sketches anyone?

Min Son

Okay so I know this is really late and no one is probably going to read this now but I just wanted to share some information that I found while I was researching on moth for our mobile wearable project. Emily called my piece a “jet pack” but it’s supposed to be a broken backbone that isn’t totally broken because it’s held together by the wood support. The reason why I broke glass and wrapped it in electrical tape was because I found out moth eyes have ability to absorb nearly all incoming light and at a microscopic scale their eyes resemble a grid of pyramids. From that information I went to research “material that absorbs light” and found an article that said “New super black material absorbs 99% of all light” -

So that’s where I started to think about the words “black”, “shiny”-light, and “sharp”-pyramid.

At first I kept sketching out fashion-related wearables because right when I heard the assignment I thought of Alexander McQueen because I see his clothes as more than just clothes.. it’s a mobile wearable. But, as I researched more on the subject- moth, I went into a different direction.

It make more sense if I can share my sketches on here but like i said in class I’m having camera issues with both my phone and Nikon… I’m sorry ūüôĀ

Anyways it was really exciting to see how everyone interpreted this mobile wearable and the “dying” moth and the cardinal in so many different ways!


Terra Sadek-

for my mobile wearables, I searched for days on an origami bird that I could do fairly easily and that I enjoyed the look of.¬† I finally fell in love with the Dove.¬† I was trying to do a cardinal, but the easy one to do, did not feel right.¬† The hard cardinal would take me a long time to make just one… and then it didn’t look right either.¬† Here is the origami instructions for the bird I have created.¬† I am still having difficulties deciding on what to do with them though.




Robert Luther-

The Story of the Robin had a real impact on me. What came to mind was the idea of habitat, the kind we create vs. the kind we reside in.  What came to mind is building my own nest, or habitat; then destroying it to show an evolution of the process. I want to get the raw materials (found branches, clay, rough cut nails) as closely back to the their original state as possible while still showing an impact of being used and changed.Habitat

If feel the best way of breaking down the habitat is to burn it, then separate the materials afterward. Then the separate materials and a picture of the process will serve as the finished piece.Habitat 2

Progress so far: I am about half way done with the construction. The biggest difficulty has been the branches because of the twists and bends of the wood. Also the scaled down size is proving to use a lot of material, so I am still collecting. Hopefully I will be able to do the burning of the habitat on Tuesday.progress

Terra Sadek-

Emily Nicolaides
sketches, notes, ideas


Leah Embrey

This is just one of many many ideas I have for the space, this one is the most complete.

I’ve been looking at the work of Jorge Pardo as well as taking historic house tours and what I am interested in is creating a space in the gallery that one walks into and feels as though they are in a renovated historic factory basement of some kind. It has modern plumbing, electricity, appliances, but all of the furnishings look and feel as though they are from another time. I want the viewer to experience stepping through a space that has been transformed many times throughout history and to almost feel the presence of the past (an imagined past) as they walk through it. The floors will be stripped and stained a very dark rosewood color and the walls will get a facade of old recycled brick and the grout will be imperfect to give the impression of wear. I want to put a fireplace with a grand mantle that could have been out of the 17th century. I will install extravagant crown and shoe moldings as well as painting the ceiling a dark brown to make the space feel small and cramped but stunning. I plan to use very old refinished furniture in the grandest style I can find and put down classic oriental rugs to ground the space. I will also build walls to create the closets, bathroom, and a bedroom. It will have all of the appearances of a real apartment including a washer/dryer, water heater, commodes, claw foot bath tub, oven, refrigerator, etc. Everything in this space will be recycled or reclaimed. It will become a luxurious one bedroom apartment with its own persona of historic elegance with a very old world feel.

Nicole Evans:  For more on Project Prayer Tie, to share your suggestions and make connections:

Prayer Tie mandala is on the floor and extends up into space as it pins to the walls. ¬†I’m interested in Project Prayer Tie becoming interactive. ¬†I want people to touch to feel to move through a mandala feeling space with the awareness of the knowing that they are the center in all of the space. ¬†Artist Reference: Duchamp. As an entire gallery space I would be interested in having this fill the whole room. ¬†The floor is swirled with prayer ties and prayer ties are extended and suspended throughout the entire room. ¬†The room is dark but their is blue and pure white light that shines throughout the entire space. ¬†The room is filled with chants. ¬†Your interaction is open but is invited to a meditational space of sensing, contemplating and feeling yourself as a vibrating being of light.

Made out of willow branches and the prayer ties wrap around the spheres.  A hole for an opening is on one side.  Inside their is a simple blanket and round cushion.  It is your space, a quiet space.

The room is dark. ¬†Throughout the room their are selected locations for a string of prayer ties to extend down to the ground upon which a pile of prayer ties begin to form a mandala galaxy spiral. ¬†At the top of the suspended string is a light that shines down on each mandala spiral. ¬†Some are blue, some are pure white. ¬†When you enter the space we ask that you take your shoes off. ¬†You’re steping into a place of no time… so take the time… :). ¬†In this space there is no sound so we ask that you remain quiet. ¬†Cushions are in a bin outside of the room. ¬†Please take one, find a place, a space and be in realms of light.


The walls and the floor are painted red. ¬†Instead of the prayer ties being the mandala formation there is a beginning spiral void. ¬†The red shines through this void. ¬†Around the spiral void lies a sprialing effect of the prayer ties that play off of the voided space. ¬†Their are large golden…red/blue?…prayer tie circle round cushions. ¬†As you enter the space we ask that you take your shoes off. ¬†This is a feeling room, a place of meditation and contemplation as you have to step on the prayer ties which immediatly invites you to be in a state of awareness. ¬†And…or you can move the prayer ties. ¬†The voided spiral space invites you to be the creator, to contemplate your Self, the space as you walk the room, create th space… or maybe you find a nice cushion and just be.

Or just cut up fabric squares that are prayer ties yet to be made…

Reminds me of Anish Kapoor and Andy Goldsworthy in which their is an equal and balanced pull between the void and the color/creation.

Moving slightly away from prayer tie material but expanding on the same vision and conceptual theme of the Pure Omnipresent Self. ¬†This idea is very exciting to me as it responds to¬†Lita Albuquerque’s Starfield Spheres and Bruce Nauman’s Light Rooms. ¬†I invisioned these yellow, translucent, sound-proof spheres that can be opened to allow for a person to be inside. ¬†The spheres are large enough for a 6ft person to be able to stand up inside the sphere. ¬†The spheres would be placed in specific star point patterns of 5,6,7,8…12. ¬†These are the general map points for those that study temple-making. ¬†Sacred spaces around the world have been decoded to be star formations mapped on the Earth. ¬†This pattern creates a vibrational space that maps and connects the Earth with the Stars. ¬†Albuquerque’s work acknowledges this ancient knowledge and practice. ¬†I invisioned a month long installation indoors/outdoors? ¬†with these spheres in which volunteers would be nude inside these spheres for a month. ¬†They would be connecting together as One and with their Selves as the installation theme of the pure Self gives them this time span to fast and contemplate the pure omnipresent Self. ¬†If indoors I would install yellow lights similar to Nauman’s Light Rooms throughout the room where the spheres are installed with the people still inside. ¬†This adds a new level to the piece as viewers are in an environment that replicates the environment inside the spheres. ¬†On many levels the omnipresent pure Self can now be contemplated.

Pins on a wall. ¬†They begin in the soul star formation but maybe the top right side expands and undulates down the wall…up the wall to the ceiling? ¬†The center left undulates slightly out straight down the wall. ¬†The bottom left expands down to the floor and spirals out and through the room to make another star formation on the floor? ¬†Expanding on ideas of occupying walls, ceiling, floor and space with difference conceptual presentations of the prayer ties to reflect the star formations.

Playing off of¬†Jesus Rafael Soto‚Äôs ‚ÄúBlue Penetrable BBL‚ÄĚ I envisioned a circle versus a rectangular form… maybe its made of natural materials… almost like how you would construct a trulace only more rough and natural looking. ¬†There would be multiple circles in which the supporting systems create geometric star patterns that ultimatly support the structure. ¬†I five, 6, 8…12 post system provides a platform for the prayer ties to hang down from. ¬†Like Rafael and others in the SupraSensual exhibitions, it breaks down how we relate with art and the sacred. ¬†You are invited to walk through and feel and be in the space. ¬†As a day dream I envisioned one in each room on that middle floor spiral of the Hirshorn Museum. ¬†Because the building is naturally circular, each room would have a circle that, in a larger sense extends out of the voided cetner of the building. ¬†If there were five rooms I would put only a five posted system in each room. ¬†Now the micro and macro concepts of the ever replicating soul Self reaches new levels of interaction and contemplation. ¬†In a single showing I would do various rainbow colors… in a multiple showing I would consider single saturated colors for each star system.

Continuing to expand on how to connect the walls, floor and space.  A large black circle centers a square wall in a room.  In front of the black void is a prayer tie mandala spiral with a white voided center.  It is the play and pull of the trinity.  If possible it would be interesting to see the effect of a pure white light shinning straight down to the center white circle.  So the viewer is pulled by the LARGE voided space, the beam of white light that extends out of this large multicolored prayer tie spiral.

As I sit with P.P.T. I ask myself… what am I really trying to say without saying it. ¬†What space can I hold for people to feel and come to their own conclusions. ¬†Its about setting a stage for Self contemplation, not blasting a personal message or being too whimpy with what Im really trying to create here. ¬†So, this was big for me because it felt really good when the sketch came out. ¬†Like, ok, this feels like I’m getting closer. ¬†Allowing myself to be removed from the preconception that the project would be presented in a mandala formation and rather allow the project to evolve to its fullest potential. ¬†I have been playing around with ideas of incorporating fabric on the walls and floor of the room but none of it felt right. ¬†It was always… too much… too much. ¬†The last color scheme I’m trying to to tweak is the floor and wall color. ¬†I would ideally like it to be one color to fill the entire space. ¬†May a dark royal blue? ¬†I want the room to feel like a moment in space and everything is focused onto this installation space. ¬†A light royal blue circle is painted on the wall. ¬†A large white circle stands infront. ¬†I felt like I would cut up the prayer ties to individualize them and place them semicircle around the white circle and radiating out. ¬†On the outskirts are yellow circle cushions and suspending from the ceiling are only yellow and white prayer ties. ¬†I kind of like that it is to the side as you enter the room vs. straight infront of you and presented on the back wall. ¬†This allows you feel like your entering a place vs. a POW in your face right when you enter feeling. ¬†One is gentle and the other is sublime. ¬†More sketches and ideas to come.

It all started with Carole’s slide show today in which she took us through her life journey in art. I felt a similar connection in her journey from 2D to 3D and installation work. I was during her sharing that the pandora’s box of inspiration opened up and the vision just spilled right out. Later I felt, ok, here is a lady how does not usually share her Self with people, but in this moment she¬†felt the go and the courage to do so with us. I similarly struggle in sharing my Self with people. Maybe for different reasons, but a similar energy pattern. But in her opening I felt the energy open within me. It was like all was waiting for this moment for me to say Hi! This is my Self, the Self and what is trying to be said in my installation. It came out so simply and felt right. I put my pen down and said, “This is it” Thank you Carole for having the courage to share your Self with us.

t must be that the original feeling of the one single mandala of prayer ties in the room is how its suppose to be. No matter how many sketches I do, it always comes back to this formation as the right feeling. What I feel I have really been working on is how to integrate the walls of the space and how to invite th viewer to feel a part of the mandala formation. So, I have come to feel that I will use simple one/two line blog words from my prayer tie making processes to paint in gold interference on the walls around the room. This will allow people to feel connected to the process of Self Realization. I feel that I would like to have various colored round cushions for people to sit on around the mandla formation if they felt so called too. Some would be out on the floor and some by the doorway. This allows for the people to feel invited to sit and be a part of the mandala and to contemplate what it means to realize our Self, the Self.

In all of my prosthetic pieces that involve the prayer ties I’m interested in presenting them in the nude because much of my work invites the viewer to contemplate the infinite and omnipresent pure Self. ¬†In this sketch I’m interested in tieing prayer ties all over my body. ¬†I also notice a common theme of wanting to perform the pieces because of the counter balance of the pure Self that is awareness is that it shines through the divine femine aspect of pure energy… that which is pure love. ¬†So the movement, the pulsating, the dancing and the toning is my way of connecting all three aspects of the Self…the omnipresent awareness, the divine feminine spirit and the creation (the body) which houses all together as replication of the One that is the One amongst the many.

IMAGINE… a clear space… a room… a meadow…a… poppy field?…I am nude and sitting with legs in front/back spiral position….my hair is pulled up into a bun…the red prayer ties first tie into the bun and cascade down my neck… over my shoulder… across my chest…wraping loosly around my waist and extend out in gentle trasitioning spirals to the floor upon which they continue spiraling in a circle out from me. From the the reds to the poppes to the gold and white to the white. All beginning with the red and connected with the red string. My arms and my body begin to sway into circling motions, forward and backward motions, chest concaving and flexing back.  I begin to chant AAaaaamMMMMM….MAAaaaaaaaaaaaaAAAAA….AAAaaaaMMMMMMM…MMMMmmmmaaaaa and allow for my own vocal vibrational sound language to take form. IMAGINE:  A room filled with 5 to 7 women all in this personal space installation/performance/moveable wearable position.  The room shines in blue but there are pure white spotlights on each woman.  They are all toning their own personal vibrational call as they are fully aware that they are beings of light, but now they are toning as one.  They are now the One amongst the many.  TheI call it THE EXSTACY OF THE SELF. Artist reference: Bernini’s The Ecstasy of Saint Teresa.

This piece is also nude but the prayer ties are restricted to the arms. ¬†I invisioned a room in which I was at one end, arms out to my sides and back and the prayer ties come down to the floor and extend all the way back to the other end of the room. ¬†This piece was contemplating the bird that couldn’t fly, couldn’t get out, so my mouth was covered. ¬†The piece invited the viewer to ponder… such BIG wings, yet their is a hinderance of voice?

Jennifer Gorman, 6 June 2012

Okay, so some of my sketches are sketches, but many are words, word associations, notes, questions and just thoughts, so bear with me.

I am more focusing on the flight, the lightness, and the general wonder of animals with abilities unlike my own;  flying, free, soaring, swooping and moving from tree to tree, railing to grass in the most elegant way.

I have tons of tulle, clear/frosted file folders sheer fabric and various little bits that I am thinking of and would like to use on this.


Sidney Mullis

I plan to use kid’s oven bake clay to match our child-like curiosity with both moth and bird. Since this was such a gripping occurrence, I wish to create a piece that grips, invades, almost permeates through me.¬†Since this piece deals with life and death I wish for it to stem from my spinal cord and reach up and around my head as if it is impeding my senses.

The stunted flight of the moth as it staggered across the brick made me believe it had a painful end therefore I think it appropriate to make an uncomfortable wearable. Not only does this stretch the limits of common jewelry made to make one look fashionable or feel good, I want the wearer to have hindered movement (just like the moth). To follow in line with the resurrection of this critter, a sort of catch and release is mimicked when taking on and off the piece. It literally grips you as you put it on and releases as you take it off eliciting a catharsis.

To influence my form, I looked at microscopic images of insects and fell in love with the angular legs and hairy projections that covered their exoskeletons.

06/09 – As I have continued experimenting, building and baking, I have found it much more interesting for the piece to veer from such a symmetrical form that inhibits my eyes, nose, and mouth (as seen in one of the sketches). The piece begins similarly from my large vertebrae on my neck as a black, organic looking growth. Seeming as if attached to my neck, it reaches upwards and touches both sides of the back of my head as if entering it. The form begins again on my ears as if exiting my body. From one ear, the color and form changes from a sort of black angular leg to a white delicate projection that spreads up over my forehead.

Unfortunately, I began building too large! I would have had to build more bulky supports to even keep up those first invasive, angular “arms.” Therefore, I have began again. ūüôā


Here is a preview of a new beginning (LAST IMAGE ONLY)>>

More sketches to come soon.












DuPont Installation

I have been quite retrospective lately on my childhood of fun and games. In printmaking this past semester, I created a card game. In my wearable, I am utilizing clay that my Mom bought for me for a birthday years ago. For my maquette, I wish to build a fort ‚Äď a living room fort like I did when I was a kid. Thankfully, my Mom is somewhat of a hoarder and has my old comforter, sheets, pillows, toys, baby blankets, and especially, the old living room furniture that I used to build my wondrous spaces. With a clever construction, viewers will have to enter and exit on their hands and knees, or in other words at the height of a child. I have our old box TV that will be included in the design. However, I am still uncertain about what I want playing in the VCR player. Perhaps a real time feed? Or a recording of the fun it was installing the fort?

06/09 ‚Äď I have begun building my (practice) fort in my basement with old box TV and all. By creating this space within a space in the setting of the ‚Äúwhite-cube‚ÄĚ gallery, I hope to communicate with Marcel DuChamp‚Äôs Twine installation in which children were invited to play.¬† With this fort, I hope to coerce regular, arty museums goers back to the height of a child and, hopefully, smile, and reminisce about their childhood.

Also (and probably more honestly), I just want to play. Playing is something that is never inhibited, and yet very rarely done after adolescence.

Images of practice fort.















If fort building just does not meet the conceptual end I wish, I have ideas with GOOGLI eyes or the game Rock, Paper, Scissors, Shoot. ūüôā


06/18 – Progress – My idea has grown. I really wish for the visitor to feel like a child. In order to do so, my fort has now been sectioned and enlarged. To enter the gallery, the visitor will have to do so on his hands and knees through an oversized fort. In order to really stimulate a child-like disposition/attitude, I wish to have an interactive installation in which the visitor is invited to doodle on the pristine white walls! Yay! Therefore, once inside the fort, the room opens to an oversized “bottom” section of the wall, which is the height that only a child can get down to.

Cristina Martinez

For my wearable project, I’m creating an oversized necklaced made of condenced sliced wine corks. ¬†All corks will be recycled and the necklace will have multiple strands that link at the very top.

As for my gallery installation, I’d like to create a large instillation though out the entire gallery that is made up of small folded circles of paper or possibly fabric attached together. ¬†I’m still not sure of the color palette for this project, but I’m considering a variation of different card stock or if i were to use fabric, a champagne silk charmeuse.


Christine Nolan

Mobile Wearable:

After hearing the story of the bird and the moth, the word that immediately came to mind was “entrapment”. It’s slightly morbid, but what stood out to me most about the story was the sense of hopelessness – the story of the bird didn’t have an end since we were unable to free it, and the story of the moth ended with it’s death. My mobile wearable references this by playing with ideas of “entrapment” and “entanglement”. I have begun my process by wrapping sticks with black thread to create a branch like structure that will attach to my shoulder, and intend to weave thread through the branches to create a web. I will incorporate red thread and mesh, which will be “caught” in the web, and reference on a more implicit level the cardinal and the wings of the moth.








Overall, I found that I was very inspired by Patrick Veillet for this projects, whose work I find slightly creepy, but very intriguing and beautiful.




Gallery Installation:

I have two ideas for this piece. First, I thought it might be an interesting opportunity to return to my dismembered door project from Sculpture I. Lately I’ve been feeling inspired by James Walker’s mixed media work, and got the idea to make several mixed media pieces on the panels of the door that I have already cut. Since the idea I was originally working with was that of taking a universal image of security (a door with a lock) and disassembling it so that it became useless and essentially insecure, I thought I’d further this idea by creating one image that extended over several panels, then disassembling it and rearranging it so it no longer reads the same.

My concerns with this, however, are:

1) Ultimately I want to frame each panel so the piece looks finished – logistically I’m not sure how to do this, and I’m not sure if there’s a cheap way to do it either

2) I have a hard time envisioning it filling an entire gallery or transforming an entire space




So my second idea is to create a piece that references Tara Donovan’s work. I absolutely love the way she takes common place objects and uses them to transform a space in a way that is breathtakingly beautiful. I plan to use coffee filters to create a wall surface that covers the entire gallery – the end result will be something light and simple-looking, but I’m interested in the way the filters fold and interact with each other when they are bunched up. I’m also interested in playing with lighting to create subtle shadows:














One Response to “sketches anyone?”

  1. evansnd says:

    Attention Christina: If you need more corks… I have tons of corks ūüôā

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