Friday, May 4, 2018

Hannah Laakso, Student Work

Self Perspective
4" x 7"
Graphite and ink on paper

"The breathing, sensing body draws its sustenance and its very substance from the soils, plants, and the elements that surround it; it continually contributes itself, in turn, to the air, to the composting earth, to the nourishment of insects and oak trees and squirrels, ceaselessly spreading out of itself as well as breathing the world into itself, so that it is very difficult to discern, at any moment, precisely where this living body begins and where it ends. Considering phenomenologically- that is, as we actually experience and live it- the body is a creative, shapeshifting entity."

I responded to this quote with an illustration of a faceless person, commenting on the way we see ourselves. We never truly see our own faces aside from our nose in our peripherals, only our bodies from an unflattering angle; What we see in a mirror is a backwards image and what we see in photos is distorted and flattened. We will never accurately know what we look like.

Hannah Laakso, Student Work

Grass Glass
Glass panes on grass
Appx. 3' x 11" Next to San Sebastion River, St. Augustine, FL

For this piece, I was interested in the industrial framing, flattening or displaying of nature, and the reflections from the glass. I enjoy the one where you can see the building in the glass, as it juxtaposes the natural with the unnatural.

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.