top of page

Source 3/7/6

Oct. 23rd

   Of a likeness to stone, suggesting marble with a natural color palette and color patterning. Its surface, like polished stone; smooth but not glassy, and not cool like stone due to its material and thickness. The query of material and process.

    The exemplification or rather summarization of elements through the use of icons or symbols. Breaking down the essence of a thing into the bare minimum of a symbolic hint. This piece merely makes me think of this as the symbol present is quite clearly an A. The immidiate and certain identification of the symbol removes question and thus intrigue. 

Oct. 23rd

Image - Unkown


     A relationship loaded with context and presupposed parameters: the cup and saucer. Yet any context is shaken and altered, as the context centers itself around function, and function is abandoned. 

     The radial lines insist that the user aligns them, the indention in the foot of the cup neccesitates the placement of it upon its positive on the saucer. 

     It is also interesting the the glaze covering the surface of both pieces is Pete's Cranberry or something of the like, and the pieces very well could have been entirely red with black detail and a varient shade of red as accents; a very different piece.


Oct. 23rd

Sculpture - Eric Nichols


    Similar to Steven Montgomery's piece this work examines decay and enigma, but more specifically through the use of many already existing forms with predetermined context, the composition of those elements, the surface treatments of those elements, and therefore the

recontextualisation of said elements while they still retain the influence of their previous context. 

    The examination of decay would better be specified in the case of this piece as socio-cultural decay and that which decays alongside it. 


Oct. 9th

Image - Simcha Even-Chen


     An object. An object in relation. An object with indeterminable purpose. An object with definate Importance. 

     The Object is impactful because it is just 
an object. It is not a person, a plot, a story, a setting, an event. It is an object; it is not any of these other things. But that does not mean it is without them. 

     An object lets you imagine. Who's is this? What is it's purpose? Why is it here? Is not the aim of creation to question, think, and imagine? Art is a collaboration between the creator and the viewer.


Oct. 9th

Image - Steven Montgomery


    Decay, enigma, deception. Recognizable yet unfamiliar. Of a specific use but ambiguous to what that use is. All are very attractive traits. To tell a story with an object, installation, aftifact is desirable. To do so you must resonate; to examine how others percieve. How?

Oct. 9th

Image - Peter Saenger


    How could this be hard fired clay? Lucious is it's sheen and hue, smooth and curvacious is it's surface and form. Beyond these aspects of strangeness and disbelief this piece examines relationships. It resonates. Mother, children. Even innately the teapot and cup have this relationship becase of their use. What I draw from this most though is the objectivity of the relationship and how the object elaborates upon itself through the use of its relationship.

Oct. 2nd

Sculpture- Kenneth Baskin


    Although this object is not necessarily in itself majorly striking to me, the ideas that it presents to me are. Relationship between objects, objects that could be seperate or unified, mechanics even if simple, and foremost in this object -- the holding/housing/cradling of an object. Held objects intrigue me, both in the manner that they are held, and in that the holding of them gives them autodefined importance.

Oct. 2nd

Sculpture - Bob Potts


Simple mechanics forming simple, yet phenomenal, experiences. This piece brings to mind things not apparent but linked nevertheless along the rays of my thinking. For instance the impact of installation, emersion, lighting, other senses than sight. How they create an experience. How a piece can be so much more than a picture. How simple additions such as a low pitch resonating can vastly alter your experiencing a work. This in combination with the CT scanner brought my thoughts to this.

Oct. 2nd

Image - CT Scanner


    Real. Existing. Not fiction. A common every day medical machine, a CT scanner, looks like something out of the future. It isn't. Look around you and you find the surreal and the unreal existing with you. From the deep sea to "fiction" to technology to the human mind. Question what "real" is. 

    The CT scanner came up because I fractured my nose on 9/30/13. The CT scanner was incredible. It was the highlight of my week. It was sensational, being moved slowly, precisly, in uknown incriments for uknown reasons. Light, sound. The resonance of the whir, the machine rotating inside of itself, around my head. The clear parameter around my head, showing the guts of the machine, showing it working, analyzing me, teaching me.

Sept. 25th

Image - Adrian Villar Rojas


     Incredible. Made of steel for the armature and concrete and green clay techniques for the form. The materials alone ask me to explore and innovate.

     The subject matter hits home. A construct that obviously has purposes, but those purposes could only be guessed at. A construct that is unfamiliar and mechanized. Is it even of human manufacture?

Sept. 25th

Image - Peter Johnson


     Simplicity, geometry, form. Peter Johnson's utilizes all three. His work shows me how effective these can be. But more importantly I draw from this that I need only suggest technologies and mechanisms.

Sept. 25th

Image of Issac Asimov


     Books have always been an enormous inspiration to me. Each masterpiece I read feels like a new life given to me. Currently I am reading a 18 book series by Issac Asimov, possibly the greatest science fiction writer of his time.

      I draw from them in both idea and in story telling. To create a work that functions as a novel, in it's infinite complexities and transportive qualities? 

Sept. 18th

     Physicist Brian Green talks of an all encompassing physical theory. Of course when you want to encompass everything you go small, really small. Into the subatomic particles and lower. Into what everything is made of; string theory.

  "A set of twenty numbers" defi-ne and make our universe what it is. If any of them were minutely different life and more broadly the ordered universe would not exist. He does not write these numbers off, he wants to know why the numbers are what they are. Thats where string theory comes in. 

    Physics and especially theoretical physicals enthrall me, allowing me to imagine worlds in new lights. They give foundation to my ideas and body to my stories. Theoritical science is unfamiliar but begs you to become familiar. The unreal is real.





Sculpture by Bob Potts. 

    Mechanics have always interested me. Some of the sources I have been searching for are industrial, mechanical, or machined constructs. I want to understand their workings so I can render or create unfamilar productions of what I draw from. This piece's use and interest is compounded because it is artfully done, raw in its machined material, and simply but beautifully engineered.

Sept. 18th





      3D printing and 

modeling resonates with me greatly. Not only for obvious reasons such as my use of it and future plans to utilize it and its already sung advantages and capabilites. But maybe even more for what it represents. That the future holds invovations and invention of materials, processes, and tools; a massively inspiring trio. There is no limit save knowledge to what we can achieve. 

Sept. 18th

Sept. 11th

     This shows how form, pattern, and design can be produced through mathematics. Utilizing line, image can be created with infinite complexity through following either formula, mathematical pattern, or freely. Although this process shown by Louis H. Sullivan in A System of Architectural Ornatment, leaves geometry too soon and as shown in the fourth step fleshes it out into traditional ornament. This is not necessary, or desirable in my case.

Sept. 11th

     The success of this building front, in Terra cotta of the Italian Renaissance is due to a depth of factors. Again we see geometry used to create pattern and form, this time utilizing concentric lines coupled with recession. Although it is certainly a centralized design it has multiple focal points; including the figures or characters of mythology that our eyes are naturally drawn to. I think figure and pattern could be married even closer.

Sept. 11th

     I dislike this image for several reasons. The combination of imagery and geometric patterning is done poorly. It has an overwhelming focal point that is enforced by it being a figure, framed, and central. This focal point along with the masses of geometric patterning makes it highly unlikely that your eye will stray to the surrounding imagery that is amongst the geometry. This removes any function of the surrounding imagery except it cluttering and choaking out the geometry. 

     The focal point that all is sacrificed for is unworthy of the sacrifice. It shows a mythological scene of St. George slaying the dragon. Unlike Exekias who shows the point of maximal drama, this shows the point of resolution; the dragon with a spear down its throat. There is no question or anticipation. Past that the story itself if boring; the hero, full of valor and righteous good, slays evil. Again there are no questions raised past good and evil, or of intentions. There should be uncertainty so there can be realization. Not all things that are inhuman are monstrous. 

bottom of page