I am convinced the creative process was instrumental in my management of and recovery from chronic pain. As my health continued to improve, my next body of work was titled Chaitya drawings (1992-1993). The word chaitya is a hindu word meaning to worship. I continued to develop a diptych format begun with my serie de renacimiento drawings. From the Chaitya drawings I worked with a group of drawings based on Natural History (1993-to present). It is here i continued to place elements together that at first appear unrelated but challenged the viewer to investigate further and draw their own connections and conclusions. Objects that at first seem to have no relation, can in fact be quite similar. My present suite of drawings and paintings, sacred Drawings, (1994-to present) explore the relationship between the sacred and profane worlds.
How to Write an, artist Statement - explaining your Art
It was hard to believe that molecular aspects of living tissue could appeal to me in such a personal way. I seek surfaces that purposely encourage touch and by inviting the hand to explore the forms as well as the eye, i hope to provoke numerous memories and recollections that have potential to change from moment to moment. As Robert Morris said, The simplicity of shape does not necessarily mean simplicity of idea. As an artist, i have always aspired to challenge and be challenged, inspire and be inspired, feel the passion to create a response to what I see hear, touch, smell, and taste. The material is merely a vehicle to facilitate this expression. To" the dalai lama, within the seed of the cause of events is the seed for essay their cessation and disintegration. My first series of work based on healing began in 1988 after I suffered a serious automobile accident in which doctors told me i might never paint again. Although I was physically ambulatory, the accident left me with constant chronic and frightening pain. Through the support of my friends, a determined quest to try alternative medicine and the tool of visualization, i began to heal. The visualization process was transferred to a suite of works I called Serie de renacimiento and were executed from. Personal and universal symbols such as birds, bones, butterflies and other natural objects began to be juxtapositoned next to cave formations, temples, cathedrals and other metaphors used to evoke the spiritual.
My personal affinity towards using clay, as an appropriate medium is best expressed in Toshiko takaezus words One of the best things about clay is that I can be completely free and honest with. And clay responds. The clay is alive and even when it is dry, it is still breathing! I can feel the response in my hands, and I dont have to force the clay. The whole process is an interplay between clay and myself, and often clay has much to say. I also find my inspiration from the world viewed singularly through the lens of an inverted fluorescent microscope. In nurse the spring of 2004, i came across high-resolution microscopy images of the mouse brain (tissue sections) through a graduate student working at the cold Spring Harbor Laboratory. By way of this scientific imagery, i visualized a beautiful array of enchanted landscapes- i was completely fascinated by the juxtaposition of form, surface and color.
I believe performing narratives is an act of social engagement that contributes to collective healing. For me, performance and storytelling become ways of bridging the interior and exterior space of self as well as initiate critical dialogues between communities and institutions. My interdisciplinary works attempt to find crucial intersections between performing narratives and audience engagement. With a strong belief that everything that is born, grows and withers away to be born yet again incessant change from one to another proceeds in an evolutionary cycle i choose not to be limited to a small corner space that defines who. The ceramic sculptures I make are simplified in form and use the layering of glazes to create ilahi surface that is an imagined space; through glazing I build landscape and terrain. I continually draw inspiration from the natural world. The work that I create is influenced by a combination of Western techniques and Eastern aesthetics. The painterly application of glazes acts as a dynamic, visual counterpoint to the meticulously crafted shapes.
Rooted in an autobiographical exploration of identity, the bug comes from the artists own spiritual turmoil between Islam and Buddhism. Set amongst everyday people in ordinary moments, the bug provokes obvious questions of belonging and my displacement. Each vignette presents a moment of real life with the element of the bug making each frame more surreal and provocative. Consistent throughout this series is the unique combination of humor and otherness. The project reflects the artists personality, one that combines humor, performance, science fiction and a love of everyday culture into moments that transcend the ordinary. At the heart of my work is an interest in developing stories, usually narratives that exist outside of conventions. The buddhist Bug Project continues a methodology in which personal narratives shape my art.
Writing the Artist Statement : Ariane goodwin
I deeply appreciate the process of visually wrestling with contemporary challenges on beautiful daily-use ceramics creating functional art that by its very nature compels repeated scrutiny. . Ultimately, i hope that with the regular rotation of these pots through everyday moments, users will peel back the layers of my work, open dialog with those who share their tables, and explore how their own personal actions can influence our collective future. The buddhist Bug or The bug is an ambitious body of work that continues my exploration of diasporic identities. My works attempt to find crucial intersections between performing narratives and audience engagement. The bug is a personal creation inspired by two threads (1) a personal inability to reconcile my fascination with Buddhism alongside my upbringing as a khmer Muslim woman and (2) an attempt to capture a quickly changing Cambodian urban and rural landscape.
The project is a culmination of thematic interests in hybridity, transcendence, and otherness. Through an interdisciplinary approach, my work maps new political and spiritual landscapes. Meters and meters of textile act as skin, as a way for the surface of my body to extend into public spaces, and as a metaphoric device for stories to spread across an expanse. For me, the bug is created from a sense of play and curiosity. S/he is a displaced creature destined to travel and wander amidst the in-between. This space, which exists between who s/he is and where s/he is, is in fact a powerful place for encounter, habitation and reinvention. The bug is a fantastic saffron-colored creature that can span the length of a 40-metre bridge or coil into a small orange ball.
As a child in Alaska i witnessed first hand the devastation wrought by the expansive exxon Valdez oil spill of 1989. . In the following decades, the essence of that childhood experience simmered beneath the surface, ebbing and flowing with the worlds evolving energy story. . my subconscious inklings became concrete realities after reading. The Omnivores Dilemma by food activist Michael Pollan. . Pollans book identified a thread running through agriculture, pesticides, fertilizers and oil intertwining layers that have since become prominent themes in my work. . As his writing shaped my mental framework, i aimed to translate pollans words into meaningful imagery, to bring ideas off the page and place them squarely in reality as physical objects at the table.
I continue to discover a seemingly endless string of food and energy related books, documentaries, articles, podcasts and radio stories that spur new directions as I reinterpret what I see and hear into ceramic objects. . While those written words. The, omnivores Dilemma initially inspired me to pursue images on clay, the high-tech food production documentary, our daily Bread, demonstrated the unique power of visuals alone. . Free of dialogue and its overt opinions, our daily Bread s scenes are shot with the rumbling hum of processing equipment, the rhythmic swoosh of hand-harvesting lettuce, or the nervous clucking of chickens in transport as a soundtrack. . The result is a startling vehicle for open-ended personal interpretation, discussion and debate. . Our daily Bread that encouraged me to pursue my interests in the form of visual questions, rather than rigid statements, to allow users breathing room for their own associations and connections. The functionality of the pieces I create serves as a daily nudge to reflect on the interwoven nature of our lifestyle choices and the broader world around. .
Instant artist statement, arty bollocks
Out of appreciation for self-reliance and authenticity, i compose my own music and write original prose to accompany my choreography in order to emphasize and empower the voice of the individual. I claim the bharatanatyam dance form as my own, in service of expressing my own idiosyncratic worldviews and personality. My aim as a contemporary artist is to create works that utilize the bharatanatyam form as a dynamic medium rather than a static representation essay of an ethnic culture. I prioritize creativity over convention and self-expression over collective storytelling. I make dance that is relatable, colloquial, and relevant to our everyday existence as human beings. I use functional pots as a vehicle for setting tables with visual stories. . Through everyday ceramic pieces I can subtly, and even a little subversively, explore my interest in issues surrounding food production, transportation, energy use and climate change. . Researching these interconnected contemporary themes drives my current studio practice, but the seeds of this work were sown over twenty years ago. .
Leaving my old life behind was the hardest decision I have ever made, none of want it has been easy but nothing could prepare me for the glorious chaos that would follow. Because of my camera i have walked on snow covered in flowers, stood in lakes at sunset, painted trees, set fire to chairs, made smoking umbrellas, and giant wigs from stolen flowers. I have laughed, been overwhelmed, and left in awe of all the things I had previously passed unnoticed until now. My eyes are finally open, and no matter how sad the origin of it all was. I will always cherish the fact that this small and very precious awakening has happened. I am a choreographer, composer, percussionist, writer, and performer who uses genre-evading dance-theater to articulate my personal and introspective musings. My work is grounded in stomps and rhythms of the feet and questions beneath the surface. It embraces and flows beyond Indian aesthetics to include an unexpected, unfamiliar mosaic of art that invites audiences to think and feel differently.
far away from those hospitals walls. She died in november 2008 and that was when photography engulfed me, becoming an overwhelming passion that I could not stop. I found myself producing pieces that echoed the memories of her stories, and the belief in wonder I have always felt inside. By combining my various backgrounds, i started to create images in which everything was made or designed by myself. The costumes, props, sets and accessories all became a vital part of the process that I recorded in the finished product of a photograph. It was driven by the need to produce tangible pieces of my dreams, and make it possible to step into the scenes for real. This physical creation was my favourite part, taking me to places I would have otherwise never known, until it finally led me to leave my fashion career behind in 2011 to focus purely on my future as an artist. Since embarking on this new path life has become a very different place, a second chance is maybe the best way to describe it, and for that i am so grateful.
Since 2001 I worked full time as a senior designer dessay for an international fashion label. I was happy and focused on my career, until 2007 when personal illness brought a sudden and unexpected change within myself, which led me to pick up a camera. I cannot explain how this happened, but a new, deep, and genuine need was born. I used to say i had never truly looked until it was through a lens life was different, more beautiful, more sad, and extreme in every sense of the word. People mattered, how they sat, how they slept, how they looked when they thought no one else cared. I fell in love with the faces of strangers, and photography gave me a new purpose that was, until March 2008. Tragically my mother was diagnosed with a brain tumour, and my world fell apart. Photography became my only escape when I could no longer talk about how I felt. I lost myself in street portraiture, focusing on those who reflected my own sadness and loss.
Graduate School Sample Essays - admission Essay, personal
I was born in melisande 1976 and raised in the English county of Kent, known to many as the garden of England. My earliest memories were always of the stories read to me by my mother as a child how it felt to be curled into her side, listening to the rush of her breath as she paused for effect, before launching into yet another characters voice. She was an English teacher, and read to me almost everyday, to an age i could no longer admit to my friends. She instilled in me the most precious gift a mother could, her imagination and a belief in beauty, it became my root, and the place i constantly try to return to in my work, and my dreams. Growing up, art became my sole passion. I studied until I was 25, taking courses in the history of art, photography, fine art, and then on to train in Costume for Performance at the london College of Fashion. Having graduated and worked for a short time in the industry, i decided to further my education, and returned to university, completing a first class degree with honours in fashion design, at ravensbourne college of Art. During this time i also completed two internships at the design studios of Alexander Mcqueen and Hussein Chalayan, both of whom have affected me greatly.