Gem Hansen

Thursday, December 12, 2024

CRISP-ELLERT ARTIST TALKS

Image #1: R.L. Stine

Image #2: Claire Fieseler

Monday, November 11, 2024

EXPERIMENTAL SCULPTURE COLLECTION

All Three Sculptures, Full View #1

Where?, Who?, What?

All Three Sculptures, Full View #1

Where?, Who?, What?

Sculpture #1, Full, View #1

What?

Balsa Wood, Wood Glue, String, Ink, Gel Medium, Tracing Paper

10" x 9" x 5"

Sculpture #1, Full, View #2

What?

Balsa Wood, Wood Glue, String, Ink, Gel Medium, Tracing Paper

10" x 9" x 5"

Sculpture #1, Full, View #3

What?

Balsa Wood, Wood Glue, String, Ink, Gel Medium, Tracing Paper

10" x 9" x 5"

Sculpture #1, Detail

What?

Balsa Wood, Wood Glue, String, Ink, Gel Medium, Tracing Paper

10" x 9" x 5"

Sculpture #2, Full, View #1

Who?

Wire, Tracing paper, Ink, White glue

9" x 5" x 4"

Sculpture #2, Full, View #2

Who?

Wire, Tracing paper, Ink, White glue

9" x 5" x 4"

Sculpture #2, Full, View #3

Who?

Wire, Tracing paper, Ink, White glue

9" x 5" x 4"

Sculpture #2, Detail

Who?

Wire, Tracing paper, Ink, White glue

9" x 5" x 4"

Sculpture #3, Full, View #1

Where?

Masking Tape, Ink, Balsa Wood, Wood Glue, White Glue

9" x 5" x 5"

Sculpture #3, Full, View #2

Where?

Masking Tape, Ink, Balsa Wood, Wood Glue, Gel Medium

9" x 5" x 5"

Sculpture #3, Full, View #3

Where?

Masking Tape, Ink, Balsa Wood, Wood Glue, Gel Medium

9" x 5" x 5"

Sculpture #3, Detail

Where?

Masking Tape, Ink, Balsa Wood, Wood Glue, Gel Medium

9" x 5" x 5"

In-process image

Reflection Statement:

The three sculptures visually communicate an adventure through contrasting and similar materials, each non-representational sculptural piece shows different forms, textures, patterns, lines, and space. This experimental sculptural collection explores the interworkings between the natural, organic, found, and unknown materials that were utilized, all of these materials pushed the boundaries of form and structure. These three pieces invite the audience to experience the unknown, letting the audience understand the meaning, creation, depth, and more. Through this experimental sculptural approach, these creations hold very strong narratives within their unique forms and space that they take up. This collection challenges the traditional known use of materials in the art world, redefinging their meaning and purpose in very unusual and unpredictable ways.

While exporing the materials to build the sculptures, I wanted to focus on the quality and uniqueness of each material because the texture and abnormal use can bring out very different responses and experiences. I decided to include darker colors when utilizing the ink so it would highlight and bring out the lines and spaces used in each sculptural work. I felt the work was not producing the results I wanted in terms of balance and size at first so I adjusted the proportions and my perspective of each element used and reworked everything together to make a more cohesive flow. By experimenting with balance, scale, and repositioning pieces, I was able to enhance each piece together and singularly with their own harmony together.

I want to keep exploring the technique utilized in this assignment, using less materials and colors to make a more unqiue and different pieces. The use of these unconventional materials challenged my ideas, my art style, and my emotions yet I wanted to keep exploring. I want to learn more about how to manipulate these materials further alongside other materials that I have not manipulated and worked with yet, especially materials that are not traditionally used in sculptural works. These pieces allowed me to explore the connection between the materials used and what they can convey and create, showing the endless possibilities within each medium used. The making of this work exposed new ideas such as using ink and balsa wood more regularly in my future artworks, and to remember the importance of adaptability while flowing through my own creative process with my art.

HISTORIC ARCHITECTURE

Sculpture #1. Full View #1

Moat Mound

Balsa wood, Bristol paper, Ink, Wood glue

5.5" x 13.5" x 13.5"

Sculpture #1. Full View #2

Moat Mound

Balsa wood, Bristol paper, Ink, Wood glue

5.5" x 13.5" x 13.5"

Sculpture #1. Full View #3

Moat Mound

Balsa wood, Bristol paper, Ink, Wood glue

5.5" x 13.5" x 13.5"

Sculpture #1. Detail #1

Sculpture #1. Detail #2

Villa Zorayda

11/8/24

Villa Zorayda

11/8/24

Construced in 1883 and was designed to imitate a palace in Granada, Spain. Built during the Gilded Age, containing columns, horseshoe arches, telework, brass lamps, and ornate details. Every window is a different shape and size to prevent ghosts from entering or leaving the house, which was a decision made by Franklin W. Smith the original owner and architect.

Lightner Museum

11/8/24

Lightner Museum

11/8/24

The Alcazar hotel was built in 1888 and was designed in Spanish Renaissance Revival style. This hotel had a bowling alley, grand ballroom, indoor swimming pool, Russian baths, a gym, and lots of entertainment/parties. After the Great Depression sales went down drastically, which led to the building being sold several time. Otto C. Lightner then purchased it in 1948 and he converted it into a museum to house his large collection of antiques and art.

I grabbed inspiration from the Villa Zoraydas architectual choices, especially their attention to details with windows. My four pop out windows came from that inspiration. The importance of color and balance is prevalent in this historical building, as well. I utilized five different ink colors to communicate and respond to my inspiration. This building being designed to imitate a palace in Granada, Spain inspired me to made my building similar to a palace, but a palace with a moat around it because of the power and royalty within the palace. I also pulled inspiration from the Gilded Age (when the Villa Zorayda was built) with their ornate details.

I grabbed inspiration from the Lightner Museums architectural choices, especially their attention to color, symmetry, and strong balance. When walking around the Lightner Musuem, whether in or outside, the attention to details is immaculate. The ornate woodworking mixed with the very colorful tile floor is what strongly influenced me. My pieces of paper that connected to the building and the wood planks were influenced by the balance within the Lighter, it feels like everything is connected. The Lightner, when it was a hotel, had so many amenities to offer to the visitors. I aimed for my color choices and placements to mimic multiple amenities and pleasing things to the eye and mind. There was also an immense amount of chaos with the Lightner. It was sold several times until it was bought by Otto C. Lightner in 1948. I described the chaos within the fluidity and colors throughout my piece.

Sculpture #2. Full View #1

Mound Moat

Bristol paper, Wood, Ink, Wood glue, Stipple Pen

7" x 10.5" x 12"

Sculpture #2. Full View #2

Mound Moat

Bristol paper, Wood, Ink, Wood glue, Stipple Pen

7" x 10.5" x 12"

Sculpture #2. Full View #3

Mound Moat

Bristol paper, Wood, Ink, Wood glue, Stipple Pen

7" x 10.5" x 12"

Sculpture #2. Detail #1

Sculpture #2. Detail #2

Villa Zorayda

11/8/24

Villa Zorayda

11/8/24

Construced in 1883 and was designed to imitate a palace is Granada, Spain. Built during the Gilded Age, containing columns, horseshoe arches, telework, brass lamps, and ornate details. Every window is a different shape and size to prevent ghosts from entering or leaving the house, which was a decision made by Franklin W. Smith the original owner and architect.

Lightner Museum

11/8/24

Lightner Museum

11/8/24

Lightner Museum

11/8/24

I merged design elements from the Villa Zorayda from their strong attention to repetition and window details. On every side of my piece there are windowd to fruther compliment the work that was done at the Villa Zorayda. The use of strong lines and originality within the Villa Zorayda inspired me to communicate that through my piece. The Villa Zoraydas rich history inspired my piece through their creation of the building and the strong color palette from that time.

I merged design elements from the Lightner Museum from their strong attention to details and their brick road surrounding the whole building. I believe that the intricately made bricks that are all around the building are commonly looked over, yet there was a lot of dedicated time putting into creating and placing every one of the bricks. That is why I made walkways on both sides of the building with bricks to mimic the Lightners brick work. Their ornate, large windows inspired me too, which is why I prioritized a lot of windows in my piece. The long line of history with the Lighter played a part in my design decisions largely. The change of hands and chaos that went on within the Lighter I believe connected with my piece because of the many different windows and looking points I included. Lastly, I believe with the history of the Lightner Museum that it deserved to have a moat, which is why I made my piece similar to a building that would work well with a moat.

Sketch #1

Sketch #2

Sketch #3

Wednesday, October 23, 2024

DINNER AND A MOVIE

In-process image

Final Image

Approach

Digital Photograph

Inspired by the movie Contact (1997)

This piece explores the vertical quest for knowledge, contact, communication with extraterestrial intelligence, and connection with the cosmos. The black circle marble plate speaks to the importance of circles, connecting connection and the circle of knowledge, life, and unity. Circles are very important shown through the circular spoons, watches, white doily, and black circle marble plate. The dark theme with orange toned lighting was highlighted to convey the different dimension life and contact that was made. The supplies show how vast yet also dense the space is, the large distance of the universe with the smallness of us humans is incredible. I carefully selected aand arranged objects to depict a sense of closeness and community yet also seclusion. This artwork communicates that humanity is not alone, different dimensions say so and so do we. The impportant of timelessness and other dimensions is pivotal here.

Important of circles:

https://www.rogerebert.com/reviews/great-movie-contact-1997