It's week two already!
It's quite late today. Today marks week one of Franklin and Marshall and Day one of my soon to be permanent schedule for Fall Semester. I spent the morning at Millersville helping students develop ideas with their first project. They are in the process of making maquettes in foil and scrap wood. It was nice to talk to them and get to know them better. My strategy has been to stake out a table and bring busy work or a sketchbook so I can work with them. I try to keep it light and conversational because I know that some personalities will shut down if I'm just another authority figure. I also don't want to outshine the professor.
During my joint work time, I made a list of Spanish phrases gleaned from memory and from Esmeralda Santiago's book "When I Was Puerto Rican." It's a fantastic memoir about her experience moving from Puerto Rico to New York City in her teens. I love her writing. It's subtle and has a nice blend of fantastic realism and realism to it. She also expertly weaves spanish phrases and really captures the way bilingual speakers tend to move effortlessly in and out of spanish and english. I'm thinking of using the phrases I gleaned as transfers in some of my sculptures.
After class I went to a brief artist talk. The ceramics professor (Zimra Beiner) gave an informal talk about his work that is currently on view in the Sykes Gallery. I enjoyed his work for it's interesting take on the relationship between the pedestal and the "sculpture" that stands on it. I also met some of the other EARs and had a nice talk with some of the other professors. I'm feeling more comfortable with the Millersville crowd.
Below are some photos I snapped to capture the progress I'm making on my Atabeira sculpture. I found an old mask a friend of mine had cast in college and used it to make a solid mold that I can experiment on. I also managed to get into the woodshop and cut down some shapes to screenprint on. I also went out and bought some materials to use for other sculpture ideas I have. That's all for now!
Last post I mentioned a little bit about Atabeira (or Atabey). Today I want to explain a little bit more about her significance and a little about what I've learned about Taino myth and culture. Atabeira has many names. this is significant because Taino Indigenous peoples are a group that were prevalent across several islands. Today it is agreed (for the most part) that the Taino's migrated from Venezuela (or in other opinions some part of the very northern border of Latin America). They moved to Puerto Rico, Hispaniola, Cuba, Jamaica and the surrounding islands that are now part of these countries. They are a subgroup of the Arawak Indigenous peoples and are sometimes referred to as the Indigenous inhabitants of the Greater Antilles just to cover all ground. The commonalities of these groups despite migration to a wide range of islands lies in their pottery, similar petroglyphs referencing gods and goddesses and documents written by early Spanish colonists. The problem with really identifying these people lies in the fact that in the early 16th century, colonialism began to unravel the Taino fabric fairly quickly leaving behind only traces of their culture often misconstrued by the Spanish settlers. Today, anthropologists, ethnographers, archaeologists and many others are taking these documents often fraught with mistakes to task. For a very long time the general consensus was that the Spanish killed off or "integrated" through forced marriage the indigenous people of Puerto Rico. There is proof, however, that some of the Taino may have lived far longer than previously assumed when they were simply forced to live in hiding. Many early documents regarding Taino myth were written from a perspective that belittle they're worship of Cemi's. Spanish colonists believed that the Taino were child-like and savage, completely dismissing the significance of they're practices. Today, however, we have the sophistication to this significance and understand that perhaps all along the Taino were much more aware of their surroundings than the Spanish.
I will try to be brief here. I'm on a bit of a time crunch this evening but I had a really great two days with the residency. I'm also going to be taking courses through Drexel (online mostly) for a Masters in Arts Administration. I'm feeling the pressure but it's resulting in an intense drive to be more organized and deliberately use my time wisely. Yesterday I met the advanced class. They're a great group of students who range from those that have only taken Sculpture 1 to those that have taken every class MVU has to offer in the arts. They're obviously passionate and rearing to get to work. We'll be welding on Tuesday and talking about the figure tomorrow evening. The Sculpture 1 class is still working on building a vocabulary so it's a bit slow moving to get to know them and see what they're really capable of. Today I sat in on a mini super casual crit with Sculpture 1 and began reading the material I've collected. Below is an image of some of the books I'm working through to help inform my work.
Greetings! I've decided that I should begin a more formal documentation of what I'm working on due to the fact that I will be embarking on several exciting ventures in the next few weeks. I also am hoping to better verbalize what I do for a living and share my experiences with my friends, family and colleagues.
Today marks the very first day of my term as an Emerging Artist in Residence with Millersville University. I need to digress a little before I proceed to explain what, exactly, this residency entails:
After graduating from Franklin and Marshall in 2013 I took two years to think seriously about what my next step will be. The majority of work on this site is either from my senior thesis or from these years outside of academia. My thesis, comprised of both sculpture and drawing, explores various themes branching out of feminism and the body. I chose to work from and create "deviant" bodies in order to better appreciate the body I inhabit as well as promote a more varied, diverse and non-villifying series of figurative sculpture. In the end I was satisfied with the work but disappointed in how little I was able to research and articulate my discoveries. Granted I was completing a double major at the time and probably had no time left (or energy!) to really dive into these vast topics.
In the two years since graduating I've worked at local museums and at my alma mater (as a photography tech (also I'm still working here! Huzzah!)), I've interned at the Philadelphia Museum of Art and worked at proving to myself that I can create outside of academia. In this time I've learned to play. Playing has become such a big part of my studio practice now and if there is only one thing I've learned in these gap years it has to be that playing is imperative. I'm a very anxious, driven and ambitious person. Somewhat oxymoronic in the sense that I tend to panic if I don't have enough work on my hands but also panic if I have to much. Coming out of college I thought that pushing myself to my utmost limit was what I was supposed to do. I thought that I would continue to thrive in the panic. I would create best in the panic. But I'm not a pleasant person in the panic. Also the panicking, hasty decisions quickly devolve from 'amazing feats of genius' to 'why the hell did I do that'.
So fast forward to year two. After having four jobs and trying to re-gain my bearings in my family life (I live with my parents. It's both a blessing and sometimes a curse) I realized that this is an unhealthy way to live. I also realized that I was getting very caught up in trying to make something perfect that I forgot why I liked art so much. I became a machine trying to pump out assignments and check off a laundry list of "concepts" though there really was no point or necessity to do so. I quit my jobs at the museums I worked at (long, arduous, personal story I may delve into later...or never) and focused on playing more. l decided to play with ideas I've had in exploring identity politics. I dove into researching topics regarding my Latinx and Hispanic background I've had an enormous interest in but could never find the time to devote. Through this recess of sorts, I started to really turn my focus away from trying to make 'intriguing,' pretentious work and began to focus on myself. I started to use the old mantra from my creative writing classes: "Write what you know."
And here we are today. I was accepted as an Emerging Artist in Residence at Millersville University late Spring/early Summer of this year and have begun serving as such today. This summer was fruitful. My newest series "Lazos de Sangre" is a real deviance from what I had been working on. It's more bold and really confronts personal issues I've had with my identity as a young Latinx female identifying person in the United States. It feels big and scary but in all the right ways. I am the sculpture EAR at MVU so a lot of the 2D work produced this summer will inform and perhaps show up in the sculptures I'm hoping to produce during my term. I actually had a really great conversation with my mentor (Line Bruntse) about my project that was very encouraging. It's really nice to have a serious conversation about the series since I've had the pleasure of exhibiting pieces from it three times now and all with very positive results but no real critical conversations. Exhibitions rarely produce honest constructive feedback. All too often people will either be overly nice because they are respecting your 'spotlight' or too harsh (probably bitterness because of said spotlight).
As far as the nitty-gritty aspect of the residency, I will be volunteering 10 hours per week outside of my personal 'making' time. I am expected to assist in cleaning the studios, maintaining a safe working environment and facilitating critiques with both beginning sculpture and advanced sculpture classes. There are two of us sculpture EARS working with Line this year and we share a studio space within the arts commons. The studio functions as a meeting place, creation station and haven for the two of us to escape to. For the sake of clarity, we don't live in the studios, we just work on our art there. We also have access to any of the other facilities we might need both in the art building and on MVU's campus at large. I also get the opportunity to learn any skills that I might want to use in my work alongside MVU students. At the end of the year I will participate in an exhibition with the other Artists in Residence (those in painting, printmaking etc.) where we will have the opportunity to discuss our experience and our work with the public.
And so concludes my introductory post. I will be updating weekly (or more...or less) on what I'm up to during this residency and posting photos of what I'm working on.
This blog functions as a space for me to articulate what goes into making my artwork. As it goes, artists are supposedly notorious for being verbose and confusing writers that often come off as pretentious, pompous asses. That hopefully won't happen here. I intend to be as informal as possible. If you've made it this far I probably don't have to warn you that some of this might be NSFW because nudity is known to literally, and irreversibly, burn corneas.*