Pecha kucha


Published on

This is the talk I am giving for my Pecha Kucha presentation for my Senior Seminar class- basically, what I have been up to this semester in my art class.

  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • This semester has been one in which I play with materials, hand-work, and reclaiming subjugated arts. It is one in which I have paid attention to the world around me, as well as the rich inner landscape of my own life. The word Phenomenology describes this process perfectly. Basically, I live and document my own life, often finding the “space between.”
  • This is an example of some of the work I’ve been doing this semester. I realized that I’m very interested in texture, in the process of making something, as well as the final product. However, it can be difficult to decide when exactly that final product arises.
  • In the beginning I started making these blocks that I call “Test-Blocks.” I was interested in their shapes, textures and the opportunities presented to me and already inherent in the wood. Here is what I consider the most successful version, as scribbles of my imagination. My friend Seth told me, “This is how I imagine your brain works”
  • The materials used here are: red acrylic paint, ink pen, black ink, pink felt tipped pen. In addition, I used a miniature knife to carve into the wood, taking away a layer of the white paint originally on the wood. The symbolic language is somewhat botanical, purely imaginary. These are meant to evoke whatever I may be feeling at the moment of creation.
  • I started to notice that the color Red had a lot of significance for me. It was showing up everywhere. I was very attracted to it, found myself wearing it a lot, wanting it all around me, and even using it in this Mobius Scarf I made from yarn my friend Ben spun and dyed for me.
  • I was using Red paint like nobody’s business. I even drew red on my friend’s tattoo. It got me thinking, Where was this red coming from? My housemate pointed out to me that Red symbolizes the Root Chakra. This chakra lies near the sacrum, below the heart chakra, where one’s power and prime energy resides. Of course! It made perfect sense.
  • My other studio class this semester, Relational Aesthetics, influenced me a lot in the way in which I work as well as the kind of projects I am interested in. For example, the Red Bracelet Project is one that manifested for the month of November and that will finish sometime during Reading Period.
  • Earlier in the semester in Relational Aesthetics I had created a gypsy-caravan like space in which to relax and enjoy a footbath. It was about creating experience, and from this thought-stream came the Red Bracelet Project. The Foot Bath was a one-night event. I wanted to create an experience that spanned more time.
  • This Project came out of my exploration, from the beginning, of the subjugated arts, women’s work, and women’s role in society. I asked and got 9 other women on campus to be part of this project. I wove bracelets for them, sewed them on, and had them write in journals documenting their experiences with their femininity and sexuality.
  • I wanted each one to realize how special each other were, with the thought that this could open up dialogue and new avenues, new relationships in which women who had not previously known each other could enter this group and become an almost secret support network for each other. As a part of the project myself, I found out some fun facts along the way.
  • The red symbolizes fertility, blood, the cycle that we all live in and often forget to pay attention to. The red as a wearable object serves a visual and physical indicator, so that the project’s participants could find each other. Meanwhile, my wall was changing.
  • This wall is constantly changing. During our 5 hour critique mid-semester, I realized that this wall IS the Art. It is my Phenomenological study of myself. Phenomenology is defined as the study and development of human consciousness and self-awareness as part of a philosophy.
  • Inspirations range from other artists, such as Swoon, pictured above, as well as poets and writers. Among them, Mary Oliver, ThichNhatHanh, and Jon Kabat-Zinn. My Education Seminar, Mindful Learning, especially inspired my interest in phenomenology when we learned and discussed the Reggio Emilia approach to early childhood education.
  • One of our assignments in this class was to choose a mindful activity to do for 21 days. I chose to walk in the woods. I have done so before, but more sporadically. This practice allowed me to make it a priority, and the thoughts that I have had in the woods can be found in the work I make back in the studio.
  • In addition, I just went with a very lovely group of people to the Coastal Studies Research Center for a Spirituality Retreat this past weekend. The Retreat was a great way to speak and listen meaningfully to others in this Bowdoin-specific experience, as well as to get some great alone time. Solitude is an ongoing theme in my work.
  • Solitude for me is a place of strength, a good alone feeling. I take energy from it, know myself from it, and do well with long stretches of time to myself. My work centers around creating good spaces for others to experience the same. One of the things I’ve been doing is making little books.
  • I find that in our society solitude is often equated with loneliness, which is seen as bad. Rather than make space for oneself, we are encouraged to run around ragged distracting ourselves in all manner of ways: parties, TV, movies, hanging out with people we don’t always care deeply about doing sometimes not so meaningful things, music everywhere.
  • There is no space left for silence and one’s own thoughts and feelings to arise of their own accord. However, I feel the most at ease when left to my own devices in my own space. I feel that I use the time well, making, thinking, creating. Living.
  • I organize my space and problem solve in a way that is hands on and integrated to my life. It is the creating, the process, that is key for me.Art and Life are inexorably entwined for me. I cannot separate the two, nor do I want to. I paint my face because I feel like it, and feel like a warrior, knit with yarn a good soul spun and dyed, and listen to non-human animals.
  • This state of being I often find myself in allows me to experience such things as a bird’s watery eye up close, theshhhof the wind in the trees, and bright bird of paradise. Authentic experience is something I attempt to create or recreate for others, and I look forward to wherever that will take me in my work. Thanks for listening.
  • Pecha kucha

    1. 1. Seeing the Water Around Us<br />Experience and the Art of Being<br />{Phenomenology}<br />
    2. 2.
    3. 3.
    4. 4.
    5. 5.
    6. 6.
    7. 7.
    8. 8.
    9. 9. feminine<br />— adj<br />1. suitable to or characteristic of a woman: a feminine fashion<br />2. possessing qualities or characteristics considered typical of or appropriate to a woman<br />3. effeminate; womanish<br />4. grammar<br /> a. denoting or belonging to a gender of nouns, occurring in many inflected languages, that includes all kinds of referents as well as some female animate referents<br />b. ( as noun ): German Zeit ``time'' and Ehe ``marriage'' are feminines<br />[C14: from Latin fēminīnus, from fēmina woman]<br />
    10. 10. Etymology and usage<br />The word female comes from the Latin femella, the diminutive form of femina, meaning "woman," which is not actually related to the word "male." In the late 14th century, the English spelling was altered so that the word paralleled the spelling of "male."[2]<br />