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“?malaise?” and “WELCOME HOME” for final hand in xx

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“homo-algus”, installation by sophie prestigiacomo, circa 2012

“The figures are modeled with mud and seaweed, with the algae drying within the elements. The colors, textures, and “skin” of the creatures change over time, along with the organic landscape they inhabit. The sculptures offer a chance for onlookers to not only visit the site, but also engage in dialogue about biodiversity and our relationship to these lands.” - https://hifructose.com/2016/12/08/sophie-prestigiacomos-homo-algus-invites-swamp-creatures-out-of-the-wild/

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jens lund

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wangechi mutu

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cecilia vicuña

chilean artist from new york - some of her works are quipus - an incan form of data/information storing. quipu translates to knot: they also served as a form of writing where no formal writing system existed for the incans. 

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my webpage, https://www.earthlybodies.net/general-malaise

i made the website but everyone has their own page with their own little things in them. was trying to create a webpage with an early 2000′s HTML adventure hyperlink vibe, if we had more time i would have loved to play around and separate everyone else's works by topic/idea (in which that falls under the earthly bodies header) so it would be more about integrating works of the others rather than a segregating by artist.

some notes from the exhibition viewing in ropu:

- some people offered considering placing links in individual pages that take the viewer back to the manifesto page, in order to be able to refer and invest in both simultaneously.

- however, that could become dangerous if it implies that a constant referral to the manifesto is necessary in order to understand the work, and then places weight on needing works to align with the words spoken in the manifesto

- our group (vida, pip, loretta, jac and i) are very hands-on, material (in practice) people, and it was interesting to move to digital. in this case, people are regardlessly going to question the scale of the works, especially as we are more physical makers. would it be worthwhile to be able to explore textures, details, any specific qualities etc. online, up close?

- text which accompanies artworks in a story telling manner benefits the works as it drives the webpage away from being catalogue-y and more interesting. there is also the comfort of being able to read for as long as needed without the fear of spending far too much time in one certain area of a gallery.

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week 10 lecture notes

martin patrick’s research lecture

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i made a website and jac did the instagram for our group exhibition!!!

www.earthlybodies.net

www.instagram.com/earthly.bodies

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forgot to add these in, just some additional doodles i did over lockdown (around before week 7)

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new painting? titled “it looked better in my half asleep delirium” and my foot

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week 9 lecture notes

josé roca

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tiger painting progression and new painting wip which matches my shoes 💚

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“the cup is a cloud,” diedrick brackens, 2018

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met up with my exhibition group today and we were discussing how we wanted to go about the exhibition considering covid. we decided that this was a good time for us to experiment and try anything we wanted to, continue making but then also find time to meet up and make together and regather ideas. 

here is a test font i made for our working title, as well as a test html website. i like the idea of making our own font, and if we move to a digital exhibition, pictures alongside bodies of text to create a scene. examples of what i mean would be like olia lialina’s hypertext artwork “my boyfriend came back from the war” which involves storytelling by clicking on links. or september diencephalon’s “the containers of always.” 

http://www.teleportacia.org/war/wara.htm

https://finalhotdesert.com/the-containers-of-always

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week 8 lecture notes

brett graham :)

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chicken bone chandelier (“ivory mobile”) by inspiration group (judah, mercy pictures gallery 2021)

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bones :)