Archive for September, 2011

Kelp Process: Step 1

In the beginning of the project, I thought it would be really cool to press sea kelp, in some of the prints and into clay. Partly because Dave (the guy who was so kind to invest in this project), grew up surrounded by the ocean in Hawaii and still lives close to it in Encinitas. Plus, I like to play with organic materials in my art, so I put two and two together. I thought that if I plastered the kelp then I would be able to press it into the clay…

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Kelp assemblyKelp with Plaster Step 1

Inspiration

The Beginning of studying boundaries…

I have had a long deep fascination with, reflected heavily upon, and profoundly desire to encounter and conceptualize, the Infinite.  I feel that by plumbing deep within the very layered and complex yet fathomable concepts of wholeness, fragmentation, oneness and division through the intricate interplay of boundaries and borders — what they are, what they mean, how they exist in our daily life, our homes and our relationships – I can begin to approach an understanding of such a broad, intangible, ineffable concept.  I know that personally I am constantly battling with my own borders, limitations and boundaries.  As I brush up against them it causes friction.  That friction, that rubbing raw of my personal comforts, forces me to question my established preconceptions and beliefs.  It is an endless process. I cannot help but find it infinitely intriguing and an amazing source of countless, multi-faceted perspectives.  Through this, I am able to see that just like me, boundaries experience an endless push-pull, a relentless subjugation to friction and change, a consistent revelatory process of trial and error and the unpredictability of daily life that challenges us infinitely every day.

I think this is an ideal space in which to develop, design and display a piece that seeks to define the Infinite through its engaging dialogue with and about boundaries and borders.  Thus, my goal is to create a piece that speaks to the balance of opposites within the home, a piece of both warmth and dynamism that fuses the interior world  and the external environment of the property, a property that the space is both nestled in and born out of, is both defining and defined by.  I want to create harmony and fluidity across the borders of “inside” and “outside” and by engaging concepts of oneness and opposing them to set boundaries that society, and ourselves, have developed — things that we think are polar opposites actually having little to nothing in common — I feel I can achieve this and ultimately create a feeling of wholeness and unity in the home.

PROpOSAl…Exploring Boundaries

Intention:

To create a piece that will fuse internal and external realms, creating balance, unity and fluidity inside and outside the space. Concepts of oneness opposed to set boundaries that society, and ourselves have developed; and what we think are polar opposites actually having little to nothing in common.

Unification of the Internal and External Forms:

The physical form of the work will be approximately seven by five feet. However, as the piece progresses there is the option of expanding it. I will work with recycled materials derived from the actual site, photograph sand monoprints.  The piece will be mounted on wood or canvas.  A specific color scheme of earth tones along with hints of unleashed vibrant and reactive colors, deviating fully from the primaries red, yellow and blue. The photos will be fragmented images from nature.  The monoprints will consist of leaves/seaweed/etc. I will work with layered images and form an overall mix-media installation.  Visually, I will work with the concept of decentralization, straying significantly from the traditional single point of view perspective. I want this piece to be something people can interact with;  something they can reach out to and touch if  desired.

Visual and Physical Inspirations:

Bill Viola works with ideas of spirituality, external and internal realms of consciousness.  His objective is not to weave the realms together but, through their interlacing in fact, demonstrate their distinct separateness. His work is a great counterargument to my work because he manifests a valuable alternative perspective. I am able to compare his thoughts with mine and since they are different, it ultimately allows more space for my piece to expand conceptually.  Eugene Minkowski’s influence as well has guided me deeper into my contemplations of this piece.  He has studied and worked with the ideas of being both extreme and dualistic while simultaneously cultivating an interdependence between the two resulting in a common ground of neutrality.  Blurring the Boundaries,  a book examining contemporary  San Diego installation art pieces is a major source and  tool for this piece’s inspiration.  Two examples that support my concept are Deborah Small’s “Empire-Elan-Ecstasy” is a beautiful piece that captures a well designed blanket of images, all photographs, which fills the wall. Leonardo Drew’s piece, Untitled #45, works with different textures and mediums of organic substances woven into an intricate and distinct yet unified display. A lot of Drew’s work projects are similar to wooden totems but are flattened and constructed into shallow boxes with shelves.

Conceptual and Internal Inspirations:

“Boundaries In The Mind” by Ernest Hartmann, M.D., reflects the psychology of boundaries and touches on reactions and situations of people with the layering of boundaries that are weaved into their subconscious. This book is the result of studying individuals and the psyche referring to the manifested actions that have been controlled by the subconscious and how people react differently. Hartmann also dives into the biological boundaries, though some of these walls that we create are cultivated in one’s mentality.

My Experience:

This concept reflects my curiosity and desire to encounter and conceptualize the infinite. The study of boundaries is an exploration and journey into what I see as my purpose at this stage of my life;  the intentions that lead and center my being. I constantly battle with them and yet find them infinitely intriguing and a source of  countless perspectives. Like me, boundaries experience an endless push and pull and a relentless subjugation to change all grounded in a process of trial and error; a life experiment. The boundaries I struggle with are testing my limits that is a constant struggle of giving it my all and surrendering into the situation. I can’t help but think about my yoga practice when I say this because everyday it is changing based on several factors, and it’s a matter of giving it my all and honoring the mental and physical challenges I am experiencing in that moment.

Space and Material: 

The objective of this project is to unite and create a feeling of wholeness in the home. I plan on achieving this by taking materials from the home’s natural surrounding property,and putting the objects through a press (printmaking).  I will also use dilapidated, weathered wood from the property’s previous border fence (boundaries) that will act as an active participant in the piece.  I will also be using photographs that will be blown up on canvas, different sizes that will be a reflection of perspective. On top of the quilt, I plan on building shutters, each panel will be a continuing configuration of patch work. The twist will be that the viewer can change the piece by flipping the shutter over or open, tying in with the concept of boundaries, expanding and contracting the piece.

References:

Bishop, Claire. Installation Art. London: n.p., 2005. Print.

Farrell, Anne. Blurring the Boundaries. N.p.: n.p., 1997. Print.

Hartmann, Ernest. Boundaries In the Mind. New York: n.p., 1991. Print.