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| Creature #3 Spray foam, plastic cups, beads  |
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| Small Sculpture- Spray foam in a plastic bag (bad idea) |
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| Small Sculpture - Experimentation for next project |
Personal website: http://cargocollective.com/tonybernardo
Wednesday, October 26, 2016
Bernardo- Critique #4
In this project I was finally able to expand my project in order to reach another sense-hearing. These foam core sculptures encompass a capsule containing beads which make sound when shaken. the cloudy, fluffy feeling that the foam core presents is contradicted by the clamor of the beads dancing within it. In future projects I want to add auditory components with my sculptures in order to confuse the participate and alter the way he or she experience the sculpture.
Bernardo- Critique #3 (Research+Process)
In this project I began to experiment with familiar textures such as yarn and paired them with unfamiliar textures such as gooey liquid latex which resembles human skin and tissue.I taught myself how to loom which was surprisingly really cool and easy. As rewarding as looming was the time constraint limited me to me only creating a foot long body but I hope to purchase old beanies to extend the length without having to loom for several hours. Additionally I hope to explore other materials such as latex and spray foam in order to make my sculpture more complex in form which will lead to a large variety of interpretations from being exposed to the sculpture for a very small amount of time.
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| Creature #2 Yarn, tissue paper, liquid latex, plaster |
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| Loom wheel with alternating black and blue pattern |
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| Hardened putty made out of wood saw and paper with wood glue |
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| Face molds |
Bernardo - Critique #2 + Small Works
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| Creature #1 Newspaper, liquid latex, latex balloon, latex gloves, black yarn, tape |
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| Creature #1 inside of Feel box #1 |
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| Drawing of Creature #1 16in x 20in each |
Small Works: https://docs.google.com/document/d/1gLPXY2PMo5wta689HaLFvzg7dhO9o_6GQgrkv4bwpbI/edit?usp=sharing
Personal Website: http://cargocollective.com/tonybernardo
Bernardo -Critique #1 (Updated Documentation + Research/Process)
The goal of my first project is to create an environment in which I deprive the viewer of their senses which leads the participant to rely on other senses in order to construct an interpretation of what is within the box. Then I have the participant draw out what they had Imagined which I will then interpret and produce a sculpture based on that drawing, Throughout this process I want to analyze and witness the translation between a 3-D form into and a 2-D manifestation and then have it be returned to its original 3-D state. I also want to note want to note what features get lost in translation during the process. Its kind of like a glorified telephone game.
I have looked into how our bodies are able to experience things with our senses and how predispositions/prior knowledge of texture/form/sound inhibits us from seeing something from a new viewpoint.
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| Feel Box #1 (Spectator View) Wood and Plexiglass 15.5in x 15.5in x 20in |
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| Feel Box #1 (Participant View) Wood and Plexiglass 15.5in x 15.5in x 20in |
Most Recent Artist Statement - Kate
Through my assignments of context and content to my constructions, which assimilate into narratives of interacting symbols, I attempt to emphasize the primal relation of humanity to the rest of nature - where a self inflicted separation permeates, reflecting upon the state of empathy in which individuals fluctuate between. With eternal grasping towards differentiation and a malleable form of self identification, our species metamorphosizes into a nearly singular, massed being of accumulated constrictions and shrouds to its existence; this is contradictory in the manner which extends beyond connecting strings of value to survival, with reflection upon the generalized vision of culture. In order to analyze the deconstructions and sidelong overs of reality, as well as the subsequent manifestations in which all preceding and succeeding segments of time are influenced through perception, I compose representations and structures, both through two and three dimensionalities, which heighten consciousness of the physicality of the observer. This is intended to alleviate the weight of the proximity to the extremities attached, in a manner which instills these additives nearly as intrinsic in our minds, to our nature - while confronting them with the limitations to our ephemeral shells. With documentations of nuances, through empathy of line and attempts at depths of attention to shifts in sensitivity of the slight movements of contours, I embolden awareness of the habituations and normalizations which flow within our existence, directly leading to degrees of desensitized passivity. The physicality of our primitive beings may be evident within the drifting speeds at which we feel the movement of time’s hand. Humanity’s self-motivated separation from nature’s rest, lends to the trundling passivity, which erupts warps in time, and binds us sparingly to the earth.
Ortega - Crit 3
Title - Predecessor
Dimensions - 2'2" x 2'2" x 5'4"
The relationship, both on planes regarding the succession of time and perceived inherent value, between existence and essence, as well as whether or not the nature of both beings may live unbound from the other, is a wonder of mine. In correlation, the way in which we grow so disconnected from our past selves, so that the act of continually empathizing with the humanity of those individuals falls upon us, in parallel to how we're all too far apart, isolated in our regeneration.
In-Depth Project
Small Works
Ortega - Crit 2
Title - Preceding Narrative
Dimensions - 12" x 4" x 7"
Through a dichotomy between a continually deconstructing geometric vessel, emphasizing an anatomizing nature built upon a nuanced lack of absolutes, and a systematic waning and regeneration of a codified arrangement of form - with the disparity marked by humanity. Primitively drawn towards a drive to organize, due to the survival value composed of familiarity, found within an ability to predict a succession of moments on the basis of past repetitive predictors. This inherent movement parallel with pattern recognition, seems to allow for the manner in which we tend to gauge relative significance; this through comparison of grouped entities void of singularity.
Rodriguez-Crit#4
InDepth Project- Pocket Pocket
Through experimentation, I enjoyed the process of creating pockets within pockets and anticipating the element of surprise-rather it be relevant as to what object was in the pocket or if there was a sort of, Russian doll effect, where the person interacting with the piece continuously unravels and seeps through a maze of pockets and becomes more intrigued at each step.
- Material- cloth, buttons, stuffing, fragments of clothing (inside) rags, lint
- Measurements: 24x27x19
Artist Statement - Karina Fonseca
I have struggled with emotional
communication all my life so making art has become a way for me to express my
troubles with others in a healthy way. Putting my emotions out into the world
in a way that feels valid and productive is helpful for me. Art has become a
major aspect of my life as therapy for my depression and anxiety.
I am interested in psychology,
emotional communication, existentialist ideas, and raising awareness against
mental health stigmas in society. Artists of inspiration include Bruce Conner,
Nan Goldin, and Yayoi Kusama. These artists produce emotional-based work in
different ways that I find interesting. My art relates to how my mental state
is affected by my relationship with others and myself and vice versa.
The materials I use include ink,
acrylic paint, plaster, thread, wood, and rope. My art takes form in 2-D,
sculpture, and a blend of the two. I choose to work with these materials
because they can be manipulated for different purposes. Rope and thread
represent my attachments, plaster is both malleable but rigid depending on how
it’s used, and ink adds a contrast I enjoy aesthetically. I prefer performance
and sculptural work because I feel that it is more interactive with my audience
and myself. Performance gives my art an extra layer of interaction and depth
because it brings out the emotion I am communicating to life by instilling it
in the audience.
As an artist, I want to produce
work that my audience can relate to. The purpose of my art is to decrease the
stigma surrounding mental health and to use my talent to show society that even
people suffering from mental illnesses can be just as productive and
successful.
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