artist state stuff--very very rough draft
ARTISTS STATEMENT
PART ONE : Big Picture Stuff
A.
When do you remember first making art?
Jazzy jewelry – entrepreneurship fair in elementary school, each group got $40 loan from bank. We made beaded jewelry. I came up with designs, other girls in my group made lots of them. I remember being caught off guard by how easily the whole thing came to me. Because nothing in school ever came to me. So I remember thinking yeah this could be good
What were the experiences like?
What compelled you to return to art throughout your life?
How creating helps me understand things, I learn as I make.
I love it when people like what I make. That gets me going. Making bad work is the worst. Its like when you tell a joke when no one laughs….and you have food in your teeth…and bad breath…and your standing in front of a crowd in your underwear. Yeah its that bad, so I try to go to all ends to avoid making crap
When did you first consider yourself an artist?
I don’t use the word artist. But yeah I have always known I was creative. Its good and bad. Im always really aware of it.
B.
Write about an experience with a specific work of art (or body of work, piece of architecture, monument) that has affected you, in a positive or negative way. It may not have created a noticeable visual impact on your work, but the memory of it haunts you.
“Getting” cubism/ art history
Learning about Droog/Arthur hash/ objectified/ the world of product design at large
C.
Who have been your artistic influences?
What, in particular, about their work has been influential?
Or, in what ways have they influenced you?
Mention other influences as well, such as literary, musical, social, or political ones.
Write five complete sentences about your influences.
I really feel like the product of what I grew up around
My parents/ architectural background/ growing up immersed in art history
My engineer/ mechanic uncles and grandfather
My grandmother and farmer nature
My sisters love of advertising and marketing from a young age
All these = I had NO chance but to fall in love with product design
DROOG – bad ass design. My first real artistic break through. Good, smart, witty, stylish design
D.
How does your work relate to art that has been produced in the past?
How does it relate to art that you are seeing in your community, exhibitions, or in art publications?
What is similar?
What do you consider to be unique to you?
PART TWO : Your Personal Approach to Your Work
What inspires you to create?
Creating is my way of processing and digesting. In my everyday life I always am collecting bits and pieces that interest me. When I create something it’s the bi-product. And as great as the product is, the whole process is important to me
I watched a video on where great ideas come from and it said something about hunches. I completely agree. I feel like most of my projects are based off these random hunches. Most of the time when I start a project its pretty blind, and I don’t really know why I am doing it, but I just feel really strongly about it. Through the making process I find that the answer reveals itself, like why I feel compelled to make things a certain way.
Is it the materials you use?
Yes and no. I used to be a big believer of picking up a material and just playing. Like seeing what it can do, what it wants to do, and most importantly what it doesn’t want to do. Then I sort of see how I can make my ideas work with that material. Very much a relationship.
Certain materials do have qualities that I prefer.
The places you see and visit?
NO! I wish. I can’t wait till I go study abroad in the spring because I think it will broaden my “design” horizon. I feel like im stuck in my ways and my approach to makin shit has gotten stale.
The people you know and meet?
Other artists/designers inspire me. And yeah but more so they inspire my work ethic. I love people that are opposite of me. I’m constantly looking for people to team up with, because I don’t design best by myself. I’ve got this one set of skills, and I love teaming up with people who think in an opposite way of me. It gives the design process a sense of stability and much less overwhelming. Which I guess influences my work
Your emotional state?
For an artist im pretty insecure about putting my emotions into a piece. I guess it goes back to that whole design thing. I tend to approach projects more analytically then emotionally.
Other artists’ work?
Totally. I love looking to see what is happening on the forefront of design, the pioneers. That excites me, the renegades, the innovative, and the revolutionaries. Sooo many designers I would love to meet and just pick there brain. Like how they got to be the way they are, you know what “made them”.
But I’m also an art history freak. History is amazing. I guess I am always trying to look to the past for clues to the future. And I love seeing technological advancements through out history have impacted art.
It amazes me how a technology will be invented that seemingly should make artists irrelevant. Like the invention of film. And then BOOM! They do something crazy. I look forward to see what will happen in the art world as computers become more and more utilized
The mark you make on the page?
Yeah definitely. I keep going back to David Page. Whenever I hear the word mark making I just think of that mans intense demeanor, like when he said the word you really felt the impact of the word. I guess mark making are like an artists fingerprints. It’s the way our brain tells our arm to move our hand to hold our tool to create on the page. As much as all the technology stuff is cool, it can and will never replace the feeling of handmade. We respond on this primitive level to something that has been handmade and we are able to see parts of the process.
I’m critical of it in my own work
Form specific ideas about the act of making art, not generalized phrases that appear in so many statements
I love knowledge. My brain works in a weird way. It doesn’t organize things right. Maybe its my dyslexia. Or too much tv as a kid. Either way, like I said I feel like subconsciously my brain is always picking things up and storing them somewhere. All the time. But the thing is, I feel like I just have all this stored junk stored up in my head in no organized fashion. So when it comes to making my art work, I just let my brain kind of barf up all this miscalenous knowledge, and then try and make sense of it somehow.
I am always interested in the process of everything. How it got to be the way it is now, what shaping factors. Or why something even exists in the first place. I don’t know what this obsession is to know (even that I would like to ponder and get to the bottom of)
I do not like creating representational or narrative work. It feels trite and feigned to me. I had this epiphany with a Picasso painting and synthetic cubism. The chair caning is a found object. And everything else in composition is painted. So the chair caning is “real,” but its actually just a print of chair caning. So it’s just a representation of something? I love this. Instead of painting a picture of a flower, first, I want to know – whats the purpose of flowers?? What do they do – why do plants have them – WHY do they have those beautiful petals. What is it about petals that we find to be so beautiful. This is usually pretty typical of my process. Once I muddle through all this information, then I would see how I could apply these concepts toward a design. To me, this feels much more relevant then painting a perfectly beautiful lifelike flower. I would rather implement the inherit characteristics of a flower on something then wear a flower itself.
I feel like instead of creating art, Im actually breaking stuff down, stripping it down to the skeleton, its defining structure. Maybe because I hate loads of filler. Its like “come on I don’t have time for this get to the point!!!” Like how your body breaks the food you eat down into its most basic form, obviously it makes for easier and faster organization and handling. So that’s what I do with my art. I guess it is in response to everything. I process by breaking down. my work is the bi product, the process is my learning time.
How has your art evolved in the 5 years? 1 year? 6 months? Pick those that are appropriate to the length of your career and write about them.
I have noticed that my work continues to be focused on deconstructivist method. I have become more and more interested in structure and outline, and removing away all the material that I deem “filler” I have always been more interested in preliminary sketches then paintings. Outlines take my breath away.
Taking stuff apart
I am not interested in filler, or arbitrary
I think that like so much of everything else around us. I guess I speak in terms of product design. stuff has become so over designed. We are saturated with stuff and decoration, pattern and researched color palates we respond the most positively too. I think companies like apple should be role models to everyone else out there. They have a good product, with limited choices, and sleek, clean, necessary design. its great. That’s what I want to do in my work. Streamline, simplify and hold every design decision I make accountable. Everything should have a reason.
What has stayed the same?
Color? My friends like all my work
What are common threads?
What has changed a little?
What has changed dramatically?
How have you felt about your art along the way?
Describe the process of thinking about your work and how it comes together in your mind. Do not describe the actual making of the work.
How do you begin an artwork?
What inspires you to start it?
Then, what is the first step?
Is it a drawing? a photograph? a single mark?
How do you physically go about putting a work of art together?
What are the steps that are involved?
Is this a process understood by the majority of people? Or would it be helpful for you to define it somehow? If so, try to find the words. Do you approach a traditional medium in a unique way?
Thinking back and looking back on what you have written so far this week, select the points that you feel are most relevant and unique about how you work.
Write five sentences about your working methods.
PART THREE: Responses to Your Work
Are there any emotions you are trying to elicit?
I’m not really focused on emotions so much. I guess emotions can be anything, including a reaction to your work. But I am mostly concerned with my work having a specific feeling. I like the idea of using geometric forms, and then altering them while still keep the form. I like geometric forms because
What are the formal qualities (line, shape, color, texture, etc.) you would like people to recognize?
What do you want them to say about your use of materials?
Or your subject matter?
What would you really like for people to say about your art?
Write down at least three complete thoughts that would help guide people to examine your art more closely and, perhaps, elicit the responses you want/ hope for.
What are people really saying about your work and what can you write/say to guide them?
Complete the following thoughts (not a fill-in-the-blank):
The subjects or style I choose are ___________ because ____________.
I am most inspired by ___________________.
I choose my materials because _________________.
I think viewers are most interested in my _________________.
PART ONE : Big Picture Stuff
A.
When do you remember first making art?
Jazzy jewelry – entrepreneurship fair in elementary school, each group got $40 loan from bank. We made beaded jewelry. I came up with designs, other girls in my group made lots of them. I remember being caught off guard by how easily the whole thing came to me. Because nothing in school ever came to me. So I remember thinking yeah this could be good
What were the experiences like?
What compelled you to return to art throughout your life?
How creating helps me understand things, I learn as I make.
I love it when people like what I make. That gets me going. Making bad work is the worst. Its like when you tell a joke when no one laughs….and you have food in your teeth…and bad breath…and your standing in front of a crowd in your underwear. Yeah its that bad, so I try to go to all ends to avoid making crap
When did you first consider yourself an artist?
I don’t use the word artist. But yeah I have always known I was creative. Its good and bad. Im always really aware of it.
B.
Write about an experience with a specific work of art (or body of work, piece of architecture, monument) that has affected you, in a positive or negative way. It may not have created a noticeable visual impact on your work, but the memory of it haunts you.
“Getting” cubism/ art history
Learning about Droog/Arthur hash/ objectified/ the world of product design at large
C.
Who have been your artistic influences?
What, in particular, about their work has been influential?
Or, in what ways have they influenced you?
Mention other influences as well, such as literary, musical, social, or political ones.
Write five complete sentences about your influences.
I really feel like the product of what I grew up around
My parents/ architectural background/ growing up immersed in art history
My engineer/ mechanic uncles and grandfather
My grandmother and farmer nature
My sisters love of advertising and marketing from a young age
All these = I had NO chance but to fall in love with product design
DROOG – bad ass design. My first real artistic break through. Good, smart, witty, stylish design
D.
How does your work relate to art that has been produced in the past?
How does it relate to art that you are seeing in your community, exhibitions, or in art publications?
What is similar?
What do you consider to be unique to you?
PART TWO : Your Personal Approach to Your Work
What inspires you to create?
Creating is my way of processing and digesting. In my everyday life I always am collecting bits and pieces that interest me. When I create something it’s the bi-product. And as great as the product is, the whole process is important to me
I watched a video on where great ideas come from and it said something about hunches. I completely agree. I feel like most of my projects are based off these random hunches. Most of the time when I start a project its pretty blind, and I don’t really know why I am doing it, but I just feel really strongly about it. Through the making process I find that the answer reveals itself, like why I feel compelled to make things a certain way.
Is it the materials you use?
Yes and no. I used to be a big believer of picking up a material and just playing. Like seeing what it can do, what it wants to do, and most importantly what it doesn’t want to do. Then I sort of see how I can make my ideas work with that material. Very much a relationship.
Certain materials do have qualities that I prefer.
The places you see and visit?
NO! I wish. I can’t wait till I go study abroad in the spring because I think it will broaden my “design” horizon. I feel like im stuck in my ways and my approach to makin shit has gotten stale.
The people you know and meet?
Other artists/designers inspire me. And yeah but more so they inspire my work ethic. I love people that are opposite of me. I’m constantly looking for people to team up with, because I don’t design best by myself. I’ve got this one set of skills, and I love teaming up with people who think in an opposite way of me. It gives the design process a sense of stability and much less overwhelming. Which I guess influences my work
Your emotional state?
For an artist im pretty insecure about putting my emotions into a piece. I guess it goes back to that whole design thing. I tend to approach projects more analytically then emotionally.
Other artists’ work?
Totally. I love looking to see what is happening on the forefront of design, the pioneers. That excites me, the renegades, the innovative, and the revolutionaries. Sooo many designers I would love to meet and just pick there brain. Like how they got to be the way they are, you know what “made them”.
But I’m also an art history freak. History is amazing. I guess I am always trying to look to the past for clues to the future. And I love seeing technological advancements through out history have impacted art.
It amazes me how a technology will be invented that seemingly should make artists irrelevant. Like the invention of film. And then BOOM! They do something crazy. I look forward to see what will happen in the art world as computers become more and more utilized
The mark you make on the page?
Yeah definitely. I keep going back to David Page. Whenever I hear the word mark making I just think of that mans intense demeanor, like when he said the word you really felt the impact of the word. I guess mark making are like an artists fingerprints. It’s the way our brain tells our arm to move our hand to hold our tool to create on the page. As much as all the technology stuff is cool, it can and will never replace the feeling of handmade. We respond on this primitive level to something that has been handmade and we are able to see parts of the process.
I’m critical of it in my own work
Form specific ideas about the act of making art, not generalized phrases that appear in so many statements
I love knowledge. My brain works in a weird way. It doesn’t organize things right. Maybe its my dyslexia. Or too much tv as a kid. Either way, like I said I feel like subconsciously my brain is always picking things up and storing them somewhere. All the time. But the thing is, I feel like I just have all this stored junk stored up in my head in no organized fashion. So when it comes to making my art work, I just let my brain kind of barf up all this miscalenous knowledge, and then try and make sense of it somehow.
I am always interested in the process of everything. How it got to be the way it is now, what shaping factors. Or why something even exists in the first place. I don’t know what this obsession is to know (even that I would like to ponder and get to the bottom of)
I do not like creating representational or narrative work. It feels trite and feigned to me. I had this epiphany with a Picasso painting and synthetic cubism. The chair caning is a found object. And everything else in composition is painted. So the chair caning is “real,” but its actually just a print of chair caning. So it’s just a representation of something? I love this. Instead of painting a picture of a flower, first, I want to know – whats the purpose of flowers?? What do they do – why do plants have them – WHY do they have those beautiful petals. What is it about petals that we find to be so beautiful. This is usually pretty typical of my process. Once I muddle through all this information, then I would see how I could apply these concepts toward a design. To me, this feels much more relevant then painting a perfectly beautiful lifelike flower. I would rather implement the inherit characteristics of a flower on something then wear a flower itself.
I feel like instead of creating art, Im actually breaking stuff down, stripping it down to the skeleton, its defining structure. Maybe because I hate loads of filler. Its like “come on I don’t have time for this get to the point!!!” Like how your body breaks the food you eat down into its most basic form, obviously it makes for easier and faster organization and handling. So that’s what I do with my art. I guess it is in response to everything. I process by breaking down. my work is the bi product, the process is my learning time.
How has your art evolved in the 5 years? 1 year? 6 months? Pick those that are appropriate to the length of your career and write about them.
I have noticed that my work continues to be focused on deconstructivist method. I have become more and more interested in structure and outline, and removing away all the material that I deem “filler” I have always been more interested in preliminary sketches then paintings. Outlines take my breath away.
Taking stuff apart
I am not interested in filler, or arbitrary
I think that like so much of everything else around us. I guess I speak in terms of product design. stuff has become so over designed. We are saturated with stuff and decoration, pattern and researched color palates we respond the most positively too. I think companies like apple should be role models to everyone else out there. They have a good product, with limited choices, and sleek, clean, necessary design. its great. That’s what I want to do in my work. Streamline, simplify and hold every design decision I make accountable. Everything should have a reason.
What has stayed the same?
Color? My friends like all my work
What are common threads?
What has changed a little?
What has changed dramatically?
How have you felt about your art along the way?
Describe the process of thinking about your work and how it comes together in your mind. Do not describe the actual making of the work.
How do you begin an artwork?
What inspires you to start it?
Then, what is the first step?
Is it a drawing? a photograph? a single mark?
How do you physically go about putting a work of art together?
What are the steps that are involved?
Is this a process understood by the majority of people? Or would it be helpful for you to define it somehow? If so, try to find the words. Do you approach a traditional medium in a unique way?
Thinking back and looking back on what you have written so far this week, select the points that you feel are most relevant and unique about how you work.
Write five sentences about your working methods.
PART THREE: Responses to Your Work
Are there any emotions you are trying to elicit?
I’m not really focused on emotions so much. I guess emotions can be anything, including a reaction to your work. But I am mostly concerned with my work having a specific feeling. I like the idea of using geometric forms, and then altering them while still keep the form. I like geometric forms because
What are the formal qualities (line, shape, color, texture, etc.) you would like people to recognize?
What do you want them to say about your use of materials?
Or your subject matter?
What would you really like for people to say about your art?
Write down at least three complete thoughts that would help guide people to examine your art more closely and, perhaps, elicit the responses you want/ hope for.
What are people really saying about your work and what can you write/say to guide them?
Complete the following thoughts (not a fill-in-the-blank):
The subjects or style I choose are ___________ because ____________.
I am most inspired by ___________________.
I choose my materials because _________________.
I think viewers are most interested in my _________________.
cubism
cubism
–noun ( sometimes initial capital letter 
) Fine Arts .
) Fine Arts . a style of painting and sculpture developed in the early 20th century, characterized chiefly by an emphasis on formal structure, the reduction of natural forms to their geometrical equivalents, and the organization of the planes of a represented object independently of representational requirements.
Deconstructivism
de·con·struc·tion
[dee-kuhn-struhk-shuhn] wikipedia
Deconstructivism in architecture, also called deconstruction, is a development of postmodern architecture that began in the late 1980s. It is characterized by ideas of fragmentation, an interest in manipulating ideas of a structure's surface or skin, non-rectilinear shapes which serve to distort and dislocate some of the elements of architecture, such as structure and envelope. The finished visual appearance of buildings that exhibit the many deconstructivist "styles" is characterized by a stimulating unpredictability and a controlled chaos.
The attempt in deconstructivism throughout is to move architecture away from what its practitioners see as the constricting 'rules' of modernism such as "form follows function," "purity of form," and "truth to materials."
GEODESICS - hot hot hot
geodesic dome
–noun
a light, domelike structure developed by R. Buckminster Fuller to combine the properties of the tetrahedron and the sphere and consisting essentially of a grid of compression or tension members lying upon or parallel to great circles running in three directions in any given area, the typical form being the projection upon a sphere of an icosahedron, the triangular faces of which are filled with a symmetrical triangular, hexagonal, or quadrangular grid.
mmetrical triangular, hexagonal, or quadrangu
CANTTTT Stop
Geodesics
Buckminster fuller
dual polyhedrons
geodesics in biology
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