spacesfall2024

[spacesfall2024]

Idea: 1/1

This is the only idea I want to purse since these objects hold such strong significance in terms of connecting with my grandmother and Catholicism.

[spacesfall2024]

This piece reflects my relationship with Catholicism, which holds power and meaning. We have these specific trinkets for protection. When I was younger, my grandmother would put these trinkets in almost all my purses that I carried daily to protect me because she believed that the Saints held that kind of power. Following that same tradition, I always keep one close to me. Usually, for this protection to be “activated,” it needs to be blessed by the church. But for someone who doesn’t believe in the institution of the church anymore, I decided to make a replica of my Jesus, for I find the figure to hold that power due to its association rather than the ritual itself.

[spacesfall2024]

Corners Final

This piece showcases a table layered with videos I’ve been collecting, accompanied by audio recordings from various days—conversations at work, at home, and beyond. A table is often a place of refuge, a space to escape. Here, however, it becomes a site of immersion, where you are compelled to lie beneath it, surrounded by the relentless sounds and visuals of everyday life.

[spacesfall2024]

QCQ #5

Quote: "A corner that is ‘lived in’ tends to reject and restrain. It meets all the hesitations of a child who is not quite sure of himself, who does not dare to move, who is seeking reassurance on all sides and who, having found reassurance in a corner, wants to stay there forever."

Comment: The image of a reluctant child withdrawing to a corner speaks to our innate need to seek cover when faced with uncertainty or vulnerability. This passage from Gaston Bachelard emphasizes the psychological and emotional resonance of corners by depicting them as private, protective spaces that evoke a profound sense of safety and reassurance. A corner, with its enclosing geometry, symbolizes a boundary against the unknown, offering a secure refuge where one can pause, reflect, or gather confidence.

Question: How does Bachelard's depiction of a "lived-in" corner reflect the balance between seeking comfort in familiar spaces and the potential limitations such spaces impose on personal growth or exploration?

[spacesfall2024]

Corners Idea 3: My third and final idea concept for the corners project is an art studio. An "art studio" is a dedicated space where an artist works to create art, providing a place to store materials, tools, and ongoing projects, allowing them to focus on their creative process in a dedicated environment, often including features specific to their chosen medium like easels for painting, pottery wheels for ceramics, or photography lighting setups; essentially, it's the artist's personal workspace for producing artwork. It is primarily used for the creation of art, including painting, sculpting, drawing, photography, ceramics, and more.

[spacesfall2024]

Corners Final Project: My corners project is called "Blanket Fort". This project has a red and pink blanket, two pillows, two chairs and six stuffed animals. It is inspired by a fun thing to do in childhood: which is building a blanket fort. It could also be inspired to make up for the childhood trauma, as it is sometimes normal to do childhood stuff to cope with the trauma from childhood, such as PTSD. To cope with childhood trauma, children can benefit from establishing a consistent routine, expressing their feelings through open communication, seeking support from trusted adults, engaging in creative activities like drawing or writing, and practicing relaxation techniques like deep breathing, all while being reassured of their safety and allowed to feel their emotions without judgment.

[spacesfall2024]

Final Index

12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research

a. First Idea

b. Second Idea

c. Third Idea

14. A Structure Within a Structure: Materials in the World

15. A Structure Within a Structure: Final

16. QCQ #4: Concrete Blonde

17. Negative Fragments

18. Positive Fragments: Research

a. First Idea

b. Second Idea

c. Third Idea

19. Positive Fragments: Final

20. QCQ #5: Corners

21. Corners: Research

a. First Idea

b. Second Idea

c. Third Idea

22. Corners: Final

[spacesfall2024]

[spacesfall2024]

[spacesfall2024]

Corners: Fractured Bond

Materials: Woman’s dress, Man’s formal suit Red tie, Plush Toys (Pandas), Pedestal, Divorce Papers, Wedding Rings, Hangers, and, Audio System

Dimensions: 7 x 5 x 4

Fractured Bond is a sculpture I created that reflects on the invisible scars that divorce leaves on children, highlighting themes of resilience, vulnerability, and the longing for support in the face of familial breakdown. It is a deeply personal exploration of the emotional fragmentation caused by family conflict, presented through a corner installation. As someone who comes from divorced parents, I approach my lived experience into this piece, reflecting on the lasting impact of marital breakdowns on children. Hanging in the corner are a woman’s dress and a man’s formal suit, symbolizing the absent yet ever-present parents whose relationship is fractured. Below them, I added two panda bear plush toys sitting close together, representing the children holding on to each other for comfort between the chaos.

On a pedestal nearby, wedding rings resting atop divorce papers, referring to the completeness of a broken union. I also incorporated a hidden audio component that plays sounds of parents arguing, inviting viewers in the chaotic and painful atmosphere of family harshness.

[spacesfall2024]

Final Index 

12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research

Concept Board 2 and Concept Board 3

14. A Structure Within a Structure: Materials in the World

15. A Structure Within a Structure: Final

16. QCQ #4: Concrete Blonde

19. Positive Fragments: Final

18. Positive Fragments: Research

Concept Board 2 and Concept Board 3

17. Negative Fragments

20. QCQ #5: Corners

21. Corners: Research

Concept Board 2 and Concept Board 3

22. Corners: Final

[spacesfall2024]

My piece speaks on the narrative of a close friend who is a therapist. I wanted to display the difficulties of this profession by creating a structure of rebar that acts as her body. At the same time, the sheer sheet represents a shield that can easily be dissolved by absorbing people's emotions, such as the water. Instead of using my body as the subject of performance, I wanted to see if I could incorporate the unique ability of my materials to express those emotions. Ultimately, it was supposed to reveal the skeletal part of the sculpture.

The second piece, the chair, is mixed with pantyhose, cotton, and bandage gauze, giving it a soft, human-like feel in contrast to the rebar. I wanted to create a setting for the main piece and figured that therapy involves a place for the therapist to sit.

What I find most interesting about this piece is the juxtaposition of materials, and I’m interested in seeing how I can further explore this theme in my other pieces.

[spacesfall2024]

Structural tension

1. Quote

“demonstrating that land art, minimalism, and site-specific

sculpture has “stolen much of the ground from architects,”

2. Comment

After reading this passage, I chose this quote to start a conversation on how artists and architects, although seen as separate entities, I didn’t realize that we still compete for recognition and space. I think of how expensive space has become; for example, look at the housing market. I acknowledge that no matter what form of art it is, we, as creative people, are competing for space. The two can easily be interchangeable.

3. Questions

how can two majors learn from each other regarding space and structure? Would having these two careers overlap in class in an educational setting be beneficial? Imagine the amount of creativity.

[spacesfall2024]

Negative fragments

[spacesfall2024]

This piece was inspired by a method I use in therapy to release my frustrations, which involves writing down my emotions. I started writing religiously but felt no release as I poured my feelings onto the paper without a second thought. That’s when I realized that I wasn’t acknowledging them due to my writing speed. I decided to take my ritual further and start sewing my words onto paper. I see this as a form of meditation since writing with thread takes longer; therefore, I can understand the words I am writing and their weight. I find this method to reflect the events that occurred within the past three months. My choice of material was based on the person I was writing these poems to. The map of Canada represents his family and his interest in geography. Since it’s so specific, I felt it was only appropriate to display it inside an ID card, which is typically an object that identifies a person but is always kept close to them. The red string is not only connected with the color of passion and sometimes related to anger, but it also makes it difficult for the reader to understand, which I translate into having an honest conversation with this person who, in real life, wouldn’t be able to understand me anyways.

[spacesfall2024]

Idea: 1/1

This is the only idea I want to purse since these objects hold such strong significance in terms of connecting with my grandmother and Catholicism.

[spacesfall2024]

“the world and its reconstruction, between the

object and its illumination.

Ricoeur makes a distinction between image and

fiction. Images, he says, always refer to some-

absent thing, while fictions have no objective

referent. He claims that "only the

image which does not already have its referent

in reality can display a world."17

I would argue that House is fictional in the

way that Ricoeur defines the term because it

does not refer in a reproductive way to some-“

I enjoyed reading about how imagination and an image live in two separate worlds.I remember reading somewhere about the progression of art as an object of performance, and part of its development was dissecting the essence of a photograph—how it captures a moment, holding it still from time but still living in this absence of the whole information. The viewer never knows the full context, only what is presented in front of them, similar to the act of preserving artifacts after a performance.

From my understanding, the artist created a way for us, as outside viewers looking at a house, to imagine the interior, with the logic of the imagination only existing in a separate world that isn’t ours. Did they find a way to make this imagination a reality, as straightforward as an image capturing a moment or an object? How can we, as artists, expand the duality between specific world definitions? Can we relate to Plato and his theory of art?