Artists: Patti Bernhard Kelly and Jamie Buckmaster
Materials You Chose: Off-White Cloth and Wire
Material You Were Provided: Cardboard Corners
Our instillation was inspired by two very different, yet equally similar works of art. From Dadger George’s photograph “Kasbah Om Hdache,” we felt a strong sense of forward movement and geometric form. We wanted to capture these elements by creating a tunnel, through which the viewer can walk. The end of the tunnel we connected to a geometric form, which can be seen from three different vantage points. Jacob van Ruisdael’s painting, “View of the IJ on a Stormy Day,” inspired us to use a an element of nature and its power in our project. The small bits of color within the work inspired us to add our own pops of color and little details that could go unnoticed if not looked at closely. We created an organic swell which connects to the geometric form and opens out towards the window. Ultimately we wanted to portray a sense of movement from structure to geometry to the power of nature and how it takes over.
Artists: Andy Fish and Rich Gombar
Materials You Chose: String and Brown/Butcher Paper
Material You Were Provided: Parade Gloves
Museum Inspiration: Untitled, by Roberto Matta, 1962, and At the Mirror, by Lovis Cornith, 1912
Our project is based on “Untitled,” by Robert Matta and “At the Mirror,” by Louis Corinth. We created a chaotic interpretation influenced by these surrealistic/impressionistic images, which captures stressed emotions. Our hope is to allow people to throw away the chaotic elements of life.
The inflated purple ‘worry people’ symbolize parts of your everyday experiences, that you wish to vanquish. Despite these stress relievers, we are all still stuck in a world of chaotic webs.
Artists: Heidi Kayser and Catherine Judge
Materials You Chose: Fishing Line and Brown Lunch Bags
Material You Were Provided: Red Neck Bibs
- “Flight of the Fittest” was influenced by “The Chapter House” and “Who Am We?” by Do Ho-Suh currently on exhibit at the Worcester Art Museum.
- This instillation was inspired by the journey of life, emerging from your nest of childhood innocence into adulthood’s harsh reality check. Silhouettes of vultures surround the nest to illustrate the viciousness of a dog-eat-dog world and the difficulty to establish yourself in humanity’s jungle without losing your own individuality.
- The entire nest is interwoven paperbags, secured by string which symbolizes that we are only mere puppets in society. Red fabric explodes from within the nest to suggest that one day, we all must venture from the protection of familiarity and radiate into the ferocious world to embrace and appreciate the unforgiving truth of life’s beautiful journey.
Artists: Tom Grady and Liesl Carlson
Museum Inspiration: Black Garden Wall III, by Louise Nevelson, 1971, Untitled by Alex Ross, 2001, Hunting Scene Late Roman, Early 6th Century AD and Peacock Window by John LaFarge, 1892-1908
Materials You Chose: Twisty Ties and Scrap Wood
Material You Were Provided: Reebok Banners
Using zip ties, scrap wood, and Reebok banners we created an installation based on the overall concepts of Limits, No Limits. The idea of “Limits” was expressed by creating a net all the way around the room, fostering a sense of entrapment and isolation. In contrast, we represented the concept of “Limitless” through the use of massive black, fluid-like tubes stretching out of a central dome piece, and breaking through the net walls.
We were inspired by the organic forms in Alex Ross’s paintings for our flowing black arms and the manner in which Louise Nelson used intricate mismatched parts to create a larger whole piece in her sculptures.
In addition, after to going to the Chapter House we were inspired by the intimate mood created by the arches, which helped us more effectively create an environment in our own space.
Artists: Steve Butler and Carolyn Clayton
Materials You Chose: Electric Wire and Burlap
Material You Were Provided: Karate Belts
Studio 202’s instillation came about with inspiration from two pieces in the museum, the “Kanga Field Iron,” by Willie Cole and “Hay,” by Annette Leimeux. While looking at the pieces, we discussed the theme of the natural world in conflict with the artificial, technological world. The weathered, wooden iron brought to mind nature, while the digitally printed bale of hay showed us the idea of technology reproducing nature. The materials we were given, natural-looking burlap and the fabric of the karate belts contrasting with industrial wires, also suggested the interaction of nature and technology. We decided to carry these ideas over into our instillation, coming to the concept of nature being shaped by human means. The concept grew into the theme of technology encroaching on our lives, desensitizing human relationships. The nest in the center of the instillation represents a home. The burlap gives it a natural feel, reminiscent of the bundles of twigs and grass found in nature. Wires surround and creep into the nest, illustrating the idea of technology invading the home. The absence of a bird, the mother of the eggs, symbolizes technology taking the place of the caretaker. The nest, which should be in a natural habitat and a symbol of natural life and growth, is now an incubator. The motherboard, circuitry, and unnatural light now feed the eggs, making our statement on the artificial quality of modern life, where computers and wires now take the place of face to face communication. With our instillation, we wonder if technology in our society has become as important as the role of a mother.
Artists: Susan Halls and Emily Sandagata
Museum Inspiration: Into the Woods, Carrie Moyer, 2009 and Why do you stay in prison when the door is so wide open, Ambreen Butt, 1997
Materials You Chose: Paper Grocery Bags and White Paint
Material You Were Provided: Zebra-Print Felt Swatches
As a group we were given a room to create our idea of two paintings, Into the Woods and Why do you stay in prison when the door is so wide open. In the first painting, we were drawn more into a nature aspect of good and bad, and how different techniques of lines can create different images in a person’s mind. Secondly, we incorporated a variation of different line shapes to allow the viewer to imagine an image almost the same but slightly different than someone else’s. Also, we used the importance of color and how it can change the emotion of the art work by providing a sense of warmth and cold feeling. From the second painting, we took the meaning of isolation and despair by having a wall that allows one to feel isolate and question what is out there? Similarly, in the painting, the woman doesn’t know what is out there and looks hopeless. Finally, we created a room where the nature of good and bad can be seen differently someone’s eyes.
Artists: Meghan Burch and Dean Nimmer
Ancient Chinese Gallery, Interstellar by Carrie Moyer
Materials You Chose: White Paper Plates and Fabric/Rags
Material You Were Provided: Green Bracelets
As a group, we were inspired by the Chinese Gallery and Carrie Moyer’s “Interstellar” gallery. Walking through the ancient Chinese exhibit, we recognized a close, intimate environment created by the arrangement of the collection. Viewing “Interstellar,” our experience was entirely new. It was as if we had just taken a breath of fresh air. We felt empowered as the vast space allowed us to be captivated by each piece. After deliberating about the appealing characteristics of each gallery, we decided to evoke both the sense of both chaos and comfort. At first, many of us were intrigued by the idea of leading our audience from chaos to serenity. In the end, however, we decided to allow the chaos to be encompassed by serenity. Ironically, the objects we chose to represent each piece reversed, but our concept remained.
The dishware is coherent, yet it scatters and collides along the room’s perimeter. Through simple objects, they create an almost overwhelming, disorderly image. Our abstract interpretation of a tree presents viewers with a type of sanctuary, similar to the zen feel we were exposed to in our studies. The stool placed within the ‘trunk’ lets the audience personally interact with the exhibit. They are presented with the same sentiment we experienced in the galleries. Let loose, and allow yourself to find inner peace within chaos.
Artists: Andy Bell and Veronica Fish
Museum Inspiration: Saint Bartholomew, Goncal Peris, 1412-51, Tempera on panel; Early Renaissance
Armor for Combat, Collection of the Higgins Armory
Materials You Chose: Cardboard and Colored Cellophane
Material You Were Provided: Spandex Sports Briefs
Welcome to Studio 100. As you enter your spine tingles. You are a giant in a miniature city. You don’t know what is going on. You hear explosions, people crying, and the roars of an unimaginably terrifying creature. Again, welcome to Studio 100.
Our goal in Studio 100, is to work collaboratively with cardboard, cellophane, and spandex shorts to produce an epic instillation. Our inspiration derives from a painting of Saint Bartholomew performing an exorcism and a Renaissance suit of armor. Collectively, we brainstormed a battle of epic proportions. We put a modern twist on the Dark Ages. Death and destruction everywhere you look. When you enter Studio 100, you enter a city on the verge of annihilation. As you proceed, we tell a story. A story of the hatching and accompanying rampage of a hellish creature. Enjoy.
Any minute…. The exhibits will be open to the public!!! :)