Sculpture Studio

Tuesday, January 9, 2018

Artificial Roses

Three foot tall sculpture placed in ground at Palm Garden on Flagler Campus.

Petroleum

Projection of video piece on top of aquarium, milk bottle, and mixed media panels.

Jake Carlson, Student Work

Video Link:

https://youtu.be/fpzPfM8C0b0https://youtu.be/fpzPfM8C0b0

N.O.W.
This performance questions the identity of figures made into statues, while paying a respect to them in a way to create meaning. Across the country we see statues of typically the upper class bureaucrat, standing on land that was once utilized by Native American tribes. It is site specific in the sense that it took place at the statute of Pedro Melendez in St. Augustine, however it uses this site to steer the viewer of questioning the identity of statutes around them. The idea of brushing off the shoes of this statute enhances the power that this figure had and continues to evoke. History books recite a narrative that sites such as Mount Rushmore are iconic landmarks in America, however they are carved into sacred land once belonged to native tribes. As a student in 2017, this performance illustrates the idea of contemporary power. The power of institutions, wealth and corporations. The power of establishing identity only for the profit of one’s self. Earning respect in our current landscape is based off of a value system that has been corrupted. Statues are permanent, worshipped symbols of power. Who was powerful, who gained respect, and who established their power. This performance questions the burdened respect that statues demand.

Tuesday, December 5, 2017

Ceramic Sculpture Fall 2017

Christian Ard
Cara B.
Connor B. (PDF)
Andrea B.
Maddie Cheney
Olivia Clemons
Cassie Derickson
Conrad Kane
Rachel Maul
Noah Mackenzie
Jessie R.
Kimmy Schander

Saturday, November 4, 2017

Key Russell, Student Work, Ceramic II, Independent Body of Work

Ceramic, metal, wood, canvas.

Ceramic, metal, rope.

keyrusswordpress.com

Maya Vivas, Artist and Flagler Graduate

"Black" is comprised of a series of ceramic wall sculptures using black clay. Paralleling ideas of dissection and articulation in terms of taxidermy and the cabinet of curiosities, Black quite literally dissects, arranges & organizes representations of internal organs for your viewing pleasure. The concept of this series originates from my own hypochondriac tendencies, mixed with ideas of elegance, sensuality, & body horror. All of these concepts filtered through my own identities & the baggage that these histories carry, has lead to a body of work that is all at once alluring & repulsive.

There is a long history throughout the world of colonization, and the use of blackness as a commodity. Everything from physical bodies to music has been forcibly made available for white consumption. Through the use of black clay and the physical act of the work being hung and available for purchase, the works make a direct connection to the slave auction, implicating the viewer as a participant in the capitalistic game of purchasing black goods. These pieces of black body are on display for one to judge, revere, gawk, ponder, and covet. The choice of using a black clay body extends far beyond aesthetics. What gives this clay its color is the high concentration of the mineral manganese. While harmless when fired, prolonged exposure to this clay dust in it’s raw from, can lead to manganese toxicity. Symptoms of which include, tremors, facial muscle spasms and difficulty walking, often preceded by psychiatric symptoms such as irritability aggressiveness and even hallucinations. Parallels can be drawn between the black experience and manganese toxicity. To have breath in a black body is a hazardous to ones health.