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Friday, May 6, 2022

Figurative Bust Sculpture, Student Work, Bradley Edmonds

                                      






Say It.

Air-Dry Clay, Wood, Thread, Pearl Beads, White Cloth, Iridescent Fabric, Acrylic Paint, and Ink

Left Sculpture: 4” x 5” x 3”, Middle Sculpture: 5” x 5” x 3”, Right Sculpture: 7” x 5” x 3”


            This work refers to the self-proclaimed “Don’t Say Gay Bill” recently put into effect in Florida. This issue resonates deeply with me as someone who is in the LGBTQ+ community. I wanted to depict the hatred and bias many people use against queer people under the guise of religion. To achieve this message, I split the sculptures into two messages: religious homophobia and the bill at hand. To achieve this visually I kept the main busts in a “pristine” white to display holy aspects along with materials that adorn the figures such as white and iridescent cloth, and pearls. Likewise, to visually depict the legal aspects of this bust, and to show the aspects of challenging and damaging.

  I intentionally designed genderless forms, as to represent the community. To show that it doesn’t just affect one set group, but all. I used different faces and body proportions to achieve this idea. Another common theme amongst the three pieces is the saying, “Hear No Evil; See No Evil; Speak No Evil”. I wanted to relate this saying to the bill in a sense that essentially the Florida government doesn’t want students to “say” the word gay which in turn, means that they don’t want them to hear or see queer identities. By putting the emphasis on this phrase, the ideas of materials and facial expressions began to take form. Obviously, I wanted to show visual discomfort on the faces of the busts through various expressions of screaming or just broken-down faces of acceptance. This was to show the concern many had regarding the negative effects of what the bill stands for. To further execute this design element, I implemented the addition of fabrics and pearl beads to relate back to religious, and somewhat, Christian motifs. When deciding which fabrics, I wanted to use, I wanted to keep it within this puritanical color scheme of white to symbolize this unattainable goal those who disagree with homosexuality want us to reach.

                When designing the bases, I referenced  the updated pride flag. The updated version of the flag includes not just sexualities but also gender identities, which are also under attack. I found it important to represent both as many forget that trans people are more in danger regarding their safeties. Visually, I wanted to use damaged wood as to get the point across that our identities were being challenged, being fought against. I didn’t want pristine surfaces because I found that having perfect sculptures on top of rough material creates a visual contrast that supports my idea. The other main purpose I had the bases fulfill was to depict urgency with the issue. When I was creating these pieces, the bill was still being debated across the court. I wanted to show urgency and that it was a rising issue. So, I made the bases rise in a line to show that both concern and problems were arising.



Research

https://www.washingtonpost.com/politics/2022/04/01/what-is-florida-dont-say-gay-bill/

Florida’s law limiting LGBTQ discussion in schools, Explained

Some major takeaways from this article are what the bill proposes and how that will affect many people in the long run. It talks about how the bill is banning conversations regarding the LGBTQ2+ community in schools between kindergarten and 3rd grade. This is already on top of sexual education being banned in Florida already. The article begins to discuss the effects it will have across many people. In the schools, many young students who are understanding themselves will lose those vital outreaches needed to help them. Parents could sue the school over the teaching. Kids will be outed, which is the main concern. Finally, in the long run, this bill is setting up many other bills across the nation. Gay rights are now under attack.

https://www.nytimes.com/2022/03/18/us/dont-say-gay-bill-florida.html


Opponents Call It the ‘Don’t Say Gay’ Bill. Here’s What It Says.

Reiterating some points from the last article, this one speaks on more of the school aspects. Because the bill is very “strung together”, parents could use the faulty wording to sue the school for money. The school would be the ones to cover the cost. On top of that, the school boards would have to restructure the counseling procedures put in place as mentioning queer identities would go against the legislation.

https://www.theguardian.com/world/2022/apr/29/dont-say-gay-bill-florida-teachers-react


‘Hurtful and insulting’: Florida teachers react to the ‘don’t say gay’ bill

This article reads more as personal experiences rather than listing out the terms of the bill. Teachers across the state have begun to see firsthand the destruction of safe spaces they tried to build for students. The teachers have called out the vagueness in the wording of the bill and that because of that, it opens the door for more bigotry to occur. The article also highlights the defamation of teachers who speak out against the bill with republicans calling them: groomers and pedophiles. The article shows firsthand how devastating this bill is.




In-Process Images



















100 Objects Student Work


Claire Loftus





Heidi Dinius






AnnaKate Radford





Makenzie Ayers





Bradley Edmonds



 

Thursday, March 10, 2022

Touch Student Work


Katie Speakman
Unveiling Internal Physical Perception
Digital Artwork


 "What is a sense of one's self?  To a large extent it has to do with touch, with how we feel... Not that our sense of self is necessarily accurate.  Each of us has an exaggerated mental picture of our body, with a big head, hands, mouth, and genitals, and a small trunk...Touch fills our memory with a detailed key as to how we're shaped.  A mirror would mean nothing without touch." 
-Diane Ackerman, A Natural History of the Senses, p. 95.
 
Statement:
With this drawing, I wanted to visually capture Ackerman's description of how we internally perceive our physical bodies.  This sense of constant awareness through touch is represented by the spiritual, glowing figure within the mirror.  The outer glow represents touch--the wider the glow, the greater the perception of that area of the body.  So, the head and hands have a large glow, which gives them greater touch significance.  I placed the "perception" figure in a mirror, to show that--though she looks at an exact duplicate of herself in the glass--the woman is also seeing this 3 dimensional, holistic version of herself there.








Klara Acierno

Cramps
Graphite Drawing + ink
18" x 24"

"Many women experience extreme pain during their periods each month..."
A Natural History of The Senses, Diane Ackerman, p. 103

Statement:
The idea for this piece was to show the type of pain people endure during their periods. The feeling of our insides pulling and extending. 









Anna Kate Radford
I Was Here
Embroidery
8" x 8"

"What a marvel to see so many lives at full stretch, defined by needles and ink, so many people who wished to become their own text."
- Diane Ackerman, A Natural History of the Senses, p. 100

Statement: 
This piece is meant to represent people's innate desire to leave their mark on the world. We leave pieces of ourselves everywhere, in our houses, with our friends, even on our skin. We all want to be remembered, even if only by a few people, so we do what we can to touch the world around us and say "I was here."










Bradley Edmonds

 “How do you feel?”

Colored Pencil on Watercolor Paper

9”x12” 

“When we touch something on purpose, our lover, the fender of a new car, the tongue of a penguin, we set in motion our complex web of touch receptors.” -A Natural History of the Senses, Diane Ackerman, page 80.

Statement:

After reading this quote, I wanted to convey an image that portrays many feelings of touch into one network. The overlapping of the hands and the lines within hands allow the imagery of connecting webs relating back to quote above. I wanted the lines to create this woven texture of differing designs.







Lizzie Marino
Darkness
Edited Photography with Digital Art 


“…but to be without touch is to move through a blurred, deadened world, in which you could lose a leg and not know it, burn your hand without feeling, and lose track of where you stop and the featureless day begins” (82).
    -A Natural History of the Senses, Diane Ackerman, page 82

Statement:
A world without touch is one that would be dark, dull, and ever so lonely. Having no true sense of anything that is happening is a life in which no one should ever have to live in. A featureless existence would result in ultimate dismal, everything would be drained of color and essentially lifeless. Numbness is just a meaningless void of existence. Inevitable, darkness is humankind's largest fear.





Josi Riggert
Digital Collage

Far more women than men claim to have cold hands and feet, which isn’t surprising. When the body gets cold, it protects the core organs first (which is why it’s easy to get frostbite in your extremities); in women, it protects the reproductive organs. (Natural History of The Senses, Ackerman, page 91)

I have felt cold my entire life. There is a fear that coincides with being in the cold. There is nothing worst than being stuck in the cold when it is dark and wet outside. It is anxiety-inducing. 



Wednesday, March 9, 2022

Gregor's Room Student Work In-Process

 

Tanis Montgomery

Woven copy paper, colored with ink. 

Approximately 2-inch square


Comments below regarding process.
When we began to talk about bedding in class, and many people mentioned that things in Gregor's room reminded them of things in their grandmothers' houses, I thought of a blanket that my grandmother had in her house.  It is a Scottish wool plaid blanket, very warm, but as is typical of Scottish wool blankets, also very itchy.  I knew that I wanted to use wool to add to my message of discomfort.  I created this blanket by twisting very thin strips of paper and then weaving them together. I purposefully kept the weaving from being very tight so that the blanket would be threadbare and unable to provide Gregor with any comfort.  It would also not be very helpful in his attempts to hide himself from his family, which emphasis the idea that his attempts to hide were rather futile in the first place because of his size and shape.  Some of the unraveling at the edges also calls to memory the franticness of Gregor's attempt to get out of bed, trapped on his back with his thin little legs thrashing around in the air.  There were several times in the story when Gregor's body seemed to be his own enemy.  The idea that, maybe in that first instant of realizing he was a bug, he contributed to the destruction of something that could give him comfort is evident in this last feature of the blanket. 


Gregor's Room, Constructing




Weaving paper to make the top portion of the mattress.





Example of using "tab method" to connect two pieces of paper. 















Isolated
White copy paper and ink. 
All pieces arranged to take up approx. 14" x 14" of space. 







White copy paper and ink.
 No adhesives/attachments used.  

Gregor, mattress, box spring, chest of drawers frame: Paper was shredded, soaked, molded and baked. 

Lines in mattress and box spring made when paper damp, with the side of a metal ruler. 


Example of folding paper to create creases to suggest a blanket/quilt. 




















Making the mattress and box spring.