Nesting
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This was my first ever installation project. It was made completely out of paper and masking tape and installed in the student teaching gallery at the CU Denver Auraria Arts Building. The installation was documented in the gallery alongside the other works of the class, as well as outside in a field. The last slide is a proposal drawing submitted to professor Rian Kerrane, including a visual of the installation, how it would be constructed, where it would be placed in the gallery, and why. Below is the text included on the right hand side of the proposal describing rationale. |
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As seen in the proposal drawing:
This installation is created by folding square sheets of paper into modular forms called "Fox Boxes", which are glued and taped together to create a small nest/cavern. Although it does not appear very inviting to the average viewer, this is not so in the perspective of the creator, as they patiently built and spent time with their nest. Singular modules are found unconnected to the nest, which suggests that the nest has been created using "items" available in their environment. Various sizing within the modular pieces add visual interest to the piece, as well as the shadows that the shapes create. The total amount of boxes connected to the nest are 25; the age at which the human brain reaches official maturation.
This installation is created by folding square sheets of paper into modular forms called "Fox Boxes", which are glued and taped together to create a small nest/cavern. Although it does not appear very inviting to the average viewer, this is not so in the perspective of the creator, as they patiently built and spent time with their nest. Singular modules are found unconnected to the nest, which suggests that the nest has been created using "items" available in their environment. Various sizing within the modular pieces add visual interest to the piece, as well as the shadows that the shapes create. The total amount of boxes connected to the nest are 25; the age at which the human brain reaches official maturation.
Walking On Eggshells
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Walking on Eggshells was not the first foray into woodworking, but it was the most intensive. The giant chicken head was constructed of dozens of rectangular wooden pyramids that were made by laminating various wooden planks together and then cutting and sanding them into their final shapes.
This installation was on view in the CU Denver Arts Building teaching gallery as well as 2021's annual CU Denver sculpture club's show at Pirate Contemporary Art Gallery, Inclusitivity. There are no surviving parts of the chicken or the eggs. |
As seen in/expanded version of the statement in the proposal drawing:
This installation, in short, is about anxiety, interpersonal relationships, rebirth/reinvention, futility, and surveillance. The concept comes from the phrase "walking on eggshells" and takes it into a literal form. The audience will experience the anxiety of the phrase as they go to read an almost illegible note underneath the chicken head. This anxiety is compounded upon especially while the looming hen is "observing" their act of destroying the precious eggs. This phrase is often used when describing interpersonal/difficult relationships that lack trust and communication. The viewer must read the note beckoning from under the chicken, but has no choice but to break the eggs while getting to the message or to ignore the message completely.
The "rebirth" aspect stems from the philosophical question of what comes first, the chicken or the egg. The audience goes through a transformation of the installation; a "death" of the eggshells broken and a "rebirth" of themselves from a new experience.
This installation, in short, is about anxiety, interpersonal relationships, rebirth/reinvention, futility, and surveillance. The concept comes from the phrase "walking on eggshells" and takes it into a literal form. The audience will experience the anxiety of the phrase as they go to read an almost illegible note underneath the chicken head. This anxiety is compounded upon especially while the looming hen is "observing" their act of destroying the precious eggs. This phrase is often used when describing interpersonal/difficult relationships that lack trust and communication. The viewer must read the note beckoning from under the chicken, but has no choice but to break the eggs while getting to the message or to ignore the message completely.
The "rebirth" aspect stems from the philosophical question of what comes first, the chicken or the egg. The audience goes through a transformation of the installation; a "death" of the eggshells broken and a "rebirth" of themselves from a new experience.
Hanging By A Thread
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The Hanging by a Thread installation piece was the first work I had done in a metalsmithing/welding environment. The table is held together by the tension within the wires rather than actual legs or freestanding elements. This slideshow includes completed documentation in the gallery setting as well as photos of the creation process and the proposal drawing submitted to professor Rian Kerrane for approval.
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As seen on the proposal drawing:
The phrase "To hang by a thread" mean to be in a very dangerous situation or state. It comes from a Greek myth where a king is seated at a dinner banquet underneath a sword hanging by a single hair. This installation presents the audience with a seemingly impossible table with sharp triangular components, suspending disbelief and anxiety of a collapse. The table is held up by tension with the center wire holding downward force, and the outer wires providing stability and a counteracting upward force.
The illumination within the table is representative of the self examination that occurs in perilous situations and this is encouraged by the reflective nature of the steel disks and rods. It invites the viewer to reflect upon and consider their own life experiences.
The phrase "To hang by a thread" mean to be in a very dangerous situation or state. It comes from a Greek myth where a king is seated at a dinner banquet underneath a sword hanging by a single hair. This installation presents the audience with a seemingly impossible table with sharp triangular components, suspending disbelief and anxiety of a collapse. The table is held up by tension with the center wire holding downward force, and the outer wires providing stability and a counteracting upward force.
The illumination within the table is representative of the self examination that occurs in perilous situations and this is encouraged by the reflective nature of the steel disks and rods. It invites the viewer to reflect upon and consider their own life experiences.
