Kandase Quinn

My work focuses on emphasizing the unnoticeable (or ignored) around us. It is not often people stop to truly appreciate and take notice of what shares their space. 

 Inconspicuous is drawing attention to the Japanese Parasol mushroom (Coprinus plicatilis). I chose this fungus because I nearly squished one myself when walking. 

Naturally these mushrooms seem dainty and hide among the grass blades. I wanted to focus on the fragility of this plant and bring them out of the grass for all to see. I exaggerated the stems of the mushrooms to push the unstable, delicate feeling of the mushrooms and I placed a few on the walls to really bring them to the viewer’s eye level. By placing these mushrooms in the gallery alone I hope to make the viewer appreciate the simple beauty that is around them daily. 

UNBOUND
Zachary Ajour

Unbound is an investigation into the properties of masking tape- its fragility, translucency, and its ability to connect to itself.  Focusing upon the unique ripples I simply began to create in a somewhat meditative fashion.  From the beginning the idea was to take the multiple and turn it into a full enclave of a room.  This overall installation- similarly to each individual piece- grew into its inevitable fall of gravity.  At the start they hold a specific space; over time however the gallery will become an unbound entangles chaos.

MATERIALISTIC- project #2 in Student THis/That Galleries in Visual Arts Building

THIS/THAT Galleries-VISUAL ARTS BUILDING

OBJECTIVE

Materialistic refers to a filled-space installation where you as the artist create an installation that really explores a material that you have been working with as an art student, or are interested in working with as an Installation student.  You will each have at least a week in the THIS/THAT Student Galleries to really push your materials in an Installation Space.  You will each draw dates from a hat after the first week of school has begun.  We are not creating single pieces but are creating an Installation that should utilize the space, lighting, projection, sound, etc.  You have full control over the space, however destroying it is not an option.  You will also be designated an aid (from your class peers) that will aid in the setup and take down of your installation. Each space should end up as clean as you found it. 

Jon Young

  

A separation that may occur within oneself can never be accurately observed through introspection due to the separation itself. Nor can it be seen from the outside due to the distortions of perception.  What is attempted to be hidden can manifest itself on the surface in a skewed and undesirable way. Success is being able to conceal and honesty is unwanted in a fear mongering and stress inducing society. This results in a wave of missed connections, both neurological and interpersonal. 

BRODY READ 

Let’s Have a Ball 

            In this gallery the idea is to revert a person back to their childhood-like minds.  I believe that people do not stop playing because they are old, but that they become old because they stop playing.  I like the idea of approaching a gallery space or room blind – not knowing what will happen while walking up the stairs and then becoming completely surprised when reaching the top and looking down into a plastic ball pit.  I would hope for the viewer to have the same surprising experience and build up the effort to jump in and “have a ball.”  The reflected qualities on the inside make it a very colorful atmosphere-which I think pushes the boundaries of the ball room making it engage all senses.

     Emily Smith

This piece explores an unconventional material by using food to explore a space that is both unhealthy and confining.  The cave reflects the idea of the toxicity in the processed foods that are abundant in our society today.  A lot of the foods presented as easily consumable or “ready-to-go” are full of preservatives.  Overall this is not a healthy alternative to foods that need to be prepared by the consumer.  One way that this is translated in the piece is the fact that none of the food inside the work goes bad although it has been sitting out in the open air for an extended period of time.  There is also a sweet smell that at first can be pleasant, but when a viewer is around the smell for too long is often overwhelmingly nauseating.  The entire world is a play on the words “unhealthy environment” and the only non-edible elements are the light source and the human forms placed in the piece.  This work is not intended to be humor-based, but rather examine how getting stuck in the routine of surrounding yourself with ready-made overly-processed foods is not healthy.

 

Small Worlds Guidelines
ART 3320 MIXED MEDIA-INSTALLATION

             

Drawings of ideas and container due:                                 September 4^th                

DUE DATE/Statement Due                                                       September 16^th  

DOCUMENTATION DUE DATE                                           September 23^rd  

OBJECTIVES

Space is the most important aspect of installation art.  It gives the work context, time frame, and allows the viewer to become enveloped in its idea.  Think about a container as a room in itself, with boundaries of contained space for you to shape.  Using a “found object” container: create a small-scale installation that will draw the viewer in so they image they have partaken in Alice in Wonderland’s tonic that shrunk her physically in size. The materials are entirely up to the artist; just consider the time you have to work on the installation and your scale. 

Be mindful of how the viewer can enter the space so you know how you should install the work.  How will he work be displayed?  This becomes important when you install the work in the halls of the Art Building.

DOCUMENTATION

Draw and measure your “room” and log the dimensions within your sketchbook.  Plan ahead as much as possible, and figure out your schedule working- time manage now.  Changes in progress should be documented and logged in your sketchbook. (Digital photos as well as drawings) 

CONSIDERATIONS

Everything within an installation becomes important including:  time, light, color, smell, etc. Make every decision intentional and important.