Tuesday, January 9, 2018

Jake Carlson, Student Work


A reoccurring theme throughout my work is the relationship between aquarium tanks and transparent walls, as a social and political commentary. As I matured in age, a sense of rebellion grew inside as I began to disagree with certain standards that America’s culture holds dearly: the obligated respect you need to have for this land, the stigmatism that citizens have towards power, but above all, a need for a profit motive to survive. I disagree with the monetary value system that has been created in our society, as it leaves room for corruption and manipulation. This system of value is transparent towards everyday consumers, they cannot see this boundary without a sense of realization. This was my goal for this performative installation.

The water tank acts as a parallel towards America, where there is freedom within the space, but it is contained and trapped. The color orange acs as a symbol for incarceration, which is why this is emphasized through the construction fencing, lit up cones, and the bronze color of the pennies. Having the pathway covered in pennies forced the viewer to not only make the decision to enter the space, but to disrespect this monetary system. This pathway was narrow in order allowing only one person to enter or exit at a time.

The exit scene demonstrates a birth of a new identity, after suffering within this particular space. Draining the space afterwards acts as a diminishment of value towards the water tank and contemporary culture. The attire of the orange hoodie, black nikes, and barcoded mask are symbolic for illustrating my imprisonment within our current society, but as a more realized human being. The person inside the tank is not the same person who exited it.

Link below to watch video:

Joe Joe Provenza, Student Work

Spell of the Sensuous chapter 7 response

A drawing of the air around me 30 min: graphite on paper

"Air is the most pervasive presence I can name, enveloping, embracing, and caressing me both inside and out, moving in ripples along my skin, flowing between my fingers, swirling around my arms and thighs, rolling in eddies along the roof of my mouth, slipping ceaselessly through throat and trachea to fill the lungs, to feed my blood, my heart, my self." Page 225.

This is a self-portrait on a base level, but the idea of spatial existence is deconstructed. Although it is a drawing of myself from life, it is more focused on the visual perception of self and how visual information is essentially just a sensory reading of proportional, physical, and biological indicators.

Joe Joe Provenza, Student Work

One of the main themes of this piece is altering expendable objects that don't ever seem to change. I picked two bricks that live outside of the art building at Flagler. These bricks would be easy to replace but they have been in the same place since I remember.

Milk is a metaphor commonly used in my work as a symbol of cultural lust and the extraction of consciousness. The idea of milk teeth revolves around a certain conditioning to this lust for insignificance, almost showing a reversion to Freud's oral psychosexual phase in which one only has the mental capability to worry about themselves.

The white lighter was a found object which has an eerie cultural significance and also symbolizes man's greatest innovations reduced to an expendable plastic object.

Joe Joe Provenza, Student Work

Chance Powers, Student Work

This response to David Abram's The Spell of the Sensuous (page 137-153) is relating to the section on page 137, "Or, more specifically, how did civilized humankind lose all sense of reciprocity and relationship with the animate natural world, that rapport that so influences (and limits) the activities of most indigenous, tribal peoples?"

When I read this section, immediately I thought of the DAPL issue. From day one, it seems white people have been screwing over natives. As said in Disney's Pocahontas, "These white people are dangerous."

For this response, I took one of my photos from when I was in Portugal of Padrao dos Descobrimentos as it was a monument in celebration and commemoration of discovering and claiming that land. 

The monument is a huge symbol for claiming land, which means whoever is there is forced to accept the rule or be pushed out, punished, jailed, killed, all that fun stuff.

The DAPL is punishing natives for no reason by threatening their water supply, essentially pushing them out of the very little land we "allowed" them to have, desecrating their graves and land in the process.

I layered photos to create this piece. There is a filter layer on top of that cracked, dry land, free of water and life. The picture over that is of the protests going on because of DAPL (credits to Kevin Scott Cuevas of the Odyssey and Jeremiah Jones of Countercurrent News).

I wanted to overshadow the vision of victory with the real costs of these conquers.