Carin ].C. Fausett, Department of Art
In the original proposal, I indicated that this Creative Research Grant would enable me to widen my scope of artistic ability and possibility. My ability would improve through increased production which this grant would make possible through the purchase of materials and tools. The results of being accepted for this grant was a large body of work, which consisted of 25 pieces, supported by original poetry and a four page paper that explained the ideas behind the visual work. The work was completed between Jan.- june 1995. Opening night was June 19, and the show lasted until the 30th. It was held in gallery 303 in the Harris Fine Arts Center. As a whole, I feel that this project was successful. It was difficult physically and mentally, yet while completing this project, I was able to tremendously increase my skills, understanding of ascetics, self and potential.
While making this body of art, I tried to understand some of the things that I had been questioning. For instance: why do people look upon work negatively, what happens to art after you make it, what does this kind of sculpture mean, why do I recycle materials, how should art be accessible to viewers and how do I give an honest definition of what I feel/believe and present it as such? After months of study on these questions, I feel that I have come to a conclusion. The final results are recorded in my support paper, poetry and slides of the sculpture. The answers I have found will help me tremendously as I pave my way in the post graduate world. It is vital to know who you are, and if the work you are doing is worth while in order to take the road that will lead you to the rest of your life, especially if you desire a specific destination.
B.F.A. Prospectus/ Artist Statement
Sculpture is a process of recognizing and resolving a problem while working physically with a material that embodies or symbolizes that difficulty. Every piece of art in process presents a problem or challenge that when resolved claims a solution. This solution results in a satisfactory piece and answers to previous or continuous life dilemmas.
My personal concerns are symbolized through the materials used; steel embodies fear, and comfort is found in wood. These two concerns of fear and comfort are opposites. The words of Soetsu Yanagi focus on Eastern ideals about craft and the joining of different elements. They mention a “reconciliation of opposites, or perhaps more appropriately, the embrace of opposites.” To gain this “embrace of opposites” the yielding softness of wood, in contrast with rigid steel structures, has been used. These materials and shapes become united because each has something the other doesn’t. Without the differences that both materials bring to the sculpture, these pieces would resemble a life of only work, wanting mediation and enjoyment.
“Is work a bad thing,” asked Rod Walker? Previously I implied that it might be, yet it is only a negative thing when the outcome from that labor is not stimulating, exacting and satisfying. The stimulation from making sculpture is physical and mental. The labor is evident as a physical benefit, very exacting, pushing one to the limits, requiring precision for safety. The necessary skills required are not usually considered. These skills enable more or less, complete control over what he or she wishes to create. This control is power, and with this power comes confidence. This leads a person to believe that they can produce good welds, smooth wood surfaces and specific patinas. With this confidence, the artist works even harder. The result is an object of beauty or satisfaction. There are two kinds of labor, forced menial work or labor stemming from an inner personal drive resulting in satisfaction.
Although the process of creating art is wonderful, the production has bothered me. David Nash defined it well. He called it adding “to the already overwhelming material burden of the modern world.” My solution to this has been to reuse materials that have been discarded and deemed as useless. As a result, pre-made steel shapes, or parts of machines, appear in my work. Although prefabricated shapes are used, I desire to give these sculptures their own identity, not that of the original object from which the steel, wood, leather and other materials were taken.
While I have tried to give my works their own identity, I have also tried to make them stronger and heavier. I feel that secure construction and the impression of weight or actual weight are important. The ability to identify the connection points and a sense of strength or solidity is comforting. It implies that this statement or sculpture is not temporary. Dependability is something that people look for since childhood, from their parents and surroundings. Considering divorce rates and the length of time a person is expected to continue with a company (ten years or less), it may not be totally realistic to expect security. The sense of strength and solidity I have tried to include are comforting to myself and others.
Along with this idea that most things are temporary, is the idea that most things are discarded. America’s trash piles are gigantic, as are suicide, divorce and homicide rates. Previously I mentioned that it is satisfying to use materials that symbolize my concerns. So to work through these mass problems, I reclaim discarded things placing them at a higher value. These items represent a rejected person, place or idea.
Certain materials as mentioned must be used, and specific shapes or patterns are important such as circle grids, squares and triple rectangles. Grids and squares represent stability, order and logic. They are understandable and non-surprising elements. Viewers are likely to recognize and feel drawn to the familiar forms of geometry, angles and architecture.
It is important that these sculptures are accessible to the viewers. Certain elements are needed to draw the viewer to the piece. Accessibility is one of these elements. To achieve this accessibility most of these objects have been presented on the ground or near it, so that people of all heights, or ages, may touch them. The finishes used are not pristine and do not act as a barrier; instead, they are durable and increase their beauty through some wear and interaction with the viewer.
These sculptures should be approachable and understood through association with the common objects that have been used. They are made to stimulate some thought processes for the viewer that would produce questions. Of top priority is my desire to share my perspective with others and present what I perceive to be an honest definition, open to study revolving around people, relationships and evolving from my point of view.
Brief Explanation of Collages
While working on this project, I kept a sketch book of specific ideas for sculptures, stream of conscience poems and drawings made without an intent related. I photocopied anything that had aesthetic value from my sketch book and made a “family tree”. This flow of ideas showed how one, specific or not, was a transition to the next. I was amazed how there were very few gaps between the flow of ideas; they seemed quite smooth and clear. Then I took all of the elements and assembled them with photos of the completed pieces. I choose to have the photographs taken outside because the exhibit would occur in such a pristine environment. Next I floated the collages in oak box frames, with my poetry added for ascetic and explanatory value. I enjoyed finding connections between the different kinds of drawings that I make to my poetry. It’s quite an effective way to work.
Specifications and Location
This B.F.A. finial project will consist of nine single sculptures, eight industrial-furniture-animal sculptures and seven collages consisting of photographs, drawings of the pre-sketched pieces and xeroxes from my sketch books. To Rest, to Sleep in me, Comfort in Fear, Filtering Sky Rain, Metamorphosis, A Box of What I’m Satistled With, Warmth in There That Comes Else Where No Where Near, In Every Mind There is a Shade of Blue Like the Heavens and the Sea Steady Present, Wavering, Irrelative to Them and Relatively Valuable to me, and Onlv Surfaces Settle Like Ice, but Water Bodies Underneath Seethe as They Freeze are the titles of the main body of work. The industrial animal pieces are named after people that are important to this project namely jesse, Marie, Kimo, Niel, Joe, Brian, Gary and Von. The titles of the collages are similar if not identical to the titles of the sculptures. These pieces consist of four floor pieces, one wall piece, and four pedestal sculptures. These were displayed in the 303 Gallery of the Harris Fine Arts Center June !9-30th. The opening night was on the 19th from 7:00-9:00 pm.