Wednesday, May 8, 2013

blind consumption

After seeing El Anatsui's work with unusual materials and Ai Wei Wei's brilliant concepts, this is what my project transformed into:



Poster: my design, styling, and photography/editing.

The idea of "blindness" transformed from a literal condition into a more conceptual idea - knowing that a situation is occurring but ignoring its presence. Inspired by the tragic factory collapse in Bangladesh (Read more here and sign the petition here), my work began as a collection of shopping bags from the companies involved - Nike, H&M, Gap, Zara, Forever21, Walmart, and so many more....   I constructed a garment from the H&M bags to emphasize that the extravagance of clothing and the fashion industry had reached a critical point. How we choose to respond to a situation like the Bangladesh factory collapse will ultimately impact the integrity of future crises in the industry. In the poster above, the word "consume" acts as a literal veil over the companies involved in the tragedy. How can we continue supporting these companies so blindly when their actions have caused the death of over 600 individuals in the world? The exaggerated design of the dress against the repetition of shopping bags and literal consumption of alcohol is a very direct depiction of this message.


Process images:

Developing skirt



Figuring out straps and waist closure. Solution: Ties that tuck into "pocket".

            









Alternative Poster (Discarded):




ai wei wei {never sorry}




Never Sorry
, the documentary about Ai Wei Wei, was incredibly inspiring for me. In fact, the entire concept of my project changed after I watched the movie. His simple interventions with a material consistently create a clear and powerful message. Ai Wei Wei seems to do this so effortlessly - that is, using a "signifier" and "signified" to convey a strong message, usually political.  As he stated at the beginning of the documentary, "Life is much more interesting when you make a little bit of effort." Ai Wei Wei is different from other Chinese artists in that his political statements are more aggressive – less subtle than typical Chinese artists. He seems convinced of the power of the internet to spread ideas and bring about collective acion. He says, "Blogs and the internet are great inventions for our time because they give ordinary people an opportunity to change public opinion." His artwork is often minimal in terms of material used; for example, in the Munich installation called "Remembering", in reference to the student deaths of the Sichuan earthquake, Ai Wei Wei simply covered the façade of the building with 9,000 backpacks. (However, this did make me curious about what happened to 9,000 backpacks once the installation was removed...) Rather than deriving his artwork from an aesthetic source, his influences are conceptual, resulting in a socio-political statement. As I was watching the documentary, I wondered how this approach could be applied to fashion design. Why should so much time and effort be put into making clothing that is just a manifestation of some aesthetic style? There are certainly designers whose work often has political or social influences - including Vivienne Westwood and Alexander McQueen's collections - but much of fashion is not. I loved the multiplicity in the meaning of Ai Wei Wei's dynastic vase destruction. While it represents a destruction of tradition and old customs, it also reminds the world that destruction like this happens every day... without anyone really thinking about it. Ai Wei Wei's mother, Gao Ying, said something that struck me: "One person cannot solve an entire country's problems... but if everyone ignores the country's problems what will happen?" As an artist or a designer, how do you decide how much or how little you are politically involved? How much difference can one person make? These are valid questions for our society that is trying to deal with structural flaws and other limitations of modern life. Ai Wei Wei strongly believes that each person must fully utilize their freedoms, or to "earnestly cherish their rights" - which in his opinion is the "essence of society." In his artwork, photos are used primarily as documentation. As an artist, Ai Wei Wei has become almost a brand for what he considers "liberal thinking and individualism." His definition of optimism: "[is] whether you are still exhilarated by life, whether you are still curious, whether you still believe there are possibilities." The sunflower seed installation at the Tate Modern was one of the most impressionable moments for me. It was a beautiful and shocking realization that all 108 MILLION seeds were hand crafted and painted, representing that "every entity out there is its own thing."

Wednesday, May 1, 2013

el anatsui and transformation @ bk museum

After visiting the Brooklyn Museum twice in the past two weeks, I have a better understanding of both El Anatsui's Grace and Gravity exhibit and Life, Death, and Transformation in the Americas. 

Gravity and Grace:


Gli (Wall), 2010

Drainpipe, 2010


Seers, 1993, modified 2010

El Anatsui's work is site-specific, meaning it is altered to suit the installation space each time it is displayed, a reflection of his "nomadic" lifestyle. His walks around Nsukka are often mentioned; he transforms the objects he collects on these walks into works that are often about movement. The bottle caps and other metal scraps used in El Anatsui's curtain-like installations are an innovative use of material because of their literal and conceptual connotations. Also, his unique materials prevent his work from being too easily categorized. El Anatsui's "elevation of mundane objects" creates universal statements about movement, links and trade, as well as being a "celebration of performance and chance". The context of works like Drifting Continents is traced to alcohol trade and the subtle connections that link the bottle caps to their sources in Africa, Europe, and the Americas. Works like Gli (Wall) are symbols of walls as religious, political and social constructions. El Anatsui made a great statement about this particular piece: "Walls are meant to block views... but they block only the view of the eye - the ocular view. When the eye scans a certain barrier, the imagination tends to go beyond that barrier. Walls reveal more things than they hide." To me, his linked metal installations are also ironic, in a sense. Metal, as a material, is expected to be rigid, fixed, and flat, but his work makes the material appear like drapery – fluid and rippling. This aesthetic corresponds to his love of the nonfixed form - "the artist is not a dictator," he reminds us. His beautiful wall hangings Red Block and Black Block have subtle textural and chromatic variations. In these two works, El Anatsui explores the "monumentality and meditativeness of a single color," that is reminiscent of Rothko and Richter's abstract color paintings.

***

Life, Death, and Transformation in the Americas:





The role of the artist in this exhibit is to reflect the connection between the two worlds of life and death. The objects have ceremonial, educational, religious, or other similar purposes to reflect the functions of the universe, like natural cycles of fertility and regeneration. The purpose is to represent the cycle of life and death as a transformation; this cycle is an intrinsic part of the spiritual beliefs and social practices of the cultures. The artists of these objects sought to create a fluid relationship between the supernatural world and the human world. They are sometimes functional, but not in a utilitarian sense - the talismans, vases, masks, pipes, dolls or charms are used for connecting with the spirit. In the more recent objects, the context changes with the influence of Christian beliefs. The objects I was most attracted to were the talismans and charms, since that was the format of my last project.  Organic forms and roughness characterized the talismans in this exhibit.  I love the idea of these mysteriously private objects that are used in order to ward off evil or bring positivity to one's life. Another interesting element of the exhibit was its mention of psychoactive substances, used by indigenous peoples to acquire an altered mental state – a state of transformation that would allow communication with nature and the spirit world. They used these "hallucinogenic plants [to] produce ecstatic trances that are often characterized by visions of brilliant, swirling geometric patterns, sensations of flight, and the feeling of acquiring animal attributes and capabilities."



Tuesday, April 16, 2013

blindness and synesthesia

Terry Timely - photograph
http://www.territimely.com/art
I can't help but be fascinated by the experience of blindness. It is hard to comprehend that some people have no concept of what sight or color even is, when most of our lives revolve around this sense.

But unfortunately there is a sort of attitude of pity that is directed to those with the "condition", "handicap", or (worse) "disability" that is blindness. Pitying someone who does not experience life primarily through sight is a misunderstanding of the senses. For many who are blind, sound and touch provide a more hypersensitive experience of everyday life. And of course, many scientific studies have been done showing evidence that the loss of one sense heightens the others. (http://www.nytimes.com/2009/09/29/health/29real.html?_r=0)

This exploration of the senses led me to "synesthesia"....
[n. the production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body.]



The ability to "taste" a color or "see" a sound might sound like some sort of drug reference, but the concept (and the video) challenge us to reevaluate our sight-dominated experience of the world. We can begin to question why we rely so heavily on sight. Does sight always represent truth? Is seeing really believing? As designers, we are aware that we have the ability to "create" images. In other words, a designed image projects a certain message to the world, but it is not always an objective or truthful message. The challenge is to rely less on sight and more on the multi-sensory experience.

The artist/director of the video, Terri Timely, has a website/blog in which an entire page is dedicated to weird photographs that make you look twice. They may appear to be mundane photographs at first glance, but force yourself to look twice and decide whether you accept that reality or not. Why would that particular photo have been taken? Sometimes, it might be just to make you aware of something you see every day but take for granted. http://www.territimely.com/art



Another cool article about "feeling sound": http://www.usnews.com/science/articles/2011/06/03/feeling-sound

Thursday, April 11, 2013

la mirada invisible


Pete Eckert
As I sit here eating pepitas at 3am, I happened to come across a post about an exhibit titled "THE INVISIBLE EYE: MEET MEXICO’S BLIND PHOTOGRAPHERS". Read it here. Basically, this guy called Gerardo Nigenda was "one of the early pioneers of the seeming oxymoron, 'blind photography'."He would never see the photos he took. In some of his work, he imprinted braille. Fifteen blind mexican photographers were featured in this show, about which Miguel Angel Herrera expressed his thoughts:
"Like [blind Cuban artist] Eladio Reyes has said, “The word ‘image’ doesn’t come from seeing, but from imagination.” Photographs taken by blind people enrich the medium because they involve other senses in the process: hearing, taste, touch, smell."
A hispanic website about digital photography also spoke about the photographers: "a pesar de sus problemas de visión son capaces de dejarnos atónitos y cuestionarnos si la ceguera del prejuicio es peor que la ocular." (Meaning...) In spite of their vision problems, [the photographers] are able to leave us amazed and questioning/reflecting on whether "the blindness of prejudice is worse than the sight [of the blind]". In so many cases, people are able to turn their disabilities into their strengths when really accept the challenge.

In Pete Eckert's photo above, the following question was raised by a hispanic blogger of digital photography:
Pero ¿qué ocurre cuando no podemos ver o hemos perdido el 80% de nuestra visión? Lo que ocurre es que esa visión fotográfica es más intuitiva.
What happens when we cannot see or have lost 80% of our vision? What results is a more intuitive photographic vision. (The writer also explains that Eckert paints with light what he sees in his mind.) The effect is an image pulsating with energy and organic forms, but at the same time these photographs conjure images of a fire or burning men.

Photo by: Gerardo Nigenda. 
In many of his photos, Nigenda captures himself touching the subject, endearingly making the viewer aware of the camera-subject relationship. Braille is imprinted in many of his images.


Tuesday, April 9, 2013

blind saving the blind




Jim Sherman and Annie Smith had enjoyed the news and Everybody Loves Raymond together the evening of March 27 when Sherman decided it was time to turn in. Bidding his neighbor good night, Sherman, blind since birth, used his cane and Smith's fence to find his way back from her house to his RV next door in Conroe, Texas. 

Once in bed, Sherman, 55, turned on the baby monitor that Smith's daughter Debbie—a nurse who worked nights—had bought for both their homes so Sherman could keep an ear out for Smith, 85, who is legally blind and has Alzheimer's disease. Shortly after 10 p.m., Sherman started to hear odd noises over the monitor and then Annie's frantic voice: "Jim, the house is on fire!" 

Sherman sprang into action. "I knew if I were to wait," he recalls, "it might be too late." He made his way to Smith's front door, left open for her dogs. "I could smell smoke," he says. "I asked 'Where are you?' She shouted, 'I'm over here at the back.'" Following the sound of Annie's voice, Sherman found her near the bathroom. Taking her hands, he led her out of the house. "You could hear roaring and crackling," Sherman recalls. "It was like an oven." 

The fire, started by a faulty electrical connection, gutted the house and killed Annie's cat and three kittens. But mother and daughter realize that, if not for Sherman, the outcome could have been much worse. "There is no way I can express my gratitude—it's too enormous," Debbie says. Adds Annie: "He couldn't see, but he went into that burning house and got me out." 

***

I found this blog, the burning house. It's kind of a lighthearted approach to a terrible situation, but it is a way for people to think about what is important to them. http://theburninghouse.com/



Tuesday, April 2, 2013

end of story

Vukub Caquix and the Tree of Life

Completed talisman necklace and stand

 

Explanation of the pendants

Using an awl and a hammer, I laid my designs over the aluminum sheet and tapped each mark one by one so that the design was embossed on the other side. I then cut out the surrounding shape with a jewelry saw and drilled holes for the chain links. 
 
Top -- a representation of Vukub-Caquix himself. Him form resembles that of a macaw. His name, meaning "Seven times the color of fire," was given to him because of his brilliant, silvery eyes, which I placed on the top left and right of this pendant.
 
Middle -- the source of Vukub-Caquix's downfall. These two Mayan heiroglyphs represent the moon and sun, respectively. Vukub-Caquix believed he was so important and brilliant that his very existence made the sun and moon redundant. His arrogance is what ultimatley led to his death.
 
Bottom -- reads "Chalam," the mayan word for "jawbone." One day, when he goes to his nance tree to pick fruit to eat, his enemies shoot him with a blow pipe from afar. The wound to the jaw severely weakened him and led to his death. Although Vukub-Caquix is not human, it might be significant to remember that the muscles in the jaw are some of the strongest in the entire human body. A severe wound to the jaw might symbolize taking someone's strength and power from him or her. This story acts as a warning to anyone who isn't careful about letting excessive pride overcome them...
 
The stand -- represents both the nance tree from which Vukub Caquix picked his yellow fruit and also the Mayan tree of life, which contains representations of a constellation (Big dipper), a galaxy (Milky Way), the moon (eclipse), and an offering to the gods. The top of the tree of life is the depiction of the constellation, but it is also actually Vukub Caquix (Seven-Macaw) himself.
 

More Process...

First, I developed the designs for the wood panel and pendants. The design for the tree is in my previous post, done in illustrator using the pen tool. I used mayan images for reference but did not trace any existing forms - this design is my creation, inspired by the mayan forms. I wanted the pendants to narrate the symbols of the story, as explained above. I began by drawing some potential designs; I then scanned my drawings and live traced them in illustrator so that I could scale them up and down easily. Here are the illustrator images:
Using the scroll saw, I cut out the design of the tree of life. Sanding it by hand is what took more time, really... I then spray painted the form black:

 
The actual talisman/necklace required aluminum sheet metal, some 4/0 blades for the jewelry saw (so tiny!!), 36 inches of stainless steel chain, chain links, and a clasp/closure. For all these needs Metalliferous and Brooklyn Charm were most helpful. There are just countless necklace charms you never knew you needed there... it's dangerous. Needlenose pliers definitely make the list of essentials.
 
This project was a great way for me to explore jewelry-making. It was definitely one of those projects whose success was dependent on the amount of focus and concentration. So satisfying in the end!


 

Tuesday, March 19, 2013

tree and talisman

 


Project proposal.


The proposed project in response to the myth: to create a talisman-like necklace with symbols from the story, cut and etched in sheets of metal (possibly aluminum, copper, or an alloy) and then displayed on a wooden board in the shape of the sacred mayan tree of life / "nanze" tree mentioned in the story.  The proposed symbols to be included are:
     • a representation of Vucub-Caquix
     • the silvery eyes
     • the sun and moon (which his existence made redundant)
     • the jaw (possibly?)
Why these symbols? They are the enduring and most notable characteristics of Vucub-Caquix. These symbols represent the cause of his excessive pride, and the reason for his eventual death. 
Why a necklace? In this case, the necklace would be more representative of a talisman, or an object whose power affects human emotion – like an amulet or charm.


The process so far.


The wooden display board I designed for the necklace is a combination of these two versions of the Mayan tree.
Mayan Version.

A slightly difficult-to-read explanation of the tree's elements.


My design on illustrator - definitely required some simplification, considering I have to cut this out of wood in a short period of time...


I played around with the scroll saw and cut out a few practice shapes. Here is my favorite one, along with some experimentation with marking and bending metal (copper here).


Also, I heard about a great store in Brooklyn for jewelry findings! Brooklyn Charm
Drawings to come!

the myth evolves



I'm not entirely convinced of the authenticity of the myth in my last post. So here is the new story, the legit one...

THE MYTH OF VUKUB-CAKIX
"...There existed a man "full of pride," whose name was Vukub-Cakix. The name signifies "Seven-times-the-colour-of-fire," or "Very brilliant," and was justified by the fact that its owner's eyes were of silver, his teeth of emerald, and other parts of his anatomy of precious metals. In his own opinion Vukub-Cakix's existence rendered unnecessary that of the sun and the moon, and this egoism so disgusted the gods that they resolved upon his overthrow. His two sons, Zipacna and Cabrakan (earth-heaper[1] (?) and earthquake), were daily employed, the one in heaping up mountains, and the other in demolishing thorn, and these also incurred the wrath of the immortals. Shortly after the decision of the deities the twin hero-gods Hun-Ahpu and Xbalanque came to earth with the intention of chastising the arrogance of Vukub-Cakix and his progeny.

"Now Vukub-Cakix had a great tree of the variety known in Central America as "nanze" or "tapal," bearing a fruit round, yellow, and aromatic, and upon this fruit he depended for his daily sustenance. One day on going to partake of it for his morning meal he mounted to its summit in order to espy the choicest fruits, when to his great indignation he discovered that Hun-Ahpu and Xbalanque had been before him, and had almost denuded the tree of its produce. The hero-gods, who lay concealed within the foliage, now added injury to theft by hurling at Vukub-Cakix a dart from a blow-pipe, which had the effect of precipitating him from the summit of the tree to the earth. He arose in great wrath, bleeding profusely from a severe wound in the jaw. Hun-Ahpu then threw himself upon Vukub-Cakix, who in terrible anger seized the god by the arm and wrenched it from the body. He then proceeded to his dwelling, where he was met and anxiously interrogated by his spouse Chimalmat. Tortured by the pain in his teeth and jaw be, in an access of spite, hung Hun-Ahpu's arm over a blazing fire, and then threw himself down to bemoan his injuries, consoling himself, however, with the idea that he had adequately avenged himself upon the interlopers who had dared to disturb his peace.

"But Hun-Ahpu and Xbalanque were in no mind that he should escape so easily, and the recovery of Hun-Ahpu's arm must be made at all hazards. With this end in view they consulted two venerable beings in whom we readily recognise the father-mother divinities, Xpiyacoc and Xmucane (4), disguised for the nonce as sorcerers. These personages accompanied Hun-Ahpu and Xbalanque to the abode of Vukub-Cakix, whom they found in a state of intense agony. The ancients persuaded him to be operated upon in order to relieve his sufferings, and for his glittering teeth they substituted grains of maize. Next they removed his eyes of emerald, upon which his death speedily followed, as did that of his wife Chimalmat. Hun-Ahpu's arm was recovered, re-affixed to his shoulder, and all ended satisfactorily for the hero-gods."



Vukub Cakix, or Vucub Caquix, is often depicted as having the head of a macaw.

Excerpt from  http://www.sacred-texts.com/nam/pvuheng.htm
The Popol Vuh: The Mythic and Heroic Sagas of the Kichés of Central America, by Lewis Spence. 1908.



Tuesday, March 5, 2013

balam




 Balam - the Mayan name for Jaguar.



The ruins of the Yucatán Peninsula are full of jaguar imagery. For thousands of years, peoples of many cultures have admired and feared its power, strength, and hunting prowess. The jaguar also came to symbolize “beauty, power, cunning, and mystery entwined in rituals and stories.” For the Mayan culture in particular, the jaguar’s skin is said to resemble the heavens and starry night sky if it were spread out. The jaguar is a god of duality – of day and night, and of fear and admiration…

“According to one Maya myth, it was a supernatural being, Jaguar Sun, who rose each day in the east and prowled west, aging along the course, until finally plunging into the darkness of the west. Then Jaguar Sun fights the Lords of Xibalba (the Underworld) all night. Through his strength and cunning, Jaguar Sun wins the right to rise each day in the East.”


One Mayan creation myth recounts:
“As god created people out of mud, jaguar, curious, watched. God didn't want jaguar to know how this was done, so he sent jaguar to the river to fetch water, using a leaky calabash to fill a jar. God figured to finish people by the time jaguar returned. At the river, as jaguar was mindlessly scooping water with the leaky calabash, frog advised patching the holes with mud. Very quickly, jaguar filled the jug and returned to the god who had finished 13 of the people and 12 arms; god was in the process of making a dog.”

While Jaguar expressed an interest in eating the dog, “God said the dog was to serve people and that the arms were to teach jaguar respect.”

After man wounded Jaguar’s paw twice, he learnt to leave humans alone. (He did eat the dog though.) Even still, people were still fearful and envious of Jaguar’s hunting ability and power.

“But although these powers are alluring, the jaguar teaches that people should never try to be what they aren't, as in the story of the possum who asked the jaguar to be godfather to her son… Jaguar, to be a good godfather, took little possum hunting at the waterhole. Jaguar leapt on a very large animal. The possum and jaguar ate their fill. Later the little possum took his mother to the waterhole where the little possum leapt upon a very large animal, but the animal simply shook himself and threw the little possum off into the mud. The little possum called his mother for help, but when she came to him, she, too, was trapped, and they both died. Jaguar stories also teach that power, by itself, is not enough.”


Then there is the story of the three lazy jaguars that were dying of hunger but didn’t want to find food. The rabbit asked them why they were complaining – they had been given the perfect hunting tools of claws and fangs ­– but the jaguars just grumbled that it was too much work to hunt.

“Rabbit offered to carry the jaguars into the forest if they would climb into a net. Once they were in the net, rabbit tied it shut, then found a long green guava stick and beat the jaguars. ‘You are built like great hunters, but you are lazy beasts.’ Thus the jaguar can be wise and foolish, powerful and weak.”

There are many myths about the jaguar even within the Mayan culture. Some say  “The Jaguar Sun has the wisdom and mystery of day and night, life and death, [while] other stories give a jaguar deity the power to eat the sun. One Maya story says that the end of the earth will come when jaguars ascend from the underworld to eat the sun and moon, maybe the universe; an eclipse will foreshadow this final event.”

But the Mayans believed that appeasing the Jaguar Sun god with rituals, singing, and honoring them in various ways has prevented this occurrence.

“Perhaps the stories and details about the jaguar are contradictory in part because people themselves are contradictory. Sometimes humans protect the jungle and share in its bounty. Sometimes people foolishly take more than is needed for food, consuming their environment - maybe even themselves.”

Text paraphrased and quoted from: http://www.oneworldjourneys.com/jaguar/jag_myth/body.html
Jaguar Rising by Marian Blue (2001-2002)


problem? solved.

Here's a look at some of the process involved. This is the second attempt at lining up the gears, with slightly more success but still not fully functioning. 


And this was just what I needed to make my day even better.... chipped mirror finish. Thank you, canal plastic.


But I had to recut the frame anyway so life was good again when I got to this stage:


The gears appear to line up, but the problem is that the hole I drilled for the gear shaft was not exactly in the center. So when they rotate, sometimes they match up but they easily slip off track.


Some photos of the final piece with hinges and all:




Various things I learned from this project:
- the exponential impact of a small measuring error
- how to use the bandsaw (truth: never used it before this project!), plexi cutter, jewelry saw, and sanding machine
- when you think you're almost done, you probably have a good 2 or 3 days of work left... at the very least
- dowels and how to create a simple gearshaft
- having extra material can literally save your life
- mirrored plexi melts and cracks easily