Condensing the Residency...

Taking notes then typing them up in a diary really helped...Then I just tried to condense the most salient features into shorter note-

Residency Summary SP2017

Critiques

Lucy Kim, Peter Rostovsky, Matthew MacDougal, Syl Arena, Mary Judge, Deborah Davidson and Stuart Steck all viewed my work. Comments: My work is non-verbal and intuitive. There is a large volume of quality work. There are some works that included a net and figures that could be cliché. These works are the ones that are “liked” by other students but the metaphor may be too familiar and overused. Use of analytical skills in work would be useful. I was encouraged to emphasize shifts in perspective and to consider increasing scale and continuing the narrative. I was also encouraged to map things out. The artist statement (according to Kim) is a temporary tool tied to a moment and can limit the artistic growth. Kim also feels that the circular forms in Aerial View referenced Eva Hesse ink drawings of circles in a grid. Other artists to look at were suggested and include Gwenessa Lam https://gwenessa.com , Shoshana Dentz http://shoshanadentz.com , Mira Schor http://www.miraschor.com and Kiki Smith http://www.pacegallery.com/artists/442/kiki-smith ,Terry Winters http://www.terrywinters.org

I was challenged to specify what draws me into certain marks, what turns the minutia of natural markings into the celestial. The net in my work infers fencing and cages. To expand my art I was encouraged to juxtapose the microscopic and the macroscopic. Also to explore the systems of classification such as those popular in the nineteenth century for biological specimens and to consider using microscopic source material and enlarging it and bring it into my own work, this would capitalize on my background in microbiology and Infectious Diseases. There are of patterns in nature that are repeated and may also be found in the human body. It would be interesting to bring these patterns into my work.

Further Readings

Adajania, Nancy, and Anne Ellegood. Vitamin 3-D: New Perspectives in Sculpture and Installation. London: Phaidon, 2009. Print.

Ball, Philip. Patterns in Nature: Why the Natural World Looks the Way It Does. Chicago: U of Chicago, 2016. Print.

Berger, John, Sven Blomberg, Chris Fox, Michael Dibb, and Richard Hollis. Ways of Seeing. London, England: British Broadcasting Corportion, 1973. Print.

Finch, Elizabeth, Michael Semff, Francine Prose, and Terry Winters. Terry Winters Prints 1999-2014 ; the Complete Editions ;. New York, NY: Prestel, 2014. Print.

Foster, Hal. The Anti-aesthetic: Essays on Postmodern Culture. New York (NY): New, 2002. Print. (Essay by Rosalind Krauss, Sculpture in the Expanded Field)

Robertson, Jean, and Craig McDaniel. Themes of Contemporary Art: Visual Art after 1980. Oxford: Oxford UP, 2013. Print. (Chapter Seven Science)

Schama, Simon. Landscape and Memory. New York: A.A. Knopf, 1995. Print.

Stevens, Peter S. Patterns in Nature. Boston, 1974. Print.

Thompson, D'Arcy Wentworth, and John Tyler Bonner. On Growth and Form. Cambridge, United Kingdom: Cambridge UP, 2014. Print.

Direction of work this spring

I am looking forward to exploring several themes: the repetitive pattern and the net (with increased scale), collages of my prints to resemble natural microscopic forms, and finally the landscape from above and close up.

Artist statement SP2017

The beauty and complexity of nature are awe-inspiring. To make sense of our surroundings we turn to art, science and religion. These reflective activities overlap and they contradict each other. Art allows contemplation and presents the object contemplated, science studies and manipulates our surroundings and religion embodies a supernatural element to explain our surroundings and adds a communal factor. These reflective activities are used to navigate our environment. In my work I am exploring the paradox that these activities present when used to analyze the natural world.

I focus on the contradictions that arise in human reflective activities. My work examines opposing positions such as structure versus chaos, macroscopic versus microscopic, and evidence-based truth versus superstition.