Jars

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preservation of memory, recalling, forgetting, ownership of a memory, personal, collection

White Flag Projects

Our experience at White Flag Projects was interesting because we had no idea what to expect.  Becca, Mackenzie and I went on a Saturday morning so we were the only ones in the space besides the gallery attendant.  I appreciated having room to see the works at length, especially the installation by Rochelle Feinstein.  Like Becca, “A Catalogue of the Estate of Rochelle F.” was my favorite in the gallery.  The frames organized the bits of paper and ideas into a manageable arrangement and I liked how it felt like I was looking at remnants or artifacts of someone’s life.  Some of the other works were harder for me to get into, like Feinstein’s other piece “Happy Birthday x Rachel” and the Lee Lozano graphite drawings.  I would’ve liked to have heard more about those.  Overall, I enjoyed our trip and am glad to be on the mailing list for future shows.

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For my final project, I focused on the interconnectedness of utopia and dystopia.  I hoped to get viewers thinking about a world without basic needs, safety, relationships, self esteem, and self awareness, and whether or not these needs are present in their own lives. Each participant in this project leaves with a uniquely silkscreened image of one (or two or three..) of these fundamental needs, and is left to consider a world without.

Hey,  so I forgot to say in my presentation, but my change that I did over the entire project period was to wear this broach every day all day. I wanted to see if I could keep one thing constant in my daily routine. During the project period I found it really interesting that my friends and people started to believe the broach had special significance to me, ( like a family heirloom, or a gift from someone special). I also started to document the process of how quickly the broach started to deteriorate. I  really want to keep wearing it until the flower is completely gone and then continue to wear the blank broach,( a small object that people associate with a personal importance or memory), as a memory of the image that once was there.

DisTOpIA of the Future or Today?

DisTOPiA = UTOPIA FOR THE MASSES

Individuality is the basis for many a Utopian scenario imagined and developed through text, illustration, and/or film over the decades. The belief in the freedom of choices affects the happiness/contentment of the masses.  But is a choice really a product of freedom…utopian ideals.  Clothing, accessories, technology use, political beliefs, religion, etc…are all presented with choices to be made by the citizen of today and 20 years down the line.  The choices are presented, and the average citizen picks.  The future is now, with technology allowing for even greater selection of mass produced items, creating a utopian bubble in certain societies, such as the United States.  Yet the very idea of choice limits the individuality people strive for.  Being given choices, whether ranging in the 100s or less then a dozen, just means that there is someone above the average citizen, creating the choice selection.  In mass consumerism, the designer magazines, tech companies, publishers, etc…become the dictators. The individual gives up their free will unconsciously to the companies, who box them in, and create limits where there once were none.  Along this train of though, Society as a whole is a dictator, creating a dystopia, or present day.  The individual is controlled by the ideologies of the masses, whether they be local or global feelings/beliefs.  To step out of the “norm” is to break apart from the mass “utopia.”

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The Onion Cellar

For this project, my aim was to create a visual narrative that explores the idea of the transgenerational haunting of history.  I examined how the utopian and dystopian models have existed in history and how utopian ideologies have been misused in war and politics to create dystopian outcomes.  I focused on the onion as a metaphor for how history is internalized and revised, thinking of the concentric rings of its shape as relating to the ripple effects of major historical shifts (such as WW2).  Additionally, I thought about the onion’s edibility, and the pungent characteristics of its raw state as being a metaphor for the awkward affect of history on the individual experience and psychology.

I embedded the onion as a figure into a fictional, painted space using the stop-motion technique to animate it.  The technique of stop-motion animation interests me because the resulting movement of the objects becomes awkward, nervous, and almost pathetic.  It can expand the interpretation of tragic narratives (or tones in the work) to becoming slightly comedic, uncanny, or satirical.  This interests me because tragedy, in reality, is multi-layered; riddled with pain and frustration, as well as laughter, and ineffable absurdity.

The Uncanny (final project)


The Uncanny
(Ger. Das Unheimliche)– “the opposite of what is familiar”) is a  Freudian concept of an instance where something can be familiar, yet foreign at the same time, resulting in a feeling of it being uncomfortably strange or uncomfortably familiar.

Because the uncanny is familiar, yet strange, it often creates  cognitive distance within the experiencing subject due to the paradoxical nature of being attracted to, yet repulsed by an object at the same time. This cognitive dissonance often leads to an outright rejection of the object, as one would rather reject than rationalize. (taken from ‘Wikipedia’)

My work is about trying to put a finger on a feeling, on the notion that everything that seems familiar to us can also be perceived as foreign, strange, uncanny… St. Louis was my inspiration, because it’s not a heavily populated city, it can be fairly common to walk around some very deserted places and start feeling uncomfortable by that, for no apparent reason. The bubbling underneath the surface, the feeling that something is about to happen or already did, kind of like the ‘calm after he storm’- was my guideline, and I was trying to apply that feeling into ordinary looking places and objects, and transferring some of that experience to the viewer.

The Uncanny

The Uncanny  (youtube link to video)

The Uncanny (Ger. Das Unheimliche)– “the opposite of what is familiar”) is a  Freudian concept of an instance where something can be familiar, yet foreign at the same time, resulting in a feeling of it being uncomfortably strange or uncomfortably familiar.

Because the uncanny is familiar, yet strange, it often creates  cognitive distance within the experiencing subject due to the paradoxical nature of being attracted to, yet repulsed by an object at the same time. This cognitive dissonance often leads to an outright rejection of the object, as one would rather reject than rationalize. (taken from ‘Wikipedia’)

My work is about trying to put a finger on a feeling, on the notion that everything that seems familiar to us can also be perceived as foreign, strange, uncanny… St. Louis was my inspiration, because it’s not a heavily populated city, it can be fairly common to walk around some very deserted places and start feeling uncomfortable by that, for no apparent reason. The bubbling underneath the surface, the feeling that something is about to happen or already did, kind of like the ‘calm after he storm’- was my guideline, and I was trying to apply that feeling into ordinary looking places and objects, and transferring some of that experience to the viewer.

reward for sleep

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“Reward for Work” is an illustration of a real dream. In the dream I was extremely tired but I didn’t have enough money to buy the hours of sleep I wanted. I decided to work really hard then and buy the sleep later when it’s on sale. I suffered a lot in the dream because I never achieved in earning enough money. I woke up and felt relieved and somehow lighthearted even though I had to go to work again. At least in my world, sleep is free.

I wanted to depict the scene as if it is excavated from another era, or a parallel world. The figures imitate the styles of Egyptian hieroglyphics and space recognizably stylized perspective depicting scenes of everyday life found in art history books. It is often hard to tell whether such a scene depicted is supposed to be a idealized image or, in our standard, a horrible life.

Rule: no sleeping for more than 5 hours at a time because I hadn’t earned it yet.

the triplets

Although it may not look it, I edited out about 7 pieces, and I no longer see them as a long continuous stream of images. That display does not do them credit and while I acknowledge that some are far more successful than others and that some needed to be edited out, they all were very instrumental in helping to create those that were successful. Also, they allowed me to explore in depth the concepts of this project through making. I think the process of multiples that the print making process of pronto plates encouraged me to really explore the print and try to evolve the print and expand upon my original ideas.

 I sorted one group into two single pieces, two diptychs, and two triptychs. The triptychs within this group represent more of the progression of complexity that has a some what logical progression despite the fact that the end result is nothing if not illogical and absurd.  Trying to make all of the members of societies ideas match up perfectly to form one cohesive idea of either a utopia or dystopia among a whole society of people is absolutely absurd.