"A Room With A View"
"Lambda" |
Size: 48.3x20.3cm
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Exhibition Text
"Lambda" is a model for a sculpture by the lake inspired by Richard Serra. Through the juxtaposition of narrow passages and the vastness of the water, the model demonstrates the interplay of art and its surroundings. I aimed to produce a piece that accentuated the lake whilst connecting it to the land.
Process
Planning
1. Using paper representations for walls, brainstorm potential models. Take into consideration how each form connects the land to the lake and embraces the water.
1. How does your work create a relationship between land and water?
This model creates several portals that lead to the lake or away from it. The portals are initially large, but as people walk through, they become increasingly smaller. By blocking the view of the lake and limiting it to a small portal, the lake appears larger in contrast with the tight corridors of the structure. When walking away from the lake, a similar effect is achieved where the land seems to grow into a vast expanse through contrast between land and the small portals. This model connects the land to the water through portals while accentuating the vastness of both.
2. What feelings will people have upon seeing, entering, walking through your structure?
From afar, people will either be disgusted with the fact that the structure interferes with their view of the lake or feel a sense of wonder at the walls that seem to offer an invitation to explore their mysterious trails. The structure will evoke a sense of grandeur through its massive scale and curves that emulate the waves of the lake. Upon entering the structure, people will feel an ominous presence brought forth by uncertainty. People will ask themselves which entrance to choose and where each leads. Walking through the structure will evoke similar feelings of uncertainty. As the path slowly grows tighter and the walls close in, people will feel claustrophobic and tense. But when they see the small view of the lake framed by the structure, they will feel a sense of relief and come to understand how small the structure truly is in comparison to the vast lake. When walking back into the structure to leave the lake, people will also see how small the structure is compared to the ground that continually expands until they reach the initial portals. Essentially, the structure will give people a sense of perspective.
3. How does your structure relate to our world physically as well as with our minds?
Physically, the model utilizes curved walls to emulate natural forms such as waves. Additionally, it creates a path and symbolic relationship between land and water. Mentally, the structure plays with human perception of scale. It aims to make itself seem small in comparison to the ground and lake which effectively makes people take note of their size relative to these two things as well.
4. How does your structure embrace the lake?
The structure embraces the lake by creating a pathway to and from it. Furthermore, the structure challenges the audience's perception of scale to emphasize the vastness of the lake.
5. How does your structure use the fundamental architecture components of: Path, Portal, and Place?
Path: The structure incorporates path in the walls that continually grow closer together or further apart depending on which way it is traversed. These walls guide people from one end of the structure to the other end.
Portal: The structure forms various portals into innately different spaces through the layering of walls. The initial portals are wide but as the structure continues, they become narrow. Thus, the portals also lead into different atmospheres that evoke different feelings. Each portal leads to a different place because every portal is the entrance or exit to a unique path.
Place: The structure incorporates place by creating different paths and portals that evoke unique feelings and offer specific views. Some places are more comfortable and open whilst other places are more uncomfortable and tight. In time, people would find places within the structure that resonate with them most. For me, my place would most likely be at the end of the first narrow path that leads into multiple portals headed to the lake.
Portal: The structure forms various portals into innately different spaces through the layering of walls. The initial portals are wide but as the structure continues, they become narrow. Thus, the portals also lead into different atmospheres that evoke different feelings. Each portal leads to a different place because every portal is the entrance or exit to a unique path.
Place: The structure incorporates place by creating different paths and portals that evoke unique feelings and offer specific views. Some places are more comfortable and open whilst other places are more uncomfortable and tight. In time, people would find places within the structure that resonate with them most. For me, my place would most likely be at the end of the first narrow path that leads into multiple portals headed to the lake.
6. How does your structure embody meaning?
The meaning of the structure lies in its emphasis on accentuating the vastness of both the lake and land. It is not only a celebration of nature but also a reminder to humanity that our existence is no greater than the land we stand upon.
7. Describe at least 3 meaningful decisions.
1. I intermingled curved walls with right angled walls to juxtapose natural forms and geometric forms.
2. I layered the walls to create symmetry within the structure while also establishing unique paths.
3. I made the walls increasingly narrow to not only create multiple portals but to also emphasize the vastness of the lake and land.
4. I ensured that the structure tells a story as people walk toward the lake as well as away from it.
2. I layered the walls to create symmetry within the structure while also establishing unique paths.
3. I made the walls increasingly narrow to not only create multiple portals but to also emphasize the vastness of the lake and land.
4. I ensured that the structure tells a story as people walk toward the lake as well as away from it.
Ground Planes
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2. Mark three ground sections of varying lengths on cardboard with pencil. Ensure that the cardboard fits the black board and cut out the planes with a sharp blade.
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Wood Cutting
3. Refer to your best planning model and recreate it with the appropriate paper walls. Lay these strips of paper on the basswood and outline them with pencil. Cut out the wooden walls with a sharp blade.
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Sanding
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4. If there are any rough edges on either the cardboard or wood, sand them down with 150 grit sandpaper. Use gentle rubbing motions to avoid damaging the materials.
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Glue
5. When the cardboard and basswood pieces have been sanded, secure the pieces down onto the black board using clear glue. Start by gluing down the cardboard representing the beach. Apply glue to all edges and hold each piece down for approximately 30 seconds. Once the cardboard has been secured, arrange the wood pieces around the board and outline where you want them to be with a pencil. Add a small line of clear glue to the bottom of your wooden pieces and place them on your lines. Firmly hold down each piece of wood for approximately 30 seconds to ensure that a tight bond has been formed between the two materials.
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Experimentation
Throughout the creative process, I experimented with a variety of forms and wall layouts. I gained a better understanding of place and path by manipulating the model. I also experimented with bending basswood. In order to maintain the shape of the curved wooden walls, I had to submerge the basswood in hot water for approximately one minute and bend the wood while it was wet. Using the paper templates as a model, I created "molds' for the wood out of styrofoam. Once I bent the wood as I desired, I placed it in the mold and allowed the wooden walls to dry. This assured that the walls maintained their shape.
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Artistic Inspiration
"Lambda" draws inspiration from the work of Richard Serra, an American sculptural artist famous for his work with steel. Serra's work is bold and makes a statement due the massive size of his pieces. Every steel sculpture is site specific and takes into consideration the impact of their surroundings and how every path creates space and connects their viewers to the pieces. His work did not isolate the audience from the piece. Instead, Serra's steel sculptures invite audiences to explore them; they are interactive pieces that make the audience a part of the art. This of course has proven to be controversial. One of Richard Serra's most famous sculptures, "Tilted Arc" was erected outside of Federal Plaza in New York City only to be removed a short while later due to complaints from frequent visitors of the building. Serra managed to create an art piece brimming with social commentary and metaphor that a large part of society deemed a nuisance. He understood how the piece would relate to its surrounding scenery and audience. This is also true for the work he has done for galleries; his steel sculptures are designed to form a relationship with the spaces they exist in. I aimed to emulate this interplay between setting, sculpture, and audience in the piece "Lambda." By taking into consideration the land and the lake, "Lambda" encourages the audience to explore it and as a result interact with and become part of the piece. Drawing from Serra's use of curved forms, "Lambda" also separates the land and water much like "Tilted Arc" divided the plaza into two places. In this way, "Lambda" successfully emulates Richard Serra's work.
Reflection
Through the completion of this piece, I have come to understand more about sculpture and design. Prior to this piece, I had never created a model for an idea I had for a structure. I've learned how valuable models are in the creative process. They help visualize the interplay between a piece and its surroundings. Upon analyzing the works of Richard Serra, I've started to notice that art is dependent on the place in which it exists and the people who interact with it. This strengthens my belief that art isn't about the separation of art and audience. Rather, art is interactive and forms an intimate relationship with its audiences. I created "Lambda" with this idea in mind. I modeled my structure in a manner that embraces the lake and connects the water to the land. Furthermore, my model considers its relationship with its audiences and encourages exploration much like Richard Serra's work. In this way, my piece successfully emulates Richard Serra's sculptural work. This successful emulation can be seen in "Lambda's" curved walls that were inspired directly by Richard Serra's steel sculptures.
Meaning
"Lambda" is the culmination of audience, place, portal, and path whereby the viewer is encouraged to explore. The three distinct paths that start narrow and widen as the paths extend closer to the lake embrace and connect the water. The juxtaposition of narrow to wide creates a sense of isolation and accentuates the vastness of the lake. The use of curved forms emulate the organic quality of water. "Lambda" seeks to make the audience a part of it through exploration and expression. The piece seeks to put the world into perspective by revealing to the audience that the lake is far greater than we understand it to be. We often compare bodies of water in a way that considers the sea to be greater than the ocean and the ocean greater than the lake. But with this hierarchy, we often forget how large they are in comparison to us. When the audience stares out into the vastness of the lake, they will feel isolated; and in that isolation they will understand how vast the water that lies before them is.
Connection to ACT
1. Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork.
I am able to identify the cause-effect relationship between my inspiration and its effect upon my artwork by analyzing the relationship between sculpture and its surroundings. As Richard Serra's work focused on relating sculpture to the site at which each piece was erected, it is evident that my piece draws inspiration from Richard Serra's art.
2. What is the overall approach of the author has regarding the topic of your inspiration.
The author's point of view regarding Richard Serra is that he is a sculptor who creates interactive art that builds upon its surroundings.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
While researching, I've come to the conclusion that art a combination of what an artist produces and the interplay of their work and the area in which the work is displayed.
4. What was the central idea or theme around your inspirational research?
The central theme of my inspirational research was the interplay of art and location.
5. What kind of inferences did you make while reading your research?
While reading my research, I inferred that Richard Serra aimed to incorporate audience exploration as a part of his metal sculptures to make the viewer part of his art.
Sources
Websites
The Art Story Contributors. "Richard Serra Artist Overview and Analysis." The Art Story. The Art Story Contributors, 2017. Web. 19 Apr. 2017. <http://www.theartstory.org/artist-serra-richard.htm>.
The Solomon R. Guggenheim Foundation. "Richard Serra." Guggenheim. The Solomon R. Guggenheim Foundation, 2017. Web. 19 Apr. 2017.
Books
Serra, Richard, Kynaston McShine, and Lynne Cooke. Richard Serra: sculpture: forty years. New York: Museum of Modern Art, 2007. Print.
Serra, Richard. Writings, interviews. Chicago: U of Chicago Press, 1994. Print.
The Art Story Contributors. "Richard Serra Artist Overview and Analysis." The Art Story. The Art Story Contributors, 2017. Web. 19 Apr. 2017. <http://www.theartstory.org/artist-serra-richard.htm>.
The Solomon R. Guggenheim Foundation. "Richard Serra." Guggenheim. The Solomon R. Guggenheim Foundation, 2017. Web. 19 Apr. 2017.
Books
Serra, Richard, Kynaston McShine, and Lynne Cooke. Richard Serra: sculpture: forty years. New York: Museum of Modern Art, 2007. Print.
Serra, Richard. Writings, interviews. Chicago: U of Chicago Press, 1994. Print.