limitsfall2024

[limitsfall2024]

Donald Lipski. Untitled, 1978

[limitsfall2024]

QCQ #4

Question: How does the shift from industrial production's physical structure to a structure of logical serialization, multiplicity, and replication transform the way in which we contecualize existing objects?

Comment: this idea of the attack on Minimalism’ s industrial metaphor and its conviction in the well-built object, its display of rational tectonics and material strength—was in full swing, this reaction would move under the banner of “Anti-Form,” which is to say a set of strategies to shatter the constructed object and disperse its fragments

Quote: "For the concern was no longer with the tectonics of industrial production so much as with its logic, which is that of serialization, the multiple, and replication."

[limitsfall2024]

“Don’t die (Don’t die)”

Drop cloths, rust solution, wood, various metal hardware

Matthew Stander

2024

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This work was an experiment (literally). I utilized a mixed chemical solution to dissolve steel wool into a rust solution. One of the drop cloths is stained by leaving the solution in the bucket to react and bubble over until its process is complete. The other drop cloth was the remaining liquid after the reaction was dumped onto the cloth. The look of the rust solution on the fabric spoke to the look of death and the way the body goes through decomposition. This idea of the bodies decomposition relates to the way the steel wool decayed into the solution

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[limitsfall2024]

“Untitled”

OSB plywood, plaster cast, drop cloth

Matthew Stander

2024

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This work documents its own creation. When constructing the box and ball, I utilized the drop cloth to collect the marks made. This piece is helping me answer the question of “Is it painting? Or is it sculpture?” as this question has started to become more common in my process.

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[limitsfall2024]

“Untitled”

100 OSB plywood squares with plaster, and worn work clothes

Matthew Stander

2024

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This work was a continuation of exploring new ways to utilize material and manipulate and alter the material. I worked with OSB plywood and plaster, as these are common materials in buildings. The work is meant to speak about the labor that gets overlooked. The arrangement of the tiles is meant to represent floor tiles, particularly of an institution like a school or generic office building. In these buildings, we interact with the floor daily but rarely think about the process and labor of making the floor.

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Self directed research/process

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Lost statements research/process

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Contradictory structures research/process

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14. QCQ #3: The Gravity of Levity 

15. Contradictory Structures: Research

16. Contradictory Structures: Final

17. QCQ #4: X Marks the Spot

18. Lost Statements: Research

19. Lost Statements: Final

20. Self-Directed Manifesto: Research

21. Self-Directed Manifesto: Final

[limitsfall2024]

NASA's Falcon Heavy

47.5” x 11” x 21” 

PVC pipe, HD Foam, MDF board, steel bolts, contact cement, paint

Where NASA was once the federal agency solely in control of spaceflight in the United States, private companies now flourish as NASA’s efforts to get back to the moon are faltering. “NASA’s Falcon Heavy” uses a private company’s rocket, SpaceX’s Falcon Heavy, to make a humorous display of how the rocket would appear if it was made or owned by current-day NASA, upside down with the three main boosters still attached to either other and a second stage already deployed with fairing halves split on the ground. The Falcon Heavy rocket is carefully scaled down to be accurate to the measurements of the real full-scale rocket. Knowing that modern day spaceflight as a topic is quite niche, the intention was to use a modern rocket that was the most “rocket-like” and a somewhat explicit title to get the idea across, although the lack of any SpaceX logos on the rocket definitely hurt in making that clear.   

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LIMITS FINAL INDEX

14. QCQ #3: The Gravity of Levity 

15. Contradictory Structures: Research

16. Contradictory Structures: Final

17. QCQ #4: X Marks the Spot

18. Lost Statements: Research

19. Lost Statements: Final

20. Self-Directed Manifesto: Research

21. Self-Directed Manifesto: Final

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Final Index 

14. QCQ #3: The Gravity of Levity 

15. Contradictory Structures: Research: 1 2 3

16. Contradictory Structures: Final

17. QCQ #4: X Marks the Spot

18. Lost Statements: Research: 1 2 3

19. Lost Statements: Final

20. Self-Directed Manifesto: Research: 1 2 3

21. Self-Directed Manifesto: Final

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Title: Center Stage

Medium: Palettes, Fabric, Concrete, Metal, Thread, Twine Rope

Dimensions Variable

Statement:

With this piece, I wanted to demonstrate this idea of pressure that comes with other people's expectations. I took two shipping pallets and had it hold up using only one piece of a metal line as I would continuously add on more fabric stuffed with concrete to it. It would get heavier the more wet concrete I would place on it. In terms of the display, I was reminded of theater sand bags that are used to help maneuver certain aspects of the behind the scenes innerworkings. These sandbags hold the strength of maintaining everything in balance, but are also at risk in collapsing. In turn, they became the main performer for this piece that could easily collapse at any moment. I used the shipping pallets in juxtaposition to sandbags because of their use to keep caution with fragile materials.

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Mood board 1:

I have a stencil that I've had since I was a kid and I wanted to give it shape and mold it out of wax that i could then melt and make impressions with on fabric, kinda like fingerpainting as you would as a kid.

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Mood Board 2:

I wanted to make my own hooks using a cast of a readymade hook and changing its appearance. make hooks with rebar, perhaps mold with concrete.

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Mood board 3:

I wanted to make my own keychain out of rebar perhaps and make a silicone mold of that. I was thinking of when I was a child and I would have so many keychains, mostly ones that people would give me, but i would take such care of them. I wanted to give these plaster keychains to people in my life and have them put it with their keys and then ask for them back within 2 weeks or ideally a month. I wanted to present the keychains which I image would be mostly damaged, or maybe taken care of , to show the process of care in terms of sentimental.

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Title: My Childhood Replica

Medium: 1st: Table, Cloth, Wax, Plaster, Books, Bag, Marbles

2nd: Child's shirt, plaster, thread, rebar, screw

3rd: plaster, spray paint, domino box

Dimensions Variable

Intent:

For this piece, I initially wanted to stage a scene of when I was a child during a time that was difficult to adjust to that occurred from my parent's divorce. In the first set of pictures, I wanted to talk about growing up as an only child and staying over my grandparent's apartment, since my dad was living with them after the divorce, but being kind of put in a space that was not necessarily uncomfortable, but rather particular. I did not feel comfortable to run around and play like a kid would, but felt like I had to remain in one area and be more careful with how I would interact with the space. From that setting a scene display, came about this idea of how many things as a child are very fake in a sense, there was always some sort of veil that grown ups would attempt to put on what was really going on. Then came about putting fake buttons on a child's shirt, which I used to have many shirts like that. But I molded the screw heads and sewed them onto this shirt in order to mix my child self to my current self as I continue to understand the type of work I want to create. I also made molds of this rectangle object that funny enough, looked like dominos to me, so then again, I wanted to relate it to my child self of being at my grandparents house and finding whatever objects around to use as my toys. I spray painted the markings of a domino's to be one versus one, but placed at the corner in due to that divide among my parents, where they never saw eye to eye in any regard. Whichever way the domino's are set up, would lead to a cornered stance.