Wisdom to forthcoming seniors

1. work this summer, alot, its worth it and you won’t have as much time as you think once classes start. everything i showed got its start, to some degree, over the summer.

2. figure out what you like about being an art major and do it, try new things sure, but your best work will be the work you enjoy and feel comfortable making.

3. don’t over-think things, you can justify things conceptually later, if you did it, you did it for a reason.

4. don’t get too married to any one project, if it gets too tough set it aside, if you don’t like it change it, if you still don’t like it, scrap it for parts and keep going. there is nothing wrong with cannibalism.

5. look at art. look at all the art you can. find art you like, figure out why you like it and then make art that you like. this is also a good way to get out of a rut if you are getting bored with your work.

6. the professors here are awesome resources, they will always give your work their best eye and you a straight answer. if you are ever stuck, seek their advice.

Sara’s wisdom for future senior majors

Soooo, Emily pretty much covered the bases…I completely agree with everything she said…

It is true, you must assess your work ethic personality and make it work for this class and the ultimate result of a body of work. All the work you do will be completely SELF-MOTIVATED, but (as I believe Erling and Tanja communicated in the meeting)…how SWEET is that??!? For this class, get out of the mindset of working for a grade. Leave that thought-process for French papers and accounting exams. Put in the time because whatever you are doing matters; it is rewarding, challenging and an exploration and utilization of your unique talents. It is easy to forget sometimes what an opportunity and privilege this is.

Unlike Emily, who works best at ungodly hours of the night (yeahhh college!!!), I like to come into the studio and work for blocks of time every day. I like to sleep on it, put things aside and come back to them (and go to bed before 12). That is just me, therefore, I schedule parts of my day, each day, for art making. I literally write it in my calendar: before class, after class, after dinner… “STUDIO” – like any other assignment. Art and your other schoolwork actually become nice changes of pace from the other (which you already know).

I agree with what Emily said about not ‘forcing’ an idea that you know you and others will be bored with, however, if you put the time into working in your studio; experimenting and thinking visually, you WILL come up with something that you are excited about. I keep a pad of paper next to my bed for those times when vivid ideas, images or connections really do ‘come’ to me.

There may be projects that you begin, work on and end up abandoning (for the class anyway) and you have to accept that, say ok, I learned from that disaster (or false-start) and move on. This is why it is beneficial to use to the summer to experiment with the idiosyncrasies of mediums you wish to work in.

I would also emphasize the importance and opportunity to really listen to and learn from others in the group as well as your professors. Take advantage of critiques to get other’s opinions on work that you may have looked at for too many hours the past week. You don’t have to listen to the opinions of others, but it is great insight at least into what you are communicating or not.

That is all for now, if I think of any more burning pieces of wisdom to pass down I will write again on the blog.

 

Oh, and play lots and lots of really good music.

 

- Sara P. (I will be in Richmond this summer and next year if you have any questions – or you can email me)

 

Oh and to elaborate on Emily’s wisdom regarding the studio: I would highly suggest washing the covering of the futon before sleeping on it. It was passed down to us from the class of ’08 majors and every time I napped on it,  I tried not to picture all the dirt and germs hidden by the black covering. Sorry none of us ever got around to washing it…

Emily’s Words of Wisdom for the next bunch…

My Super Five Tips to prepare you for thesis:

1. Don’t force it. While l I’m not encouraging you to sit around doing nothing, waiting to be struck by artistic inspiration, don’t stress about having a genius plan in time for class on Wednesday and don’t pour a lot of time, energy or money into an idea that you know you will be bored with in a week just so you have something to “turn in.” This class can be really stressful if you get hung up on what you think you should be doing or what you think your work should look like.

2. Think about yourself. I think people make their best work when they are investing a piece of themselves into it, so if you are struggling for an idea, or motivation, think seriously about why you are here and not in the business school…What specifically about your personality or life has drawn you to create things. 

3. Manage your time. I am not a person that can work 2 hours a day everyday on something, I love to procrastinate. I personally know that I work better under pressure and I would rather work 72 hours straight than bajillions of three-hour increments. In thesis, this can be fine as long as you take into consideration that art is never really finished and it does take a long, long time. Unlike other classes, you can’t just stay up all night writing a bunch of mush then turn it in the next day and be done. You will want to do well in thesis because a. it’s fun b. it’s a reflection of yourself and c. other people will look at it, so if you work best under pressure like me, that’s great. Just keep in mind that you will never feel that definitive “I’m finally done” like you do in other classes.

4. Embrace the studio. Having your own space on campus is fun! Take naps on the futon, bring snacks and play music. Make the studio into a place you want to come and work. By the end of the year I went there to do the work for all my classes. 

5. It’s worth it. Art can get stressful and tedious, especially when you keep telling yourself that art is supposed to be fun. Sometimes you get really frustrated and overwhelmed with all the work you have to do for other classes, especially when you are supposed to be being all thoughtful and spiritual about thesis, but in the end, I promise, it will all work out.

artist statement

Honors Thesis Artist Statement                                                                        Sara Perkins

In my work, earthly realities refer to larger realities of the supernatural world. I employ the visual language of art to highlight the dialogue between these realities; using natural symbols to represent that which transcends absolute cognitive understanding. By allowing the seen to point to that is unseen, I hope to re-imbue a sense of awe and wonder into the lives of my fellow post-moderns.

 

The images I depict come from nature and thus are universally accessible to some degree. The Jungian concept of an archetype speaks to the universality of certain symbols or concepts within our psyche. And, the occurrence of common archetypes within the symbolic language of our individual dreams reinforces my sense that we are hard-wired to speak the language of symbols, and share similar databases from which to decode.

“Jonah and the Shadow” and “YHVH” depict two of the most vital and pervasive elements; water and fire; both of which bring about many literal, figurative, and metaphorical connotations. In the Bible, these elements are used by God in different contexts; as agents of both destruction and purification, as signs that God is angry as well as pleased, as metaphors for spiritual life as well as death, renewal as well as judgment. Yet for me, these paintings speak to the elements’ power, mystery and proclivity to transform; serving as metaphors for God’s presence in our lives and our subsequent reaction to his intervention.

Formally, my pieces are just as much about the background as they are about the foreground, as I am playing with different ways to create spatial depth, and, many times, spatial inconsistencies. For example, in the plant paintings, I use imagery from direct observation or photographs, but place them in spaces that are sometimes irreconcilable; signifying transcendence beyond realistic depiction, and momentary or worldly understanding. The scale of my pieces affirms the viewer’s own physicality, while the materiality of the paint reinforces the fact that these are indeed art-objects; reinforcing the somatic connection between the work of art, the artist who made it, and the person looking at it.

I am deeply moved by the piety and detail of early Renaissance painters such as Fra Angelico and Jan Van Eyck, who strived to represent the biblical stories in such a way as to encourage contemplation of the narrative. Yet, I am equally moved by the spiritual nature of paintings by modern artists such as Rothko, and contemporary artists such as Makoto Fujimura, but in different ways. These artists abstract grand Biblical themes, using color, scale, light and materiality, to appeal to our visceral and bodily interactions with their paintings. I view my works as a part of the long tradition of religious art at the same time that I see them as uniquely contemporary expressions. 

Thanks

And thanks so much to Tanja for documenting the installation process so beautifully and enthusiastically, and being such an advocate for us! (as well as having faith in us during last minute ‘touch-ups’ and renderings…) and to her husband Mark, for being the official photographer of the opening night. My family really appreciates being able to view the pictures!

And while I’m at it, I want to thank the entire faculty, for their continued encouragement and mentoring that means so much. What a great experience.

Opening Night at Artspace

 

The good time was had by all– and all were duly impressed by the work and the installation.  Because you don’t need to read my embarrassing professorial gushing  (“…and I remember when they were  little freshmen…”), I will just go straight to the photos.

 

 

Ashley, Tanja, Sara, Dan, Emily

 

 

And it was Sara's birthday-- what a celebration!

 

Happy faculty: Erling Sjovold, Tanja Softic´, Margaret Denton with husband Joel Cabot

 

Sara, Steven Addis and Audrey Seo watching Dan's videos.

 

Emily in her work. Literally.

 

Erling Sjovold, Department Chair, Jason Jones and Cameron Jones, Department's Administrative Goddess.

 

Tanja Softic´and Olenka Pevny. Our faces say "Well done".

Installation at Artspace, Day Two

I am not going to say that the mission is accomplished, but the major installation activities have been completed.  A certain painter just has to put another layer on the piece tonight,  a certain other painter has one more panel to bring over and a certain installation artist will bring the video part over soon.  And, yes, the labels and a gallery book.  The installation looks GREAT, and I cannot wait to hear the comments on Friday night.  Please tell everyone about it and come out!

 

Scott, Sara and Henley adjust the light on Sara's pieces.

 

Emily's tent is up!

Emily installing inside the tent.

 

Ashley hanging her paintings.

 

Zero the cat approved.

Installation at Artspace, Day One

We rented a big white cargo van, we loaded it with paintings, boxes, panels, a parachute and various objects covered in popcorn and headed downtown.  Here are some pictures from the installation at Artspace:

 

 

Scott in front of (almost) loaded van.

 

Popcorn chair safely delivered to Artspace.

 

Installation and space negotiations under way.

 

Sara applying last touches.

 

Dan and Ashley pondering the installation of Ashley's paintings.

 

Emily, under her parachute tent.

UR Undergraduate Research Symposium

 

Seniors did good things, once again:  presentations during the Student Symposium went  very well and we had a good crowd in attendance.  Many thanks to the staff of the University Museums for their work on making this exhibition a success.  

Ashley Davis

 

Sara Perkins

Dan Shoemaker

 

Emily Viviani

 

Enraptured crowd listens to presetations

Installation in the University Museums

04/16/2009 Scott and Emily Viviani wall-mounting stands for Emily's assemblage boxes.