Sculpture
Ania Garcia Llorente
1: i register systems of work that produce
satisfaction and exploitation at the same time
2: i am interested in the collective process in which images are legitimized by repetition, connective systematization, translation to different media
loop 1 and 2
1+2= 3 = the logical-unreal
elements of my work:
A: anchoring points
P: points of return
S: successives alternations of activities
A2: Art
? = ?
economy + language = ecolanoguamyge
MSMG: manipulation of personal simple mechanized gestures where the recognition of the material source and the fabrication process of the events is part of the work
G: geometry
RAICR: rational alternation of different ideal constructs of reality
DC: dominant culture
S: survive!
MSMG needs A and G because of how DC dictates our imagination
what happens with the art-experience as an agent of alternation between systems of activities?
how does the mind open to take in a new structure of reality?
mamilia-groff.com/
? ⮕ Go back to 1:
2: i am interested in the collective process in which images are legitimized by repetition, connective systematization, translation to different media
loop 1 and 2
1+2= 3 = the logical-unreal
elements of my work:
A: anchoring points
P: points of return
S: successives alternations of activities
A2: Art
? = ?
economy + language = ecolanoguamyge
MSMG: manipulation of personal simple mechanized gestures where the recognition of the material source and the fabrication process of the events is part of the work
G: geometry
RAICR: rational alternation of different ideal constructs of reality
DC: dominant culture
S: survive!
MSMG needs A and G because of how DC dictates our imagination
what happens with the art-experience as an agent of alternation between systems of activities?
how does the mind open to take in a new structure of reality?
mamilia-groff.com/
? ⮕ Go back to 1:
hexahedral copy Machine, 2019, video, 00:10:34
Untitled, 2019, video, 00:03:28
Sculpture
Jennifer Kilburn
Life
is a series of countdowns and the grad school one just ended.
The next countdown just began. This is one-hundred and fifty words or less wherein Jennifer Kilburn is going to say something meaningful, and make connections to the social, political, and contemporary art world that can clearly be seen in her work. She's going to make a statement that sums up everything she learned about her artistic practice in grad school. She will make a justification for being here today and taking up two pages in this catalog, and two years in the Sculpture MFA program at Boston University. She's going to think back on these words in the future and realize, “This was the moment that I finally figured out what to say about my work.” These words will age incredibly well as her art career matures. She doesn't even need one-hundred and fifty words. Just condense that to five. Four is probably enough. How about three? Now two. One.
The next countdown just began. This is one-hundred and fifty words or less wherein Jennifer Kilburn is going to say something meaningful, and make connections to the social, political, and contemporary art world that can clearly be seen in her work. She's going to make a statement that sums up everything she learned about her artistic practice in grad school. She will make a justification for being here today and taking up two pages in this catalog, and two years in the Sculpture MFA program at Boston University. She's going to think back on these words in the future and realize, “This was the moment that I finally figured out what to say about my work.” These words will age incredibly well as her art career matures. She doesn't even need one-hundred and fifty words. Just condense that to five. Four is probably enough. How about three? Now two. One.
Sculpture
Chang Wu
Wu Chang's work attempts to explore the
boundary between subjective space and objective space from the perspective of
space perception.
The inscape of space, such as orientation, size, depth, and movement, are usually regarded as objective existence, but in fact, these elements are “unrealistic,” which are prior to objective things. The texture of space always changes with people's attention, mood, and other factors. This is particularly evident in the spaces of schizophrenics, drug users, and dreams.
The world that people perceive is composed of the superposition of subjective-space and objective-space. The limitation of people's senses leads to this boundary. The numb non-sensitive senses of humans cause the subjective and objective space to never perfectly coincide.
When we see some unexpected or unfamiliar phenomena, the objective-space based on reality changes at the same time. The subjective-space, however, is constructed from humans’ experience, and it cannot respond immediately to these phenomena, so it remains the same. I classify these moments as the detachment of objective and subjective space. I'm very interested in these moments of cognitive collapse.
The inscape of space, such as orientation, size, depth, and movement, are usually regarded as objective existence, but in fact, these elements are “unrealistic,” which are prior to objective things. The texture of space always changes with people's attention, mood, and other factors. This is particularly evident in the spaces of schizophrenics, drug users, and dreams.
The world that people perceive is composed of the superposition of subjective-space and objective-space. The limitation of people's senses leads to this boundary. The numb non-sensitive senses of humans cause the subjective and objective space to never perfectly coincide.
When we see some unexpected or unfamiliar phenomena, the objective-space based on reality changes at the same time. The subjective-space, however, is constructed from humans’ experience, and it cannot respond immediately to these phenomena, so it remains the same. I classify these moments as the detachment of objective and subjective space. I'm very interested in these moments of cognitive collapse.
