Grand Finale: Translation
April 29, 2009
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- Corey Brown, The Haunted House, Used Text, Foil and Tissue Paper
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- Angie Bender, Eva is Inside Her Cat, Clay, Styro Foam, Frame
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- Deidra Castelline, Eva is Inside Her Cat, Textile Letters Inside Spelling BEAUTY
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- Deidra Castelline, Eva is Inside Her Cat
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- Jiorgina Diaz Outside Detail 1
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- Jiorgina Diaz Inside Detail 2
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- Terri Falvey, Eva is Inside Her Cat, Clear String and Upholstery Tacks to Represent the Insects
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- Lauren Herman, Eva…, Great details inside the eyes
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- Melissa Lambrecht, Haunted House, She added a sound element of a heart beating. Clay Form.
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- Calvin Murry, Haunted House, Maze inside the heart representing the house.
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- Clavin corrdinated his whole presentation, including his stylish wardrobe….
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- Sarah Nettle, Haunted House, Wire Hands
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- Milan Neyra, Haunted House
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- Brynn Olsen, Eva.. ,Computer Parts and Wire
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- Detail
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- Kat Orquiola, Haunted House, Used her broken car window.
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- Veroncia Pagan, Haunted House
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- Kristen Schwieterman, Eva.., Copper Webbing and Wire
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- Steven Sharpe, Haunted House, Box View Inside
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- Kat looking into Steven’s Sculpture
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- Inside construction
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- Idella Smith, Haunted House, Velum with Drawings
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- Idella Smith #2
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- Lilia Tate, Eva.., Using eggs and contrasting the light and dark of Eva
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- Jiorgina Diaz, Haunted House, Using the element of surprise that the ghost story becomes a love story.
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- Ali Bacon, Haunted House
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- Michelle McKnight- B’arrow, Eva…., Thinking about the orange.
Ali Bacon, Haunted House, Silver Window- Mylar, Velum, and Wire
Corey Brown, TheHaunted House, Text, Foil, and Tissue Paper
Terri Falvey, Eva is Inside Her Cat, Clear String and Upholstery Tacks to Represent the Insects
Angie Bender, Eva is Inside Her Cat, Clay, Styro Foam, Frame
Lauren Herman, Eva..., Great details inside the eyes
Melissa Lambrecht, Haunted House, She added a sound element of a heart beating. Clay Form.
Calvin Murry, Haunted House, Maze inside the heart representing the house.
Sarah Nettle, Haunted House, Wire Hands
Milan Neyra, Haunted House
Brynn Olsen, Eva.. ,Computer Parts and Wire
Kat Orquiola, Haunted House, Used her broken car window.
Veroncia Pagan, Haunted House
Kristen Schwieterman, Eva.., Copper Webbing and Wire
Michelle McKnight- B'arrow, Eva...., Thinking about the orange.
Steven Sharpe, Haunted House, Box View Inside
Kat looking into Steven's Sculpture
Idella Smith, Haunted House, Velum with Drawings
Lilia Tate, Eva.., Using eggs and contrasting the light and dark of Eva
Jiorgina Diaz, Haunted House, Using the element of surprise that the ghost story becomes a love story.
Detail 1
Detail 2
Deidra Castelline, Eva is Inside Her Cat, Textile Letters Inside Spelling BEAUTY
Deidra Castelline, Eva is Inside Her Cat
REAL space 3-D Design On-line Exhibition
April 20, 2009
The exhibit displays examinations and study of the foundation principles of 3-dimensional design. In each project the designers are working to push their knowledge and skills from the assumed space that is often created in 2-dimensional arts forms, into the “real” space by experimentation with concepts of pattern on space, volume, modular systems, proportion, manipulation and construction of forms, and materials use.
Relief Patterning looks at pattern and repetition. We played with what happens when pattern is built into a form and how it interacts with light and shadow.
Angie Bender, Fire and Ice
Deidra Castelline, Water Drop
Steven Sharpe, Water Broken Ice side view
Steven Sharpe, Water Broken Ice
Jiorgina Diaz, Wind
Lauren Herman, Earth Vine Trellis
Calvin Murray, Ring of Fire-detail
Brynn Olsen Pebbles (Earth)
Lilia Tate, Earth Sand Dunes
Kat Orquiola, Wind-detail
Ali Brown Earth Bird's Eye View
Modular Formations takes a module with a thick thin variation and repeats it into a form that can be viewed from every angle. There is a focus on how the accumulation of units builds into a form. We studied how the module can have an infinite number of variations and shifts, which shapes negative and positive space in every direction.
Terri Falvey
Idella Smith Views 1 & 2
Idella Smith view 1
Idella Smith view 2
Lilia Tate
Kat Oquiola
Jiorgina Diaz
Melissa Lambrecht, L.Wright Inspired Lamp Shade
Angie Bender
Brynn Olsen
- The Cube works on the transition of describing a layout into real space . It began with flat drawings of grids, next into a 2-d perspective drawing, and then finally into a sculpture. It was based off of the idea of a 9-square architectural floor plan which aims to organize space creatively
Corey Brown Cube View 1
Corey Brown View 2
Corey Brown View 3
Kristen Schweiterman View 1
Kristen Schwieterman View
Terryi Falvey, Layout
Sarah Nettle
Sarah, View 2
Melissa Lambrecht
Melissa Lambrecht, view 2
Clavin Murray
Lauren Herman
Lauren, view 2
Idella Smith
Milan Neyra
Milan, view 2
Michelle Mcknight- B'arrow
Michelle's Layout
Michelle, view 2
“REAL space” Thursday Nights 3-D Exhibiton 4/20-5/4
April 16, 2009
REAL space
April 20th- May 4th, 2009
Jiorgina Diaz Modular Formation Project 2009
Harrington College’s
Art 122 Thursday Night 3-D Design Class
Will be having an on-line exhibition of their semester’s work.
The works are considering concepts of “real space” verses the considered space used in two-dimensional design. The exhibition will cover four assignments: Relief Patterning, Modular Formations, The Cube and Translation. Each assignment hones in on essential foundations of design each assignment building off of the last.
- Relief Patterning looks at pattern and repetition. We played with what happens when pattern is built into a form and how it interacts with light and shadow.
- Modular Formations takes a module with a thick thin variation and repeats it into a form that can be viewed from every angle. There is a focus on how the accumulation of units builds into a form. We studied how the module can have an infinite number of variations and shifts, which shapes negative and positive space in every direction.
- The Cube works on the transition of describing a layout into real space . It began with flat drawings of grids, next into a 2-d perspective drawing, and then finally into a sculpture. It was based off of the idea of a 9-square architectural floor plan which aims to organize space creatively.
- Translation each person had a choice between two short stories: “Eva is Insider her Cat”, by Gabriel Garcia Marquez and “The Haunted House”, by Virginia Woolf. The class is working to develop objects that are inspired by the narratives’ themes, concepts and imagery, while also combining the design concepts that we have been studying throughout the semester.
Thurday Night’s Final Project: Translation
April 7, 2009
Art 122 Thursday Nights 3-D design class has started this blog to have a chance to talk more about design, artists and ideas that have been inspired from our time together in class. It is also a place that we will be showing our creations from the course with an on-line exhibition at the end of April 2009. Stay Tuned.
We are currently working on our last project of the semester. Translation, has been a slow build up from the beginning of working together: crafting, construction, understanding fundamental of space, organization, balance and repetition. In the course, many have never really designed or constructed sculptures before. From that background, the students in Thursday’s Nights {at Harrington College of Design in Chicago}, are studying entire new descriptions of ideas for design -through building and material. And now at the end of the semester…we come to the fun stuff, the art of motif, working with themes, interpretation of history, symbol, metaphor and abstraction…the big stuff that puts meaning behind our designed world.
For Translation, each person had a choice between two short stories: “Eva is Insider her Cat”, by Gabriel Garcia Marquez and “The Haunted House”, by Virginia Woolf. Both are intensely symbolic, poetic short stories that work very differently. From the writings we will be creating objects that are inspired by the narratives, themes, concepts and imagery, while also combining the design concepts that we have been studying through out the semester.
Below is some biographical information about the writers which was found from the web-site and radio show ” The Writer’s Almanac with Gerrison Keillor, http://writersalmanac.publicradio.org.
Maria from Collaborative Visions
In conjunction with the writing we visited an exhibition at the Chicago Cultural Center, “Collaborative Visions”. This show, which just recently ended, placed a visual artist and writer together to make work and connections between their artistic processes.
We focused on the works: “Maria” by Michael Ferris and Maria Gillian, “Rest” by Deborah Adams Doring and Eloise Klein Healy,” Wild Wind of Days” by Elizabeth and Lindsey Mears, “Casting the Circle” by Annie Finch and Shawn Deeker, and “Love and War” by Cat Chow and Lisa Chavez.
Gabriel García Márquez
from the ” Writers Almanac” by Gerrison Keillor 3.6.2009
“Gabriel García Márquez, is a Nobel Prize winner born in Aracataca, Colombia (1928). He was the oldest of 12 children. His father, Gabriel Eligio García, was a telegraph operator and medical school dropout. He fathered four illegitimate children before wooing Luisa Márquez, the daughter of a leftist colonel who strongly opposed the romance. But Gabriel Eligio was determined to marry Luisa, and her father finally relented. Gabriel García Márquez used the story of his parents’ courtship in Love in the Time of Cholera (1985).
Shortly after birth, he was sent to live with his grandparents in a big gloomy house. His grandmother told him folktales full of ghosts and omens and supernatural events. And his grandfather, the leftist colonel, was the most important person in his life. The colonel had fought in two civil wars, and he often told his grandson, “You can’t imagine how much a dead man weighs.” He took the boy to the circus every year, and he introduced him to ice. García Márquez used that memory in the opening lines of his novel One Hundred Years of Solitude: “Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.”
Gaberiel Garcia Marquez
García Márquez lived with his grandparents until he was eight years old. He was a shy boy, and his nickname in school was “the Old Man.” He never liked playing sports and started telling stories from a young age. He said, “My earliest recollection is of drawing ‘comics,’ and I realize now that this may have been because I couldn’t yet write. I’ve always tried to find ways of telling stories and I’ve stuck to literature as the most accessible.”
García Márquez started writing for the Bogotá newspaper El Espectador, and he was eventually sent to Europe as a foreign correspondent. The government shut down the paper while he was in Paris, and this left him without any way of making money. He said, “For three years I lived by daily miracles. This produced tremendous bitterness in me. … But if I hadn’t lived those years I probably wouldn’t be a writer.
One day in January of 1965, the complete first chapter of One Hundred Years of Solitude came to him suddenly while he was driving his car from Mexico City to Acapulco. He came home that night and told his wife not to bother him and locked himself in a room for eight to 10 hours a day for the next 18 months and wrote the novel. The original manuscript was 1,200 pages long, and García Márquez pawned their heater and his wife’s hair dryer to pay for the postage to send the novel out to publishers.
His family wanted him to go to law school, and he gave it a try, but he hated it. After five years, he left without earning a degree. He worked as a reporter in Europe and Venezuela, and settled in Mexico City. For several years, he wrote no fiction. Then one day he was driving between Mexico City and Acapulco, and the whole first chapter of One Hundred Years of Solitude came to him. He went home and told his wife not to disturb him with any problems, and he spent the next 18 months writing, shut in a room for eight to 10 hours a day. His wife sold their car, pawned household appliances, and applied for loan after loan.
The first printing in 1967 sold out before the end of the week, and One Hundred Years of Solitude has now sold about 30 million copies. Pablo Neruda called the work “perhaps the greatest revelation in the Spanish language since the Don Quixote of Cervantes.”
García Márquez said, “Ultimately, literature is nothing but carpentry.”
Virginia Woolf
From the ” Writers Almanac” by Gerrison Keillor 3.28.2009
It was on this day in 1941 that the novelist Virginia Woolf drowned herself in a river near her house in East Sussex. She had long suffered from periods of depression, and modern scholars believe these depressions may have been symptoms of manic-depressive illness, also known as bi-polar disorder.
In her diaries over the years, Woolf had often written about her volatile mood swings, and she seemed to think that they were brought on by her sense that her writing wasn’t good enough. She was relatively healthy for most of the 1920s as she published many of her greatest novels, including Mrs. Dalloway (1925) and To the Lighthouse (1927). But she struggled with her book The Years (1937).
Woolf’s mood only grew worse as the Second World War broke out in 1939. She and her husband moved to their country house in East Sussex when Germans began to bomb London, because they thought it would be safer. But their country house lay under the flight path of the German bombers. More than once, during the summer of 1940, Woolf watched from her garden as the German planes flew over, close enough that she could see the swastikas on the undersides of the wings.
Virgina Woolf
By March of 1941, she was writing in her diary that she had fallen into “a trough of despair.” She wasn’t at all satisfied with her most recent book, and she felt as though the war made writing insignificant. She wrote, “It’s difficult, I find, to write. No audience. No private stimulus, only this outer roar.”
She finally wrote three letters, possibly as much as 10 days before she committed suicide, explaining her reasons for wanting to end her life. In the longest of the three, she wrote to her husband, “I feel certain that I am going mad again. … I shan’t recover this time. … I can’t fight it any longer. … What I want to say is that I owe all the happiness of my life to you.” Woolf left the letters where her husband would find them, and then on this day in 1941 she walked a half-mile to a nearby river and put a heavy rock in the pocket of her fur coat before jumping into the water.
One of the last people to see Virginia Woolf in good spirits was the novelist Elizabeth Bowen, who visited Woolf just a month before her death. Bowen later wrote of the visit, “I remember [Virginia] kneeling on the floor … and she sat back on her heels and put her head back in a patch of sun, early spring sun. Then she laughed in this consuming, choking, delightful, hooting way. This is what has remained with me.”
Excerpt from the movie “The Hours” about Virgina Woolf ‘s life.
