saidbaudelaire (saidbaudelaire) wrote in cooper_union,
saidbaudelaire
saidbaudelaire
cooper_union

this time i'll be the second

you beat me to it this time milenko_ftw!


my name's victoria, 
heres a
a link to my hometest
 http://www.flickr.com/photos/inwatermelonsugar/sets/72157604003812539/



  1. I have not taken, nor am I currently enrolled in any visual study courses out side of school.

 

  1. I do not think it is wrong for an artist expound on their work, in fact I know that there is much to be gained from knowledge of artistic insight that largely defines and contextualizes where art stands presently, given art it is an ever-developing movement and phenomenon. Personally, I find that there is little else to be said about a work of art that speaks for itself. Reading this question, I recalled an excerpt from Norton Juster’s, The Phantom Tollbooth, that I believe may better convey my sentiment.

‘Uncalled for,’ cried the undersecretary. ‘We’ll take our vehicle.' 
‘Conveyance.’
‘Charabanc.’

‘Buggy.’
‘Coach.’
‘Brougham.’
‘Shandryan,’ they repeated quickly in order, and pointed to a small wooden wagon. 
‘Oh dear, all those words again,’ thought
Milo
 as he climbed into the wagon with Tock and the cabinet members. ‘How are you going to make it move? It doesn't have a --’
‘Be very quiet,’ advised the duke, ‘for it goes without saying.’
And sure enough, as soon as they were all quite still it began to move quickly through the streets and in a very short time they arrived at the royal palace.”

 

  1. Funnily enough, my work experiences at small donut shop and as a clown and magician for children’s parties both afforded me numerous opportunities to exercise my artistic inclinations.  I have always admired local installation artist, Mark Jenkins’ public tape sculptures; in turn I took to using variously shaped and sized balloons as my medium of choice. I very much enjoyed the interactive and somewhat spontaneous performance-art aspect of working with children’s parties where often times the end result spanned anywhere from enormous balloon sculptures, to draping balloon clothing, and even outrageous balloon battles; all of which I am very proud to have instigated. When I began working at the donut shop I did not anticipate being allowed to incorporate my balloon-art at work, however, we now have regularly scheduled balloon themed specialty nights. Though I do not work at the Hirshhorn in DC, I do occasionally volunteer my time there. I was fortunate enough to be selected to help orchestrate Oliver Herring’s performance installation piece, ‘Task’, it was tremendously inspirational to observe the event from start to finish and certainly encouraged me to pursue more installation-based works. All of these experiences have in common some particular aspect that I believe will accompany me throughout my artistic endeavors.

 

  1. Ideally, I would one day like to work as an installation artist, constructing and amassing textile and fiber structures; perhaps even integrating ceramics or metal-working. For the past year I have been working to produce a series of organic patterns. Guided by passion, I have been working to explore the limits of spatial capacity through individual and joint studies of color, shape, dimension, texture and composition. I have taken these areas, and as best as I can, expressed them visually through my patterns. I am cognizant of the fact that at the Cooper Union all facets of art are explored, and that my interdisciplinary interests could very well be realized under these conditions. The fact that no major is ever declared means that I would have freedom, that is not necessarily offered at other schools, to take full advantage of all the courses that the Cooper Union, has to offer.   

 

  1. I would not want to be Richard Brautigan, and I would not like to be trout fishing in America or in watermelon sugar. Though, I think perhaps that might not be so bad.

In all actuality, I would not like to be someone who has abandoned the visual arts, only to live out the rest of her lackluster life unfulfilled in monotony; stuck in the desolate doldrums forever-more.

 

  1. When asked I describe myself as “Eric Carle, meets Peter Max, meets Joseph Cornell, meets the San Francisco Diggers of the Haight-Ashbury era,” mainly because I feel very akin to these people and often imbue my own art with conceptions of their legacies. In addition I am thoroughly enthused by the literary masterpieces of Richard Brautigan; though many dismiss his works as ambivalent, I know them to be otherwise, that his ease transcends limitations imposed constricting language. I am an admirer of most forms of street art, particularly that of one, “Microbo” particularly for her distinctive use of line and restraint. In addition I truly love the contemporary fiber, textile, and installation movements and enjoy the art of Yoyoi Kusama, Kiki Smith, Magdalena Abakenowitz, Polly Apfelbaum, Diana Cooper, Arturo Henare, Jim Lambie, Mark Jenkins, Nina Bovasso, Kelsy Nicholson, Nava Lubelski, Tilleke Schwarz, and countless others. I find that many of these artists are pioneers of they’re respective arts, paving the future for more nascent artists. Attached is an auxiliary list of some of the exhibits and galleries I have visited in the past year and a half.

 

  1.  I find that many of my trivialities are in reality idiosyncrasies that speak levels about who I am as a person; and who I am as a person is a mild-wild weather child who so happens to be an artist. I watch the weather channel almost religiously, though rarely do I dress appropriately for the weather; this happens to be an excellent example of how some of my compulsions and actions may seem counter intuitive, they’re really just a part of me. If I were to list my trivialities, I imagine the list might be listless, though as they apply to my art I feel that the effect is quite evident. I like for things to look very clean, though not necessarily minimalist. I enjoy how process-driven and tedious my mannerisms seem, though they are subject to whim and by no means static. I seem to gravitate to using unconventional materials, methods, and manners to realize my art, but not in the traditional sense of unconventional. Believe that I do these things only in partial consciousness, and in definitely in retrospect. I have distinct visions and constantly seek to recognize and resolve them in the only way that I know how. 

 

  1. My focus now and optimistically in the future, is on art as a process experienced and art being the result of this experience. My fascination with textiles and fibers in turn directs my intrigue to span the concepts of growth, entropy, mutation and natural decay. Above all else I would like to capture a raw sense of the brevity that encompasses the faculties of our pursuits. Most recently my curiosity has led me to the deliberation of kinetic motion; I think that it may very well be the key to linking all of my interests, possibly as dioramas or mobiles. All of these ideas wholly consume me; I believe in art as a necessary lifestyle and I spend a lot of time contemplating the significance of things I set out to create. It is too easy to be overwhelmed by how much there is yet to learn and explore, but I channel this enthusiasm and zeal creatively, my ideas are both investigational and pertinent; and above all else, I look forward to learning and absorbing as much as I can.

 

  1. The Answer: Yes, I love to garden. I especially love growing herbs, various types of woodland mosses, and sunflowers of the giant variety. Sometimes, when I have grown enough moss I divide it into smaller pieces and occasionally shapes, and adhere them to different surfaces where they are likely to thrive with a mixture of buttermilk and water. I one day hope to be able to replicate this practice using my giant sunflowers because I think juxtaposition can be quite pleasant.

The Forgotten Question: Do you enjoy gardening?

 





hope i did that right!

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