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Final index

QCQ #3: The Gravity of Levity 

Contradictory Structures: Research #1 #2 #3

Contradictory Structures: Final

QCQ #4: X Marks the Spot

Lost Statements: Research

Lost Statements: Final

Self-Directed Manifesto: Research

Self-Directed Manifesto: Final

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Ode to femininity

With this piece, I wanted to focus on the relationship of transparent and reflective objects, such as glass and mirrors, and how they interact with light. Like many of my pieces, I choose to take on interpretation of femininiy, and it’s rejection through an altar space. Within this altar space we find things such as dried up flowers, hair, milk, skin (made of plastic) emptied perfume bottles, and jewelry. the piece focuses on body horror, and the fear that is directed at powerful femininity. This altar honors the carnal and grotesque aspects of femininity and aims to give it more power. The goal is to feed the fear that lays within it. While this altar aims to empower something that is meant to evoke fear, it also speaks of the commodification of femininity. There is a high price to pay when presenting femme and we can find the evidence of it hidden within this piece. Aspects of presentation such as make up hair and jewelry, are directly targeted by this commodification. However, this consumption of the feminine body and the feminine spirit itself does not stop at services and acts that can be done to further the presentation of femininity. This ownership of femininity and womanhood seep into the body it becomes a practice of deluding oneself into believing that they own the organs, the fluids and the skin that makes up femininity whether it be a woman’s or not. I feel that the milk in the center feeds that life force within the femininity in all of us.femininity, does not simply lay within the confines of cisgender womanhood, it exists with all of us, including trans people who align with masculinity or femininity, and stretching as far as cisgendered men. It takes guts to be femme. It is not for the faint of heart, and a lot of the time we do not choose to be it. “Milk build strong bones” When we think of the associations tied between femininity, milk, motherhood, and womanhood it leads to the same place. It is a commodification of feminine bodies. it is the strength needed by trans woman to live within their femininity and still be taken as product by society. It is the same way that cis men can present their femininity, and have it be a point of contention. It becomes a direct danger to their personhood. It is the same way that cisgender women live with in this commodification from the moment they are born, and are followed by this pattern of atrocity that they can never get away from. The pervasive nature of fear instilled in powerful femininity, and it suppression through commodification is something that is very present in trans-masculine peoples lives, whether passing or not. when passing, it is always the second knowledge of being accepted within men’s spaces, and understanding the oppression that is directed at femininity within these spaces. When not passing, within trans feminine or trans masculine identities, to heteronormative society, it functions as the danger of queerness. Not stemming directly from the queer identity, but being imposed upon the queer identity, because of its acceptance of femininity.

#art #process #art ideas #sculpting #creativeprocess #study notes #photography #sculputre

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Self-directed concept boards

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X marks the spot sculpture

with this piece, I wanted to talk about lighters as vessels for beginnings. They can be the beginning of a conversation shared over a cigarette, or the beginning of a ritual. I chose to focus on smoking and the rhythm of conversations that take place during the smoke break. They tend to be quite short-lived however, they can drag on ,becoming a Chain-smoking interaction. I thought a guitar was an interesting piece for this as it carries that same rhythm that same variety of topic like these conversations often do. I thought the repetitiveness would tie back into the ritual aspect of smoking culture. I wanted to incorporate guitar strings with in it, jumping from cigarette to cigarette at different ends of the guitar, to let viewers into the rhythm of the conversation. I think it’s definitely an interesting viewpoint to use the inside of the guitar cutting off the backside of it. As viewers, we are very used to seeing this instrument within the context of it being plucked in the front side of it. However, this opening up and exposure of strings with it, allow us to communicate with, the tension and allure in mundane mystery within these conversations. 

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QCQ : X marks the spot

“The constant reclaiming of species “identity”…a kind of silting up of the space of difference into an undifferentiable, entropic continuum.”

This line of the work discusses the interesting relationship that casts have to space and time. A casting of negative space can act a a standalone object or in relation to its positive space. However when the reproduction is placed alone it can live alone as the portion of space we don’t habitually observe. Art made through reproductions, casts, and the employment of reposition stands without a category. It has no specific classification and blend the context of the original with the given meaning of the reproduction. These readymade can communicate importance, relevance, or pervasiveness through their repeated presence. They can also communicate scale in relationship to the objects context. I use Yayoi Kusama’s polka dot installations as an example of this because the occupation of the dots can consume a space and make it feel smaller. However the lights repetitive nature and scale might influence the installations atmosphere to be perceived as vast and endless. While these pieces are not ready made so believe they provide an interesting glimpse into the concept of undefinable entropic continuum’s as the structures found in this work along side their sprint are considerably alien to earthly perception.

Can negative space speak on its own or. Use we contextualize it with its positive to make it work ?

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Gravity of levity: Gay people will wear anything.

Gay people will wear anything is a memorial piece to queer expression and the semantics of gender presentation. Within this piece we find living floral elements such as carnations that are quintessential image of the LGBTQ community. Depending on the color they have varying meanings but typically the green was worn in the 1890s by gay men to represent their sexuality. The white carnation like the one featured with this piece is meant to symbolize pure love. I decided to incorporate red roses with this piece to give to the photographer Kristin Cofer and her series, the red Rose project. Within this body of work, she photographs LGBTQ identifying people that are important within her life with red roses, giving them their so-called flowers. The materiality of this piece deep significance. The ropes that are weave together with burlap denim and leather tie back to the leather boot element within this piece referring to blue-collar butch workmanship. We also chain a modern and post punk fashion element found within clothing. At the bottom of the piece, hang bandanna in different colors found within hanky code. Some of them more than others. With colors such as black to represent S and M, lavender for drag queens and those attracted to drag queens. This piece is also based on a joke found within my personal life. In nightlife, especially queer nightlife we tend to see what one could endearing me describe as heinous outfits. With comedic elements found with an expression and more serious and thought-provoking elements in each garment. The joke is gay people will wear anything. At my big age of 22 years old I wore my nephews Roblox hat to go to an event. However, I’ve also seen people wear things like discarded telephones on their belts, we add things like floral lease to oversize basketball shorts. This piece speaks about the playfulness with queer identity and the semantics we find within queer style of dress. This is not to say that queer fashion has a specific look but, it can be identified through its play With world building and perception of the world around it. This phenomenon which we find in real world presentations of gender, as well as photographic fashion Images is referred to as disidentification. Identification and queerness have a fond relationship as they seem to rely on each other. Dis, identification and forms, queerness, and is informed by queerness. The symbiosis is particularly interesting to study and observe because it is the creation of an identity that outsiders of said identity do not want to immediately associate, but, only hold this fear of automatic association, because of a previously made assumption. In short “I don’t want to think it’s queer because it looks queer “.

#art #process #sculpting #creativeprocess #sculpture #queer artwork

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Gravity of levity research notes

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QCQ The Gravity of Levity

“ exaggerated withdrawal…rather than putting everything out there they ostensibly remove the specter supports…Levity occurs at the ends of gravity”

There’s a lot to say about humors presence in art. I think it’s very important to indulge in the presence of exaggerated withdraw, as well as potent maximalism as a means to achieve levity. However, I feel like this article goes about discussing this theory in an extremely verbose and overtly pretentious manner. I can recognize the contributions that Duchamp and Baldessari have made to contemporary conceptual art in the western world, but I think their work can be lazy at times especially when discussing ready made sculpture along side being particularly boring and feeling like they lack creativity.

I choose to interpret this relationship of art and humor as a means of rebelión. What greater way to revel from conventions placed not only on art but on the artist than by laughing. Humor in art like many other things is an example of joy as an act of resistance. I’d like to point out the work of Alan Vega and his use of found objects and light to discuss the decline of New York City. His light sculptures composed of arrangments of discarded lighting and electronics found on the streets of Manhattan. His work was a literal beacon of light to those living in a city with an apparently bleak future. Bombarded by bankruptcy increasing crime rates and power outages through the Burroughs. This jumbled matter he had brought together once recognized as trash was now screaming from the insides of New Yorkers crying out I will not be discarded.

Id also like to point out the work of Mike Kelly particularly nostalgic depiction of the innocence of childhood. This work is referred to as fake pornography. We see adults crouching in sexual positions over stuffed animals and a man smearing a dark substance over his butt. This works gravity makes itself unavoidable. The work can seem too personal, too grotesque, too animal to be seen as a recollection of innocence. However that is exactly where its levity lies. By their nature the acts of these adults are explicit regardless of context however there is a vacancy in terms of awareness that ties back to its tittle and makes us question the very nature of behavior deemed appropriate or even conventional.

How do we find the levity in work? Do things need to be ironically funny? Or must there be a deep existencial discussion present in order for us to pass a giggle?

#process #art #creativeprocess #study notes

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Limits: midterm index

1. Manifesto Room: Research #1 #2 #3

2. Manifesto Room: Final

3. Artist Presentations: Research #1 #2 #3 #4 #5

4. Manifesto Public: Research #1 #2 #3

5. Manifesto Public: Final #1 #2

6. QCQ #1: Chris Burden

7. QCQ #2: Das Sockelproblem

8. Kitchen Pedestal Sink: Research

9. Kitchen Pedestal Sink: Final

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Kitchen sink assemblage research

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Nace donde parte

Nace donde parte ( it is born where it breaks) explores the foundations and evolution of the religious practices of immigrant families. Coming from a multiethnic Cuban-Venezuelan background, I used aspects of personal practice and passed down figures and beliefs to create a piece that depicts the reliance of tradition on inheritance. Mimicing a Greco-Roman wind chime ward, I adorned the bottom of this gate with various amulets from diffrent sources within my family tree. The crystal rosary hung in the center of the shelf like structure, belonged to my mother’s aunt. It was gifted to her at the age of 22 and has been in my family for roughly 80 years. Along side it my paternal grandmothers amulet of St. Lazaro or babalu aye. This piece is reflected at the top of the gate with her ceramic st. Lazarus. Her caridad del cobre, patron saint of Cuba sits across from it. On the caridad del cobre rests a small card with las tres potencias of Venezuelan spiritualism resting on it. Although we never practiced espiritismo, it is a big part of the culture of the state we are from and has been in my mother’s position since she was a university student in the 1980s. Below we see two gold chains with black stones of Azabache hanging. These stones are used for warding evil and negativity. The smaller one next to a name plate bracelet is the one I wore as a child and the lengthier one is the one I use today. The materiality of the gate, chimes, and fabrics speak of an attempt at approximating the practices that were once ingrained within our families in their native lands but have since evolved and migrated. I think it’s important to recognize that the heavy lifting and forming metal materials were found objects that had been annexed of purpose. The piece was titled after my mother’s reaction to the concept. In explaining to her the influence that our ancestral and inherited practices have had on my personal practice her only thought was “nace donde parte”. Although tradition evolves it can feel cyclical at times to the elders in our lives seeing this evolution before them.

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QCQ Pedistals

… Identifies sites of presentation and preception of art as hubs of significations and desires…rhetorics of seduction also signal a sort of temporary vacancy…overdetermined by materials…perfect staging for photography…both lend a fetish-like quality..that brings them to life.

This quote discusses the pedestal as a means of presentation and perception and dives into discussing the usage of a pedestal as a means of reproduction or mimicry. I find it really interesting to consider how a pedestal can be used as a means of juxtaposition furthering the significance of the object, which in this case is deemed an object of desire as it attempts to express meaning. In the case of the sculpture featured above the pedestal works as a scaled up replication of the work which can blur the line between support and self. I think it would be interesting to explore juxtaposition through replication. Kind of like exploring the differences between two twin matrices. This passage talks about the sculpture Factor Green which was displayed in a variety of ways being described as a seat, a base, or just a thing. This nature of multiple purposes and flexibility of presentation and usage gives it that fetish like living quality. The thing exists not only to be Desiree’s but simply to exist. I find this unintentional intentionality to be a bit of a tongue twister for the brain that is interesting to attempt to decipher.

We now consider the pedestal to be a means of display as well as a part of the work itself, do you believe the pedestal of artwork must be animated and take on the role of providing the work a life source or is it simply a justified accessory to the piece?

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QCQ Chris Burden 20 yr retrospective

"I'd accepted getting a couple nails but, for them to do it... to make sure they'd stay calm was hard"

I selected this quote after much deliberating between The piece Volkswagen and Shoot. I landed on this quote because i found it very interesting that Burden had acknowledged violence, gore, and self inflicted pain as a part of his work. This acceptance and acknowledgment would typically lead us to believe that he was not in the bnuisness of comforting the disturbed. However, his focus when discussing this piece was the difficulty of soothing the five people he had assisting him in the work.

Any person can become squimish at the thought of being crucified. Burden took it upon himself to willingly do so but, in order to executed this piece someone would not only have top nail him onto the back of the car but also pull said nails out of his hands. His assistance or in this case reactionary participants were invited, unknowing of what they'd have to part take in. This piece stood for the idea that he'd carried after being tried for trying to execute another art work.

I find his commitment to the tangible nature of the body quite interesting. The more carnal and body horror inspired art ive seen before has never implemented actual physical danger or injury. i Think of works like Cremaster by Mathew barney that take on a film approach to this horror representation. I also look b ack at the crudeness of Louise bourgeois sculptural works such as Janus Flueri and find a call to real world metamorphosis and conceptual mutilation but nothing quite compares to the visceral power of Burdens use of self inflicted harm as a means of symbolism

Do you think Burdens use of self-harm as a vehicle for his work is crossing a line? or do you believe that in the contemporary world art doesn't have any limits? If art does have limits where do you think they rest?

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Dreamscapes No.2: grounding audio artifact