The installation of my two pieces were incredibly difficult assembling both pieces on site. While making multiples was time consuming, the installation of 400+ pieces was a physically demanding stage. To complete my pieces, it took me over 60 hours, I walked equivalent of 5 miles a day even though I benefited from the assistance of helpers and at times the scissor lift.
Onsite of Multiplicity II I had to adjust how the pieces would be installed and the configuration. As well as adding an additional element, I call “tendrils”, thin curly pieces of paper. The piece was missing a shift in scale. The shadows cast by the tendrils added a thinner variation to the shadow profile along the wall surface as well as introducing delicate shadows onto the surface of the sculpture. The interplay of light and shadow add to the illusion of the piece.
THE FINAL PRODUCT
Using the entrance and the interior back wall of the room, I created a metaphorical microscope offering the viewer a lens to examine the specimen within the gallery Multiplicity II. From a far Multiplicity I and Multiplicity II, appear to be flat dimensionless pieces but as you begin to move towards Multiplicity I the viewer begins to discover twist and turns throughout the work. Multiplicity I and the door way act as the tube of a microscope. As the viewer walks into the room as if they are looking into a microscope the installation begins to expand through the space. Allowing the viewer to experience a macro version of Multiplicity I. This was a concept I didn’t want the viewer to literally understand but I felt like after observing during the opening the concept seemed to work. The opening was overwhelming and incredible at the same time. It was interesting seeing how people perceived Multiplicity I. Clearly my intention was a strong pink color, even so the color itself has been interpreted by viewers as being either pink or red. The Sinamay was dyed using 3 bottles of pink dye, 5 ml of cherry red and 2 ml camel. Ironically, the pink in Multiplicity I involves an unforeseen debate. This piece will never look like this again. I am so happy with how it came out but can’t wait to see the future evolutions of it.
Multiplicity is the name of the series . Multiplicity I is on the door frame outside of the room and Multiplicity II consumes the entire back wall of the room. I choose the name because it has some ambiguity behind it as well as referring to mass amount of pieces made. Below is a section on my installation process.
Assembling Multiplicity I and Multiplicity II on site the final step of the process. While making multiples was time consuming, the installation of 400+ pieces was a physically demanding stage. To complete my pieces, it took me over 60 hours, I walked equivalent of 5 miles a day even though I benefited from the assistance of helpers and unfortunately incurred the necessity of 12 stitches.
Prior to installation day, I began composing clusters from the individual forms on the floor. It was like a 400-piece jigsaw puzzle mixing and matching various forms and sizes to synthesize unified clusters. I referenced photos of fungal and bacteria growth patterns to determine cluster shapes. As I was assembling the clusters, I began to see clear connections to the shapes of natural organism; flowers, coral, and fungus. The pieces were developing into entities full of life. In all I made 10 clusters with corresponding paper templates.
The initial plan for Multiplicity II dramatically changed upon entering the space. After moving in the inventory, I immediately hung the cluster templates. I had planned to end the installation at the height of the lighting track (approximately 15ft). Stepping back to contemplate the interaction of the cluster templates within the gallery space it became clear that Multiplicity II would need to stretch to the rafters. Fortunately, I had made extras in the inventory and I was confident the modular nature of the forms would allow me spontaneously create clusters on site. It was exciting that the piece was evolving as I was installing it.
Disrupting the confines of the rectangular wall Multiplicity II appeared to flourish with the expansion. Clusters are distributed throughout the visual plane. Now borderless the viewer is left question where it begins and ends. Is the origin from the floor and the growth is upward? Or are its “roots” located in air ducts and the offspring are invading the gallery space from above? Are the small bursts between clusters new growths that will eventually join expand and create a single body? The thin curled ribbons add a layer of ambiguity. Are the ribbons twining tendrils or bacterial flagella? Is it an ivy? A floral? Fungus or bacteria?
The sense of movement strengthens the perception that Multiplicity II is a natural organism. The repetitive curves and bends of the forms, clusters and tendrils enhance the sense of movement. The interplay of light and shadow add to the illusion. The forms cast shadows on the wall providing depth. The shadows cast by the tendrils are thinner, adding variation to the shadow prolife along the wall surface as well as introducing delicate shadows onto the surface of the sculpture. The subtle reflective nature of the metal paint enhanced the impact of light and shadows. Tendrils are absent from Multiplicity I, but the deep color of the sinamay bias on the edge of the pieces mimics the effect of gestural lines.
Multiplicity I is a vignette the top and upper side of the entry. It is a combination of the elements of Multiplicity IIwith two additional elements- sinamay and a deep raspberry color. The addition of an energetic color and depth of texture draws the attention of the gallery visitors. It is an introduction to Multiplicity II. Standing before the entrance it is clear these pieces are Multiplicity I, is a micro iteration of the macro II. The entrance becomes a metaphorical microscope offering the viewer lens to examine the specimen within the gallery Multiplicity II.
We are officially one month out from install. I am producing as many forms as i can possibly make so that way I have pieces to choose from. I have been in total production mode and am finally starting to have enough forms that I have started to combine pieces to create large masses that will consume the wall. I am looking at creating close to 300 forms give or take a few. The pink piece I have scaled down, so it has become more manageable. Below is my blurb so that my readers better understand my pieces.
My pieces are decorative sculptural bodies that consume and disrupt the space, blurring the lines between order and chaos. The combination of a tactile sensory experience, and physicality of my process generates a state of flow. Watercolor paper and Sinamay fabric are dampened to produce a malleable surface that is manipulated into an intrinsic flowing form. Drying the fibers renders a contoured skeletal support permitting a sense of movement and fragility. The energy and vigor of the color pink counters the reflective nature of the white and metallic paper. In this space complementary contrasting pieces utilize light and shadow to emphasize the multiplicity of natural organisms.
I finally have a direction that I’m excited about! I am looking at creating multiples that will then create a larger installation. The forms will be made out of watercolor, metallic paint, and Sinamay fabric. I will be using the color pink as well throughout the pieces. I recently started describing the way I want to group my forms as bouquets. Not sure if that will stick but for the moment it seems to work. There is no direct correlation between the shapes and flowers but I do naturally take inspiration from organisms that I encounter in the environment.
Research wise I am still just beginning but I am exploring the history of the color pink, flow theory, history of millinery work and painting, and the body. Right now, I am looking for insight people have on installation and display. Anything is helpful really though. Below is a picture of a large piece I made to test the limits of the material and teach me how to structurally build the forms. Also below are pictures of the final “sketches ” of my forms that will be used. Im not huge on sketching, my version of sketching is cutting and taping pieces of paper together then I manipulate the forms.
Work in Progress Blurb:
Red area: work in progress sentence
My pieces are decorative sculptural bodies that consume and disrupt the space.The combination of the tactile sensory experience, and physicality of my process generates a state of flow. There is a duality to my art. I am drawn to natural organisms that I encounter in the environment such as, fungus, bacteria, and flower petals; yet I manipulate watercolor paper and sinamay fabric in an unnatural manner. At the start, the material is dampened with water to produce a mailable surface that I manipulate into an intrinsic flowing form. It must retain its strength to form a skeletal support as well as its fragility to produce a sense of fluidity. The antithetical color pink gives life to the piece while emphasizing the ephemeral nature of the organism.
I am a tad behind on writing this, I needed some time to regroup after last week. I felt like I somewhat hit rock bottom with my thesis, but I finally feel as if im ready to move on and talk about the work. I feel like I dunked paper in dirt and put it on the floor. It was the farthest from who I am. I am regrouping and taking the ideas from critique to help me move forward with using my fascinator I made for my fiber class as a new start. Focusing on the sculpture forms and how I can use those structures on a larger scale. After talking with Susanne, the conversation sparked some ideas that I think give my ideas life.
What I am thinking about now:
Pink room or mainly pink
COLOR: pink, green, gold accents
THEME:city of pink- Yerevan, Armenia
This is the new path that I would like to redirect my focus to and push myself to create.
Over the summer I worked with a florist and did a lot of floral installations. It was a huge learning experience for me. I learned how to create an installation within a short time frame, take weather into consideration, flower shapes, and color. For my second year I am not exactly sure what direction my thesis will take entirely but at the moment I would like to explore combining my paper sculptures with living materials, allowing me to build off of last semester.
Since I don’t have an exact plan I made a check list that of things I would like my thesis to include
I am in the exploration stage. Just attempting to see if I can even combine the two materials and make a cohesive piece. Also testing to see what happens when certain flowers die or are dried and how that effects the work.
ARTISTS I AM LOOKING AT
Right now, I am looking at color, the use of multiples, the environment, and creating an experience through paper manipulation.I am moving away from the idea filling a room and rather creating a piece that obstructs someone’s pathway and allows the viewer to move through and around the piece. I am really learning that I am a maker. I enjoy the labor intensive/ monotonous process of making repetitive items.
I began this semester just like last semester trying to find new materials to work with, trying to challenge myself to move outside of my comfort zone of paper and use fabric, plaster, and dyes. I went through multiple tests but right now I have moved back to paper. I really want to like molds but I am just drawn to very intensive process to create these pieces. I have gone back to exploring dyes for my new larger paper piece, I have used a combination of red and golden beets, and beet root powder to create the coloring. I feel that by not dyeing my own paper and buying colored paper I am cheating or making it to easy. It becomes a less appealing piece to me in the end because of that. This semester I have structured my way of making into homework and giving myself loose guidelines with short deadlines to help me focus and allowing me to produce an abundance of work.
I have been having a constant struggle on what I should add to my paper structures. I know it needs something but I’m not sure exactly. I have explored resin, metal, fabric, beads, etc. Any suggestions would be great! I am thinking maybe I need to look at adding in various shades of the color, different folding widths and different paper weights to add variety. Ideally my piece would be on the wall, floor and hanging. Allowing the viewer to have a vast amount of views.
I attempted to combine my fabric manipulation technique with the paper manipulation. I wanted to love it but i really ends up disliking it. Below are pictures of my learning experience
Major explorations! So far, I have experimented with synthetic dyes, natural dyes, wax, fabric manipulation, mold making, and plastic manipulation, etc. Right now, I feel as if I still haven’t found the right method/material I would like to work with. I still would like to create an immersive installation experience using color. I am drawing my inspiration from fungus, Pleurocystidia, and Cheilocystidia. Pleurocystidia and Cheilocystidia are so small you need a microscope to see them. They are found on the surface of a mushroom gills, often between clusters of basidia, which are microscopic, spore-producing structure found on the hymenophoreof fruiting bodies of basidiomycete fungi. Right now, I am trying to figure out how to mesh my ideas with the correct material.
Pleurocystidia and Cheilocystidia
Clay forms from molds made from real mushrooms
Waxed sticks combined to create my own fungus