Theoretical Limits, Solo Exhibition, 2012
For my senior show, I designed 3 main works that represented a 2D, a 3D, and a 4D network. The 2D piece consisted of 3 painted wooden panels, which contained forms moving in a flock or growing in a similar relation to leaves, bumping into each other and navigating around in small subgroups.
The 3D component took up most of the space, and was comprised of a string installation, connecting 3 columns of jumping off points to projected and warped forms around the room. The resulting structure was flexible and surprisingly durable that viewers were able to move around in and explore, play like a harp, and stretch (to some degree).
The final component was a wall of small, bookmark sized prints that were hung in three sections the same size as the wooden panels. Visitors were encouraged to trade me their name and city for a bookmark, writing down their information on matching slips of paper, to represent all the places the bookmarks were taken.
I love making people think about space in a different way, by employing patterning, minimal space modification, and encouraging the physical interaction of the viewer with the work. I find the way nature organizes its inherent chaos to be just about the most worthy set of patterns to emulate.
The 3D component took up most of the space, and was comprised of a string installation, connecting 3 columns of jumping off points to projected and warped forms around the room. The resulting structure was flexible and surprisingly durable that viewers were able to move around in and explore, play like a harp, and stretch (to some degree).
The final component was a wall of small, bookmark sized prints that were hung in three sections the same size as the wooden panels. Visitors were encouraged to trade me their name and city for a bookmark, writing down their information on matching slips of paper, to represent all the places the bookmarks were taken.
I love making people think about space in a different way, by employing patterning, minimal space modification, and encouraging the physical interaction of the viewer with the work. I find the way nature organizes its inherent chaos to be just about the most worthy set of patterns to emulate.
