Light weight polyester fabric, nylon rope
Kaelyn Zink Haggerty
In this piece, the environment itself gives energy and motion depending on the strength and direction of the wind. The positive and negative space are constantly shifting as the fabric moves, flowing from one form to another. Due to its constant movement, this work could be called asymmetrical with nothing to bind it to the traditional notion of symmetry. With the scale being larger than any human for each piece of fabric and with all the negative space between each sheet, anyone who walked through here could become a part of the art. The artist’s intuitive decision of placing this in an area open to the sky and the elements the effective result of movement that is plentiful here. In terms of what this could stand for, it could be argued that this is a metaphor for the constant shifts that occur during and individual’s life. This piece dances to nature’s rhythm and creates a sort of chaotic harmony with the weather’s influence. With the medium being a light fabric that is also white, this design takes on a weightless, etherial feel to it. When standing amongst the folds influenced by a gentle wind, the viewer can experience a sense of peace.
A Study in Color
Glass, food coloring, polyurethane
The aesthetic for this piece is simplicity in and of itself, with the shapes all being the same shape and uniformity. The overall composition resembles the shape most commonly associated with the sun. There is a range of color present, from the primary colors of yellow, red, and blue to secondary colors orange, pink, and purple. However, while all of these are present, they are all diluted to a point where hues are harder to distinguish until returning to translucency. Every structure created to form this work is spherical in nature, creating balance when considering this and equal proportions for every part of the design as well as how each component is arranged: each line has an opposite. There is also a feeling of emptiness when taking into account all of the negative space in the composition between each sphere and in the center of the design. This piece is also very unified, with all of the pieces being places the same amount of distance apart from each other. It is also very orderly, with all of the forms being arranged in neat columns. This work could provoke any number of varying reaction in a viewer on an emotional level, depending on which color they happened to focus on while observing this.
Joanna Lynn Carroll
For her work, the artist used a relief sculpting technique to decorate the wooden surface of the table. She skillfully executed repetition of her floral pattern while still allowing for the wood texture to show through by leaving the carved away areas rough and un-smooth. She was able to created different values on all of her edges, both on the wood and on the clay pots, with the space in between each lighter area on every surface. While it may not seem this way up close, from a distance all of her lines appear to be crisp and clean. The pattern on this could be acquainted to a broken spiral design when you allow the eye to follow the petals from the center of the flower outward or inward, depending on how you look at it. The designs on this could symbolize a desire to return to the beauty of nature, or that the artist was influenced by the romantic movement (which places an emphasis on the importance of mature in art). The purpose of this set may be that the artist wants it to be functional as well as decorative, or she created this merely to share her aesthetic on what is beautiful. While there is not much on diversity in the pattern on each object, each part of this work, including the display surface, is varied and has its own shape to it. In the creative process of planning for the design, it is clear that the artist did not want an exact replica of the flower that she was inspire from. Rather, she created her own mutated form of it to add originality and show the viewers her own way of seeing the world.