves convey the feeling I was going for.

Ana Jackson Chaves

Untitled

2017

Steel, sycamore branches

8'2" x 7'10" x 7'4"

This piece is going to be part of a larger installation piece I'm working on. I wanted to capture the feeling of practicing Bagua Zhang, an internal art which teaches one how to harmonize with nature. In Bagua Zhang, the practitioner moves in continuous circular and spiraling formations, focusing internally, transforming, and extending beyond oneself. The forms in this piece are all based off movements in Bagua Zhang. I wanted the forms to be reminiscent of trees with the internal (qi) flowing along the outside of the forms and the external (branches) flowing along the inside. 

Adele Kaczmarek

Adele Kaczmarek

2017

Wood, wire screen, nylon, acrylic, dollar bills

28" x 20" x 20"

I wanted to create irony between the destruction of our ecosystem and wildlife, and the necessity of our ecosystem and wildlife. Specifically, we need bees to survive, yet we are still taking advantage of their habitats and species for reasons of consumption and money. Capitalism congests this hive in a layered tangle of dollar bills, sharp metal, and synthetic fabric. Not a single bee in sight. The wood skeleton creates a punctured tension, showing environmental devastation and stress.

Taylor Schomp

Weighted

Fall 2017

White Ceramic Clay, Twine, white pedestal

8"x8"x8'

This piece is about the relationships between stacked shapes.  Each shape is a different fold with different movement.  When singular, the folds appear delicate and light.  As they are stacked, they become visually dense and heavy, even with spaces of air between each fold.  The twine both entangles and gently caresses the stacks.  The folds are in constant struggle with the twine.  If they are to break free of the twine, they will fall and break, ceasing their existence.  If the twine remains, the folds are emprisoned in their stacks.

Caity Serva

Caity Serva

Resin cast, painted canvas

2" x 10" x 20"

This a work in progress shot of a much larger sculpture that I will be working on throughout the semester. In this piece, I hope to address issues of animal laboratory testing. We owe much of what modern science knows to the suffering of the lab mouse and I hope in some way to bring to light the magnitude of the sacrifice these animals have made for us. I have chosen to include the mice who have imperfections, such as air bubbles or missing ears and feet, from the mold-making process as a non-gruesome way to illustrate what mice may have to endure.  

For this critique, I presented the mice on a canvas with a dark blue fluid painting. I hoped to echo the fluid motion of the mouse tails and to give a primordial feel to the piece. Although I do not think this was the most successful way to present the piece, I have chosen to post pictures from this original set-up so that I can look back at the evolution that this sculpture will undergo throughout this semester.