Fine Arts

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http://hdl.handle.net/10066/7373

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Browsing Fine Arts by Subject "textiles (visual works)"

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    Embodiment
    (2014) Pierce, Hilary
    Spirituality comes to me most easily through music. This project is a representation of how music has inspired me to move as a performing artist, and how that movement in turn has inspired me to create forms that complement and enrich those performances. I think of my work as belonging to a particular landscape, to a time and place or to a particular someone, as if I interpret an obscure and intense mysticism by giving it tangible form. All of my work is designed with the intent that a human should be its context, embodying and being embodied by all of the little constituent parts that build the ensemble. The human presence has always been an intuitive necessity for me—without a sentient face and meaningful, expressive movement to contextualize my pieces I tend to lose interest. By adorning myself with my work when I perform I convey a very specific meaning to my audiences—and my movement in turn influences how viewers perceive the pieces I’ve made. To display my smaller work in the stationary gallery setting I thought to substitute mass for movement, to create a monolith that would demonstrate how the pieces could be used to create a presence. But once I made the massive cloak, I knew I must try to dance in it—and once I danced in it I knew I needed a headdress. One idea spawned another, and what had once been a collection of only very little things changed drastically. When I had this new ensemble I decided to create the face and gesture of the mythological figure whom I would normally be using these vestments to embody on stage.
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    Katharine Seto Fine Arts Senior Thesis Project
    (2012) Seto, Katharine; Kim, Hee Sook
    Art is like a person—organic, complex, and emotional. Art’s differences cannot be defined by intellectual labels that only loosely describe what a viewer sees or feels in a piece of art. Only the artist has a full understanding of how a piece came to be, from the inception to the fully finished product. Once it leaves the artist’s hands, all the labels and analysis may stretch its meaning far from its original intention. So here I am, trying to blur the lines between the labels—specifically between art and fashion. Where does the art end and the design begin? Do I need to plan from start to finish, or can I create through a series of spontaneous actions and unconscious decisions? Why is a person drawn to something, and how can I become part of the creation of that product? Part of my process with art is tossing aside any process. I feel that I need only time to create a product: given enough time, I will have something to show for it. I know what I want in the end: to define a brand that is uniquely me. Whether that involves creative license over an existing label, or creating my own, it does not matter. To manage that, however, I need to find my process; understanding fashion construction requires working with the materials over a long time. For the moment, let us define my art as fantastical and romantic—slightly altered and cropped versions of reality. My images are emotions and colors on canvas; they are nothing more, nothing less. Others may try to define them, force meaning upon them. For now, while they are in my hands, why define them?