My time in IP has helped me pinpoint and conduct exclusive research on my interests. For IP I compiled a list of interests based off my past work and my known interests. Plants and animals was the most common theme. By spending time researching these interests I developed networks and developed a web of interests connected to my work. Dedicating a year to a project is a different and rather difficult way to work because it’s a brand new practice for me. I realized that I draw as my main practice and therefore I really wanted to avoid drawing for a year. I turned to sculpture and begin a merger of my skills through 2D and 3D.
At the consultation I received good feedback for my work. I really liked the suggestions that were made. The pieces I showed were all separate ideas, but nothing solid in what I want to do. I showed leaves, tree branches, drew deep-sea creatures, etc. Over the course of the semester I sometimes felt “overwhelmed” by the amount of exploration and work I assigned myself. I was working between light, paperfolding techniques, and scale. All three had solid paths and it would be overbearing to try and incorporate all three for April. This was a valid point and I feel I need to focus on what truly interests me:
1) Texture, patterns, textiles. multiples of nature à exploring this through paperfolds. This is my primary focus.
2) Size and scale à Taking normally small creatures, microbes, tiny plants, and making them massively large. Secondary concern, but I would love to explore the idea of taking small, unseen species and making them large. A lot of microbe species have a lot of “texture” to them and making them large with a lot of attention to the “textures” would really enhance my paperfolding.
Thinking about small objects – bonsai trees create a mini “world” and a sense of wonder because you normally assume trees to be these large giants, but a bonsai tree is mini representation and because of this people are amazed with having a”mini” tree. Out of body scale.
Also think about even taking objects and focusing on a small part of it instead, example, cross-section of a plant stem and sculpting the structures inside, vascular structures … phoem and xylem … can make a form where you even make the structures inside of the entire piece.
3) Biolumisence à Using light to explore “wonder” through the science of natural light. I’m not nearly as interested in this, if I have time I would incorporate this, but this is definitely adding another level of complication to my piece.
4) I believe I’m interested in the Evolutionary process and depicting it in the future. I’m showing overgrowth and how it has changed over time or why we don’t have giant flowers or giant microbes for that matter.
The one thing I’m not quite sure I agree is on is the use of color. I picked white specifically because I do not want color to add any miscommunication of what I’m trying to portray. Color can assign emotions, feelings and change the subject of what I am trying to achieve. Though the suggestion given by Joe about creating more complex shapes, folds, shadows would be the only acceptable way for the color white to be used. I think the color white is the reason why people naturally want me to focus on using light too, because there is no color present I would turn to forms of contrast through the shadows of the paper.
Over the course of last semester I am happy with my process, but the level of my paper sculptures require more attention. It’s lacking the drive required for them to become more successful paper plants. I’m looking into exploring my forms and the level of detail that goes into them. I’m overlooking the tender loving “care” I normally put into my work by taking on some many other duties and allowing myself to be fascinated by other ways to expand on my project. My current forms missing the “wow” factor of my paper sculptures because they lack the intricate, delicate details found in a lot of my drawings. While I am setting my goals based off a separate discipline I feel I can better establish my work by using the skills gained from my drawing talents and the mindset can perhaps “unlock” a new way to approach my work. I play with what interests me: plants and animals. The process and the discovery of these plants and not necessarily the end product drive me. What I create is an emotional reaction to my research and I depict it’s beauty through the folds of paper.
I’ve found over the summer that putting myself out in the open – camping in backcountry, I get to see a raw form of myself. Out in the middle of backcountry I observed the world without any distractions. I only had my classmates and my thoughts – and it was a nice exercise to practice for once. I tend to think that while at home or in Ann Arbor I can put myself in a place where I can work without any distractions, but I didn’t truly realize what working without distractions meant until I was out in backcountry with only my sketchbook. I became an observer who journals and sketched my experiences, feelings, emotions, and stories while outdoors. Over break I tried to recreate this feeling by going outdoors through my backyard. Though it’s not the exact same setting, it is an acre of forest complete with a pond and enough trees that completely enclose it from seeing any other houses. I sat down and just listened. I visited the Fredrik Meijer Gardens in Grand Rapids too – it houses a large sculpture park and unique garden on the inside. Over break I decided to try and work on the technical aspect of my work by doing more research on origami models, it’s history, and modern artists today who practice origami. The amount of work and detail placed into some of the modules made here is just the kind of attention I need to apply toward my work. Unfortunately due to my physical capabilities I was not able to produce anything special of the sort. I managed to score some drawing, but I wasn’t quite so fortunate with paper folding itself. I focused heavily on research by reading, writing down, watching videos related to my IP. I’m trying a new angle this semester and I wanted to see it will help the issues listed above.
Fold an entire system inside a large structure and light it from the inside just to see what composes the plant.
Study the dissection of a plant or animal and lighting it from the inside. Maybe even expose a small section of it so people can look inside the complex system of these pieces.
Do some scientific illustration of these paper plants and do drawings of these pieces. Make my own cultural representation of my plants and animals.
FOCUS ON ONE IDEA.
Joe gave me an interesting term to research which may change the entire way I look at IP. These are some images/definitions I'm looking into to inspire and refresh my process. I really need to focus on a single route -- but what is it I wonder? Let's find out.
Cryptozoology (from Greek κρυπτός, kryptos, "hidden" + zoology; literally, "study of hidden animals") refers to the search for animals whose existence has not been proven. This includes looking for living examples of animals that are considered extinct, such as dinosaurs; animals whose existence lacks physical evidence but which appear in myths, legends, or are reported, such as Bigfoot and Chupacabra; and wild animals dramatically outside their normal geographic ranges, such as phantom cats or "ABCs" (an initialism commonly used by cryptozoologists that stands forAlien Big Cats).
Cryptozoologists are a specialized branch of monster hunters. Since their ultimate goal is to discover either new species of animal or new subspecies, the science of cryptozoology is rooted in biology. The more a creature shows evidence of being supernatural, the less likely it is that cryptozoologists would be interested in it. Not many cryptozoologists investigate the strangest things like ghostly demon cats,Mothman or werewolves. Ghost hunts are left to the paranormal investigators and a few fringe cryptozoologists. On the other hand, there are very few animals, however mythical they may be, that have never stirred the interest of a cryptozoologist. This is because perfectly real animals have often been obscured by so much folklore that they seemed ridiculous.
The art of origami is taken up a notch in the form of textural textiles by Milan-based designer, Elena Salmistraro. Elena produced these series of lovely accessories using paper, Tyvek and a sustainable fabric called Jacroki. This is something I'm developing an interest in as outside 'textures' for my plant forms.
The kusudama is a paper model that is usually created by connecting multiple units together. The individual pieces may be glued, sewed or connected with themselves. The complete kusudama may be decorated with tassels, beads, feathers and anything you can imagine.
Kusudama originate from ancient Japanese culture, where they were used for incense like a talismans against evil. It's possible that they were originally the bunches of flowers and herbs. The word kusudama itself is a combination of two Japanese words kusuri, Medicine, and tama — Ball.