Fluxus Box

 View 1 Closed Box

View 2 Closed Box

View 3 Closed Box

View 4 Open

View 5 Open

View 5 Objects outside

Humanity, cardboard, lighting, paper, tissue, cloth, paint, spraypaint, clay, felt, feather, wire(18 x18)

In Process

Artist Statement:

This piece is complementary to humanity, and how we are constantly evolving. The first box shows a Kanji, a sign meaning origin in Japanese art.  This captures the idea that we start from nothing as people until born. The outside is a cityscape with electronics in it. We show our need to survive by always pushing forward, such as through AI. As we take off another layer, though, we find the truth of who we are. Cut-up vintage textiles show age on the inside. Flowers show how we all must die. The sculpture is a hand grabbing onto a peer from behind, holding a cigarette, showing humans' ablity to throw away love for vices. Another piece is a bear showing childhood, someplace we all must leave and return to. The note means things left unsaid, showing people will put aside dreams in order to find a false purpose. I designed the box to visibly show how at our core, no matter where we go, we share the same dna as those who learned to live before us. 

Research:

https://www.pinterest.com/pin/1085226841461601808/ textiles

https://www.artpal.com/beksinskistore?i=280272-61 city

https://www.homeaccentstoday.com/furniture-lighting-and-decor/using-led-light-create-artwork/

Artist Inspiration:

George Maciunas, Your Name spelled With Objects, c. 1972-1978, left to right: Kund Peterson, Ben Vaulter, George Brecht, Dick Higgins, Alison Knowles. Courtesy The Gilbert and Lila Silverman Fluxus Collection Foundation.

source:

http://georgemaciunas.com/press/art-forum-fluxus-redux/

Notes: 

Movie: Blade Runner

I was inspired by the idea of texture. In the movie, they use futuristic imagery with 80s fashion. The director calls back inventions from the 60s to show disarray. A character has a lepord print coat with another print as a skirt. This inspired the inside of the box.

When making the box, I fused lights together to call back the city scapes. Banji is a symbol used in the movie. 

A final piece of imagery I saw and incorporated from the movie is the feeling of death vs life this is juxtaposed by the wildlife

Paper Cutting Sculpture

 Paper Cutting Sculpture

Full View 1

Full View 2

Full View 3

Detail 1

Detail 2 

OpenStory, paper, Mod Podge, and ink. (9.5 x3x7)

This sculpture is a reaction to both my artist's pieces. My mountain paper sculpture explores the relationship between landscape, fragility, and human work, drawing inspiration from the work of Adriane Colburn and Aymni Sibata. Like Colburn, whose intricate cut-paper installations show layered depictions of paper work. The paper medium shows how light objects can gain weight. I also drew from Sibata’s sensitivity to texture, materiality, and hand-constructed forms; her approach encouraged me to think about how each fold, cut, and contour can communicate movement within the landscape. Through combining these influences, my sculpture reflects the tension between permanence and impermanence in natural environments. I incorporated a Japanese Fable about a dying tree to show this concept, one shared with me by my grandmother 

Two Images that inspired work

Adriane Colburn

"My installations are extracted from the data, images and video I have collected while participating in scientific expeditions to remote, wild places such as the arctic and amazon. The work reflects on these far-flung environments and the overall state of nature in an age where few stones remain unturned by man. I am particularly interested in romanticized notions of wilderness, the alteration of nature by industry and climate change and the relationships between scientific exploration and exploitation. In participating in these expeditions and generating work from the aftermath, I am reckoning with how our thirst to understand and visualize a landscape can irrevocably disrupt it. " -quote about his work

https://foundations3ddesign.blogspot.com/2017/05/adriane-colburn-artist-based-in-san.html

Aymni Sibata, https://www.ayumishibata.com/blank-11

This work encapsulates the essence of finding your own journey. The artist layered a variety of works onto each other to create dimension. This in turn made a siloute of a landscape

In Process

Speaker Events

 

Speaker event 1: Tea Ceremony 

Secrete Lives of Colour

 Fallow,

Fallow The WILD,  digital 

This piece shows the decay and texture found in the natural world. I compared this to the humans that documented this early in the discovery of new lands. There is a riddle written about dear, describing them as follows. This depiction is listed on the postcard of this piece. Moreover, I went to National Geographic and shaded in images to layer them over modern architecture. The text exclaims how humans have taken from what is a natural process of death. 

Pitch Black, 

Pitch Black, Death. Modge Podge, paper mache

My bird mask draws inspiration from the exaggerated features of Commedia dell’Arte, blending theatrical stylization with the ominous symbolism of the Egyptian god of death. By incorporating elongated, beak-like forms and rigid contours, the mask embodies the archetype of the trickster or harbinger, while its reference to ancient funerary mythology evokes the threshold between life and the afterlife. The piece also reflects the human fear of darkness—an instinctive anxiety tied to the unknown—and this theme is visually intensified through the use of pitch-black coloration. The deep black surface not only suggests the void associated with death and night, but also heightens the mask’s sense of mystery and foreboding, merging historical performance traditions with primal emotional responses. At the end of the day, we all return to the dark.

More so, I made these pieces. These are taken in downtown Chicago. It goes from white on Black to Black on Black. I took them with a Canon with a film shutter over the lens. My goal was to capture a transition to darkness, which is how the colour holds its power in the world such as at night. 

 

Experimental Sculpture Collection

Experimental Sculpture Collection

Research A

 Patricia Fabricant‘s

https://artspiel.org/patricia-fabricant-weaving-a-fluctuating-self/

Research B

Van Wolferen’s

https://www.thisiscolossal.com/2017/02/miniature-narrative-based-sculptures-created-from-balsa-wood-by-vera-van-wolferen/

Research C

Sol LeWitt

https://www.metmuseum.org/art/collection/search/482523

In Process Details, 

Full View of all three

Full View of all three 2nd view 

Sculpture 1 

View 1 

View 2

Detail 

Abstract Mudhifs, Twine Glue, Wood (19x5.5x6)

Sculpture 2 

View 2

Detail

The TreeTop, HotGlue, Paper, Cedar (13x8x5)

Sculpture 3

View 1

View 2

Details

Molecule Broken Apart, String, Paint, Thread (18x12.5x11.8)

Reflection 

My idea going into this process was to communicate on three separate elements and principles of art. The first one is negative space (sculpture 1), repetition (sculpture 3), and a focal point (sculpture 2). I wanted to primarily focus on how I could transform each individual sculpture into a story, and also just a design. For example, sculpture three is based upon the deconstruction of cells. In this assignment, I learned how to use a 3d printer, even if my piece didn't end up being used. I want to keep exploring the Brown Innovation Center, as I believe that, while it’s tough, having that experience is rewarding. In making this sculpture collection, I pushed myself to think outside of the box and remind myself to not be afraid of using inspiration to spin my own designs. Moreso, I worked to find a fine line between theme and design. I struggle with not having clean pieces, so Treetops was an exploration of how I am allowed to be messy. Being raised by two fine artists whose styles primarily stick to realism, I find it hard to grasp abstract art sometimes, but this assignment enabled me to breathe.