Wednesday, December 3, 2025

Fluxus Box

 





Nostalgia, Wood, Wood Glue, Sawdust, Oil Based Stain, Hinges, Repurposed Metal Handle, E6000 Glue, Glass Hearts, Gems, Paper, Acrylic, Repurposed Altoid Tin, Cardboard, Pearl and Clear Beads, 12in. x 5in. x 5in.


Artist Statement

    The sculpture reflects the theme of childhood nostalgia; I chose to build a sort of "memory box" with items that allude to the period in which I was a naive adolescent. Twinkle Toe shoes were something I desired so badly as a child; I had a fascination with the multicolored sparkles, which stayed with me as I grew, inspiring my shiny gem hearts. Growing up, I always begged my grandparents for their old Altoids tins to create little murals or collections of items I held dear to me, so I decided to integrate that into my box. With this I added pearls to signify the innocence and purity of being a child, especially in relation to how I saw the outside world as a youth. My final object is an origami star, a bigger version of the tiny stars I'd make during elementary school, also alluding to popular stickers teachers would give out during my early years of school as a "reward."


In-Process Images
















Research


Inspired the Bedazzled Hearts


Artist Inspiration

Franticham's Fluxus Island 
https://www.redfoxpress.com/FH-fluxusbox.html


Notes

Name of Movie: 
    Where the Wild Things Are (2009)

 Statement Describing Process: 
    I began by drawing a sketch and figuring out my measurements, originally having a different design of box with the addition of panels. Due to time constraints I opted for a more simple box design. I then I chose my wood pieces and started the process of measuring and cutting. After I sanded and cut the wood the straightest I could get, I sanded all the edges at a 45-degree angle minus where my hinges would attach to get a clean connection when gluing my panels together. After gluing the panels together (minus the lid), I hinged the lid to the box; this became a huge problem because the lid would not close. I had many trials and errors figuring out the issue; I cut half circles as well as wood around the hinges to give them room. I then remeasured and cut the lid to fit better. I ended up having to take the hinges off again to bend them to properly fit the lid. While the lid was off, I attached a repurposed metal handle to the center with a drill. I then filled wonky edges with a sawdust and wood glue paste; after it dried, I sanded and prepared to stain. After staining the wooden box, I started on my objects. Reusing an old Altoids tin, I cleaned and prepared to paint the inside. When the paint became dry, I attached some gems to the stars, later adding a mix of pearl and clear crystal beads. I then created an origami star with five sticky notes, attaching it to a cardboard stand. I finished by bedazzling 3-D glass hearts with multicolored gems; I do plan to seal the stain at a later date.


Tuesday, November 18, 2025

Paper Cutting Sculpture








 Landscape in White, Brown, and Green, Paper and Glue, 9 1/2 in.  x 9 1/4 in.


Inspiration

Artwork 1

Old Plum, Kano Sansetsu, 1646, Four Sliding-Door Panels (fusuma); Ink, Color, Gold, and Gold Leaf on Paper, 69 3/4 in. x 191 1/8 in.

The massive black trunk of an ancient plum tree with bending, twisting branches spans nearly 16 feet across four sliding panels. The reptilian old tree sprouts blossoms, which convey the atmosphere of a cold early spring morning and symbolize birth and renewal. These panels originally formed one wall of a room in the Tenshōin, a subtemple of Myōshinji, a Zen temple in Kyoto. During the 1880s, they were sold to a private collector and trimmed at the top to conform to the smaller dimensions of his home. On the reverse of these panels was a composition depicting the Chinese theme of the Eight Daoist Immortals, which formed a wall in the adjacent room. This composition was later separated and remounted, and it is now in the Minneapolis Institute of Arts.

Artwork 2
Landscape, Fei Hanyuan (Hi Kangen), 1756, Hanging Scroll; Ink and Color on Paper, 35 5/16 in. x 13 7/16 in.

    Fei Hanyuan, known in Japan as Hi Kangen 費漢源, was a Chinese merchant and artist who visited Nagasaki several times between 1734 and 1756, and was much admired by Japanese painters, including Suzuki Fuyō and Tatebe Ryōtai, and is most notably associated with the Literati (Bunjinga) style of painting.

Statement

The sculpture is a response to Kano Sansetsu's Old Plum from the year 1646 and Landscape by Fei Hanyuan (1756). I adored Fei Hanyuan's Landscape so I took a lot of inspiration from the rounded cliffs present in the scroll, as well as the greenery. Although these artworks were both mainly black and white (some red in Old Plum) I decided to dive a bit into color to bring life into the foliage and bark. Sansetsu's Old Plum inspired the trees I created, I loved how the tree is winding and curved it adds movement within the landscape.  

In-Process Images



Wednesday, October 15, 2025

Secret Lives of Color

 


Alchemist Red, 11in. x 14in., Pen Ink, Acrylic Paint, Paper

This artwork was heavily inspired by the Villa dei Misteri; a massive red mural discovered in Pompeii during an excavation. The unknown meaning behind this mural intrigued me to take my own spin on it, the only purpose identified in the mural is the use of vermillion to create awe.  The title is reference to one way to manufacture vermillion; a combination of mercury and sulfur forged by alchemists. For anatomy of the figure and fabric I referenced this artwork https://i.pinimg.com/736x/af/ae/e4/afaee483de9d122b9dc813ced627d0a1.jpg.






Sepia Officinalis, 11in. x 14in., India Ink, Acrylic

I was inspired to create an artwork of a Cuttlefish, because they birthed the color. This cephalopod produces a burnt coffee-brown liquid to use as a defense mechanism; to blind their attacker. Sepia is truly a beautiful rich color (Although sepia now refers to a spectrum of warm browns in “nostalgic” photography), so I decided to use ink to be able to build up the color where I wanted. I found inspiration from scientific drawings of cuttlefish, specifically https://i.pinimg.com/736x/ae/8e/bc/ae8ebc2dd064d77ff6152c94e3f49d20.jpg to reference their anatomy. 

Wednesday, October 8, 2025

Experimental Sculpture Collection


 
 

(From Left to Right)

Hollow, Breathe, Restricted 






Hollow, 3-D Printer, 3-D Printer Pen, Paper, and Hot Glue, 9in. x 4 1/2in. x 6in.









Breathe, 3-D Printer Pen, Wood, Yarn, and Hot Glue, 8in. x  6in. x 13in.










Restricted, 3-D Printer Pen, Wood, Paper, and Hot Glue, 11 3/4in. x 7in. x 7 1/2in.









In-Progress Images



Artist Statement
    The three sculptures visually communicate repetition, focal point, and negative space. They are non-representational and ambiguous. While exploring the materials to build the sculptures, I wanted to focus on using the 3-D printer/pen because it is new to me. I decided to include more biomorphic looking shapes and lines to explore space. I felt the second work was lacking innovation so I decided to weave yarn throughout the 3-D printer pen to try and tie it together. I want to keep exploring the 3-D printer, I really enjoyed playing around in Blender creating unique shapes. I want to learn more about woodcutting, I did not end up using the wood shop for anything but the dermal and sander, It would be fun to get more into the other machines. This piece allowed me to explore interesting materials I would normally not think to use. The making of this work exposed new ideas such as using technology to aid creating art.


Fluxus Box

  Nostalgia , Wood, Wood Glue, Sawdust, Oil Based Stain, Hinges, Repurposed Metal Handle, E6000 Glue, Glass Hearts, Gems, Paper, Acrylic, Re...