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Final Index

12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research

Idea 1

Idea 2

Idea 3

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

15. A Structure Within a Structure: Final

16. QCQ #4: Concrete Blonde

17. Memory of Spaces (Negative Impressions)

impression 1

impression 2

impression 3

18. Memory of Spaces: Research

Idea 1

Idea 2

Idea 3

19. Memory of Spaces: Final

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SPACES: FINAL INDEX

12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research 1 2 3

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

15. A Structure Within a Structure: Final 1 2

16. QCQ #4: Concrete Blonde

17. Memory of Spaces (Negative Impressions)

18. Memory of Spaces: Research 1 2 3

19. Memory of Spaces: Final 1 2

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Final Index — SPACES Intermediate Sculpture Spring 2025

11. QCQ #3

12. A Structure Within A Structure: Research

Post 1 | Post 2 | Post 3

13. A Structure Within A Structure: Materials in the World

14. A Structure Within A Structure: Final

15. QCQ #4

16. Memory of Spaces (Negative Fragments)

17. Memory of Spaces: Research

18. Memory of Spaces

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SPACES FINAL INDEX

QCQ #3: Structural Tension

A Structure Within a Structure: Research

 A Structure Within a Structure: Materials in the World

 A Structure Within a Structure: Final

QCQ #4: Concrete Blonde

Memory of Spaces (Negative Impressions)

 Memory of Spaces: Research

 Memory of Spaces: Final

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12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research

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

15. A Structure Within a Structure: Final

16. QCQ #4: Concrete Blonde

17. Memory of Spaces (Negative Impressions)

18. Memory of Spaces: Research

19. Memory of Spaces: Final

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Final Index

12. QCQ #3: Structural Tension

13. A Structure Within a Structure: Research

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

15. A Structure Within a Structure: Final

16. QCQ #4: Concrete Blonde

17. Memory of Spaces (Negative Impressions)

18. Memory of Spaces: Research

19. Memory of Spaces: Final

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Recollection of Play

20" × 36" × 4"

Playground sand, wood, wood stain, plaster

"Recollection of Play" recounts memories of my time at the park when I was a child. Memories that although distant, bring joy. As other things do, the playgrounds aged, and are weathered or some parts even replaced over the course of time. I aimed to collect different parts of the playground, some showing age with others being replaced or maintained, such as new swing chains or a rusty bolt. It made it so these areas felt familiar, but slightly off from how I remembered them. I found myself recollecting more and more about my childhood, and decided on partially burying plaster casts to emphasize the idea of memory, faded memory, and fossils.

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QCQ #3- Structural Tension: The Art of Oscar Tuazon

Quote :

"Many contemporary artists, curators, and critics share the assumption that the physical alteration of an exhibition space amounts to an inherently devastating assault on architecture, whether understood as a specific critique of the institution displaying the work or as a more generalized criticism of architecture's position in the culture at large"

Comment :

This quote itself has me think of the challenge of architecture and structure in a space and how that related to art. I feel architecture is an in-between of art and engineering but when in a museum setting or buildings in general, subconsciously I see it as more of a design rather than an artwork itself. With this in mind, the architecture of a museum is not the art itself, but just the area where said art is displayed. It would be unfair then to limit the way an artist interacts with a space just because of the design of the building.

Question :

Knowing that architecture is the design of a building, at what point would you consider a space itself to be art rather than just a building? Consider that the space is not altered from its original constructed form (no paint, decorations, etc.).

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QCQ #4: Concrete Blonde: A Probe into Negative Space where Mysteries are Created:

Quote:

"An authentic representation of architecture should also include time, as space is never inhabited in discrete and autonomous moments."

Comment:

I chose this quote as it made me confused the first time I read it, as my understanding of time in an art sense is through the lenses of my major, which is in animation. It involves a change in time, whether through a few seconds or years where the object or digital image physically (or digitally) changes in form. While some sculptures have this aspect as through mechanical means or the implementation of video/animation, the majority of sculptural or installation work lacks this quality, although it can change over time through the piece aging, it is widely out of the control of the artist how it changes. With something as simple as walking through a space, I did not really consider time, as for any meaningful change to occur, the person would have to sit in that building for years, even decades to see it age. As I read on, it more so means the perception people have of the space as they walk through it. I feel "time" in itself is misleading as the way a person views a space as they interact with it is to complex to describe as only time. The person can stay still, close their eyes, and depending on their own qualities (height and vision) it can drastically impact the way each person views a space, especially since spaces are much larger than sculptures, which are in my opinion the artist has more control over how it is seen than a large area.

Question:

Knowing that a building can take you through a journey depending on the architecture of the space, how can this be implemented in your own work so you can take the viewer in a journey over time as they see your work? Avoid using typical means of time in sculpture, such as video, animation, or through mechanical means.

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C & R metals visit

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A Structure Within A Structure

Idea 1

Idea 1 shows the recreation of the ambulance that carried my grandfather from what I remember as a child. My grandfather's death was a few weeks after he rode away in the ambulance, but I last saw him as he was getting in the ambulance. This piece would touch on topics based on childhood trauma in my life that were not shown publicly before.

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A Structure Within A Structure

Idea 2

Throughout my childhood, I wasn't allowed to wear the clothes that I felt comfortable in. So for a long time, wearing clothes felt like I was boxed in, and the box kept getting smaller and smaller. This piece would be an embodiment of how I felt wearing clothes until I was 18 years old.

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A Structure Within A Structure

Idea 3

Idea 3 explores suppressed feelings about childhood trauma relating to the loss of my maternal grandfather. I was born in Puerto Rico and lived there until 2014. In 2013, my grandfather passed away from Cancer, and although he knew that he was sick before this, he still made great efforts to connect with me and my little brother before he got hospitalized. My grandfather built the house that I lived in, in Puerto Rico. Before getting hospitalized, he continued to make improvements and renovations to the home, and he had me and my brother help. After he got hospitalized, I didn't see him again, and all I was left with was the reminder of an unfinished house that my grandfather built. This piece would represent the blood and sweat of my grandfather building a house that was never finished, and is presently abandoned

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A Structure Within A Structure Documentation

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Memory Of Spaces Negative Impressions

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Memory Of Spaces

Idea 1

Idea 1 would touch on spaces that feel like "home" to me, spaces of comfort. I would cast textures and objects that feel familiar and comfortable to me, specifically in my dorm. The presentation would be a play in the volume of light. I would hang multiple casts of plaster from the ceiling, shine a light opposite to the wall, and I would create a shadow on the wall.

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Memory of Spaces

Idea 2

Idea 2 explores the idea that all of my fears are connected, whether they are mental of physical. My body reacts similar to anxiety and depression as it would to my fear of spiders. So I wanted to crochet a big web and encase casts of plaster into the web of objects and spaces that represent my fear of conformity, childhood trauma, anxiety and depression.