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The Ticklemonster Battle in the Sky VS. Duane “The Committee Chair” McDiarmid

By Broooks Wenzel

“First he had to face his arch nemesis, Clowny, on land and in the sky. Now he’s going after his makers. And it ain’t gonna tickle.” The Ticklemonster is calling out his adult male role models in a no gravity barred brawl in the sky. Wielding horse heads on-a-stick he will unleash a lashing worthy of the depths of a well fostered imagination. This is a very serious and masculine challenge to those who shaped his development. Whatever, he can totally beat them up. The results will be useful and definitive as The Ticklemonster conquers the law of gravity, and shows his mentors who the bigger man is. Video documentation to follow… Special thanks to collaborators: Duane McDiarmid Daniel King Michael Rutushin LJ The Bell Ringer The Dairy Barn Art Center Lydia McDonald Shane West      ...

Transcribing Light & Motion

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How do we recognize the reality of physical phenomena that we cannot touch? Light and motion are two such experiences, elusive in our understanding of them. The following project is a twofold creative examination of physical concepts. The first component concerns motion: how does our motion through physical spaces hold continued presence, even after the motion has passed? Why are certain motions repeated by certain people to create unique patterns of action? How do our bodies relate to nature and physical phenomena? To address these questions, I created a video of myself dancing, one of my favorite types of motion, past 3 lines. The lines follow one after the other, related by the golden ratio. This relationship was chosen because of its mysterious connection to repetition in nature. I recorded each part of my body as it passed a line. Obviously the motions of my body differed each time, but I recorded the same body parts passing a similar portion of the line. These same body parts were represented by a code. I created this code by scanning different parts of my body, developing it into a topographical map, and printing it with a 3D printer. In order to more successfully explain this process, I will provide the example of the knee. Although it may have crossed the line multiple times, it was in a different physical position each time. However, one of my goals was to use a sort of mapping system, a translation, to examine how we measure physical reality, and what is gained and lost through this translation. So I scanned my knee with a 3D scanner, in one set position. I developed this scan with a technique used in traditional mapping of landscapes, topography. I then 3D printed this knee. The print became a code that I transcribed onto sheets of plastic. Each sheet represented a line I passed. I transcribed multiple codes of different body parts onto these sheets as a way of visualizing how space is impacted by motion, how motion is repeated, how codes are used to help us make sense of the complex world, and how these codes differ from reality. The second component of my research examined light and how physical environments and objects change. First I created crystalline formations and melted plastics with solvents. These two processes differed in that the formation of the crystals was already determined by their physically ordered structure, while the plastic represented a non ordered, amorphous structure, one whose change could not be determined. I hung the structures in a formation suggesting landscape and then projected video of the structures’ creation through the whole formation itself. The light reacted to the white and translucent objects in different ways that can be seen in the photos. The light’s reaction raises further questions about untouchable physical phenomena. How does light interact with its environment in different ways? These are questions whose answers quantum physicists still ponder over, as do I....

Mask and eyes

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This drawing original is an unconscious drawing, almost based on self thinking. When I finished drawing, I found out there are a lot of signs include in the elements I used in the work. Eyes, mask, third eyes, rolling eyes, concentric lines, etc. Those all include meanings behind and also reflect myself.      

Home Salty Home

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In the spring of 2013, I was standing in line for concessions at the Angola Prison Rodeo in Louisiana. I had received a grant to conduct research on the controversial spectacle of the rodeo. A friendly man next to me suggested I try the fried pig tail and reminisced about his favorite snack. His t-shirt read RODEO WORKER. I recognized the t-shirt as the same worn by men behind booths at the rodeo’s craft fair, where they sold their art. The rodeo was held on the grounds of a maximum security prison. The men behind the booths were inmates. I bought a pig tail, found a seat on the bleachers, and gnawed on the deep-fried cartilage and bone. Dressed in black and white striped costumes, the inmates commenced the theatrical events of the rodeo as hordes of spectators cheered on. I couldn’t figure out how to eat my pigtail. Eventually, I grew tired of the rodeo’s pageantry, left my seat, and spent the rest of the day talking to the rodeo workers. ______________________________________________ Spectacles are difficult to overlook (or underlook). Fiction has formed my personal ideologies as much as real people and experiences have. Illusions can reveal great truths, provide escape, and offer an excuse to look at things a little differently, if only momentarily. I find that even when the veils of these mirages are lifted, there exists some underlying magnetism. These moments punctuate life, generating an unpredictable fluctuation that sheds light on the complexities of our social experience, upholds cultural idiosyncrasies and acknowledges collective vices. This body of work embraces the theatrical cues of flashy venues and their tools of trickery while simultaneously admitting their fantastic fallacy. The video works document various embodiments of temporary pleasure, intrigue, and thrill. Bars, strip clubs, theme parks, arcades and other fabricated environments begin to represent a greater relationship between moments of extraordinary circumstance and the inevitable return to daily routine. The sculptural pile of lit-arrows attempts to put the universal icon of direction at risk of becoming futile. ________________________________ This exhibition was made possible thanks to many resources provided by the Create Space, Nathan Berger’s expertise…two short-throw projectors, an iPad mini mac, three iPads, a nexus phone, an LCD TV, a Pyle audio mini amp, surround sound speakers and a partridge in a pear tree, to be exact!      ...

Babel

By Ryan Davis

Babel is an ongoing series of a dialogue regarding the contemporary context of Blackness. My research is to expose the shifting dialogue of race seen as a Black-White issue but an inner dialogue of critique what Blackness means. As this research continues to unfold I intend to reveal that Blackness does not solely define a person and solidarity but rather an examination of self that can be informed by Blackness. Most recently at set up an audio piece using the create space PA system to project a set of interviews of Black people I conducted. I exhibited the this piece over the PA on April 16th. The pictures you see with this post is an image of the space I played the audio in and picture of the painting that was presented along with the audio.    

ART 1220, Image

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The following explores fundamental issues and concepts of  image creation, to have been designed to further develop the designers’ ability to perceive, interpret and record information. The works evolve from executing simple interpretations of aesthetic form to visually translating complex observations. A focus on ‘the aesthetic’ order throughout this research will concentrate on understanding the structure of objects and color through traditional drawing. We can look at image from an aesthetic, a theoretic, a pragmatic or a personal point of view. All are valid approaches and each can be used in a variety of applications. We have to remember, however, that we are experimenting with image inside the context of a school of art and design that prepares individuals for a variety of potential disciplines. Thus the visual experiments have been selected to have purpose for all areas of study. The creation of an action is necessary to gain the reaction. The objective is to secure enough of an understanding of point, line, shape, form, volume, proportions, ratio relationships, texture, pattern, light, shading, time, meaning, context, connotations, denotations, content and their interrelationships to utilize these elements in continued experimentation throughout your education and your work in whatever field of art you pursue. The investigations are to be carefully pursued, even those, which include objectives of total freedom may have also been designed to achieve an exposure to visual relationships.      ...

Dark Water

By Ian Campbell

In August of 1817, a number of people claimed to have seen a “Sea Serpent” in the harbor of Gloucester, Massachusetts. Many scholars, scientists, and historians have attempted to speculatively identify this creature as a species yet unknown to science, and even more skeptics have disparaged the account as a hoax, or the product of provincial naïveté. Yet what really happened that summer, 200 years ago, remains a mystery. The true identity of the Gloucester Sea Serpent remains unknown: irretrievably lost to the passage of time. For my MFA thesis project, I used this enigma of natural history as a “narrative spine” to bind together an idiosyncratic sequence of images, texts, objects, and audio recordings that I presented at Trisolini Gallery this April. This body of work began last summer, when I travelled to Gloucester, Massachusetts to conduct research at the Cape Ann Museum and seek out serpent-sighting locations. At these sites, I made a series of photographs using the wet-plate collodion process. For my exhibition, I presented my photographs alongside historic texts and found objects to suggest a fragmented, elliptical narrative composed of artifacts related (at least in some tangential way) to the Sea Serpent story. The viewer had to play the role of detective, making connections between the pieces of “evidence” I presented. I employed the perceived authority of the Museum to encourage viewers to entertain belief in the unknown. Dark Water investigated the slippage between fact and fiction, as well as the seepage of the past into the present. On one level, the Sea Serpent is just a great story. However, I believe it also raises very timely questions about the environment and human-animal relationships. Dark Water highlighted the persistent human obsession with discovering and cataloging new species. My goal was to explore the sense of hope and belief behind this urge to discover, while at the same time dwelling on the ongoing trauma of extinction and ecological loss. The Sea Serpent disappeared before it was fully revealed. I wanted to situate my thesis at this juncture of “undiscovered” and “lost.” The empty ocean simultaneously evokes the void of the unknown, and the void of extinction.      ...

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