Disgust, Happiness, Sadness, Fear, Anger, and Surprise

Disgust, Happiness, Sadness, Fear, Anger, and Surprise places emphasis on art abstracted to its essential form and exhibits the creative disconnect associated with the seemingly empty shelves. At the core of this piece is Paul Ekman's research of the six basic human emotions from which all other emotions are derived. Inspired by Sol Lewitt's machine-like method of planning and decision-making and Eva Hesse's use of mindless repetition, the replication of shelves suggests assembly lines and factories in which there is no room for emotions. The six intangible emotions are impossible to assess when not represented by anything except space. In addition, this piece resembles methods of psychotherapy in conjunction with minimalism, in which repetition and instruction are provided as means of control.

Leave

Inspired by Sally Mann's strong connection to home and Andy Goldsworthy's ephemeral earthworks, Leave is presented as a photographic document of a sculptural work featuring leaves transferred across states. The artist's home and current residence are represented in equal-sized photographs of piles of leaves on ground. In Louisiana, the green and freshly-picked leaves are symbolic of growth and life, while the Wisconsin leaves scraped from the unfrozen ground are symbolic of decay and death. When paired, this juxtaposition is intended to create an artistic paradox within the viewer. Viewers may find that the changes of the seasons connect to distinct aspects of their own searches for home.

Toppings

Toppings addresses themes of growth, birth, nourishment, and desire by combining traditional ice cream toppings such as chocolate syrup, sprinkles, and whipped cream with white chocolate casts of women’s breasts. During the development of Toppings, I found inspiration in Jessica Stoller’s clever use of the feminine and grotesque body. Specifically in her Spoil exhibition, Stoller provides careful consideration to the formal qualities of the delicate and the crass. Her portrayal of the female body in conjunction with that of a gluttonous feast forces viewers to find distinction between ideals of femininity and the female form. Additionally, I took inspiration from Libby Rowe’s attitude towards feminism in art, Janine Antoni’s combined use of food and the female body, and Lauren Kalman’s juxtaposition of beautiful and ugly.

In the construction process, skin-safe alginate was molded around a variety of breasts. These alginate molds were then filled with plaster, which became casts for silicone molds. Finally, melted white chocolate was poured into the silicone molds and hardened into the original shape of the breasts. They were then placed on stainless steel trays reminiscent of both medical and culinary settings. The breasts displayed on trays allow us examine the objectification of women’s bodies. In addition, the variety of sizes and shapes of the breasts simulates the selection process in an ice cream shop. 

The choice of topping these breasts with those ingredients fit for a sundae bring to mind childhood and innocence, while simultaneously commenting on consumption and sexual desire in adulthood. This binary is reiterated in the transformation that occurs when working with the ephemerality of edible ingredients. Over time, Toppings will drip, melt, and change shape, paralleling our developing attitudes towards female bodies and indulgent food. 

Dinner Party

The installation Dinner Party serves as an experiment in relational aesthetics. Participants are handed a set of rules by which to comply during a structured meal setting. They are served very small amounts of low calorie foods arranged in meticulous formations on a fully set table. The rules and dinners are inspired by pro-anorexia websites. What Dinner Party aims to explore is the relationship between people and food under extreme conditions. The behavior of participants is challenged by the rules they are inclined to follow. By placing restrictions on multiple people in a social setting, questions are asked about eating disorders and eating habits in general.

Restrictions I-V

Restrictions I-V is a performative exploration of physical and psychological restrictions. Using the concept of self-as-subject, I created and borrowed tools to deprive myself of these functions: use of teeth, warmth, use of thumbs, vision, and privacy. 

The video document shows either use or result of use of these five physical or metaphorical tools. 

Aside from the last restriction entitled Privacy, the aspect of privacy was unintentionally everywhere in this project: the photos and videos offer insight into my life that I didn't necessarily choose to share. 

The accompanying book exhibiting both "object" and "use" is a tactile item that creates an intimate experience between the single viewer and the artwork. The unedited Polaroid photographs parallel the loss of control discovered through the use of the tools. 

I specifically titled it I-V to imply that these are only five of an infinite number of possibilities. In other words, this project is designed to be explored further. 

Another Person's Treasure

Another Person's Treasure is an interactive sculpture accessible by the public. It displays objects collected during the construction of the unit, as well as objects added by viewers of the work. The clear door invites viewers to look inside and the doorknob invites them to physically connect with the piece. Viewers are encouraged to participate in the give-something-take-something experiment, which allows Another Person's Treasure to be constantly evolving. 

In the construction process, I collected scrap wood to build the walls and roof of the sculptural structure. This re-use of materials mimics the transforming of ordinary and not-so-ordinary objects into a piece of art.

As this project progresses, I am interested in the psychological aspect of the giving and taking of objects and of the objects people choose to present with little or no direction.