
Tuesday, February 24, 2009
Feldsman in response
Matt
Emerson
I doll hovers over a natural plane. It’s seems very ordinary and bland. The background is also quite plane and somewhat bland. This blandness makes the doll stand out. She is obviously the focus of the piece. Unlike her setting, she is colorful and extraordinary. The doll holds in her hands what looks to be a toy; a string and ball. The contrast implies that she does not belong on the same level. Ironically, she is literally not on the same level of the natural mountains, for she remains above the mountains. She stands on a platform, looking down over everything. She is held seemingly by strings reaching from above.
The strings are perhaps a metaphor for mans connection to God, for it is the belief of many that he favors humans. It is from this idea that triggers the idea that we are on a higher level than the rest of the natural earth. This is why she is seemingly floating. Her position in the piece exhibits a sense of importance and superiority. She dangles only slightly off set from the very middle of the exhibit, and she is at a very high level, higher even than the mountains of the earth. The ball and string game that she is holding may represent mans intelligence. In creating the ball and string toy, we produce a form of (basic) technology.
We are unlike animals. We hold the intelligence to better ourselves. We survive under the grace of God, in his favor. We have harnessed this natural world, and our importance is far superior. Do we not then have a unique connection to God? Do we not deserve to be categorized differently, on a higher plain? Or is it all arrogance that creates this false sense of greater importance? Are we simply putting ourselves on a pedestal?
This artist may very well have questioned within his life the spiritual connection that humans share. He may also see us as puppets, manipulated by the common criticism, particularly stressed by Catholicism, that we are not like other animals. He also may very well believe just the opposite. This piece of work may be a representation of his own belief in a higher connection that is explicitly experienced by human beings. Maybe it’s all a game, like the ball and string?
Emerson
I doll hovers over a natural plane. It’s seems very ordinary and bland. The background is also quite plane and somewhat bland. This blandness makes the doll stand out. She is obviously the focus of the piece. Unlike her setting, she is colorful and extraordinary. The doll holds in her hands what looks to be a toy; a string and ball. The contrast implies that she does not belong on the same level. Ironically, she is literally not on the same level of the natural mountains, for she remains above the mountains. She stands on a platform, looking down over everything. She is held seemingly by strings reaching from above.
The strings are perhaps a metaphor for mans connection to God, for it is the belief of many that he favors humans. It is from this idea that triggers the idea that we are on a higher level than the rest of the natural earth. This is why she is seemingly floating. Her position in the piece exhibits a sense of importance and superiority. She dangles only slightly off set from the very middle of the exhibit, and she is at a very high level, higher even than the mountains of the earth. The ball and string game that she is holding may represent mans intelligence. In creating the ball and string toy, we produce a form of (basic) technology.
We are unlike animals. We hold the intelligence to better ourselves. We survive under the grace of God, in his favor. We have harnessed this natural world, and our importance is far superior. Do we not then have a unique connection to God? Do we not deserve to be categorized differently, on a higher plain? Or is it all arrogance that creates this false sense of greater importance? Are we simply putting ourselves on a pedestal?
This artist may very well have questioned within his life the spiritual connection that humans share. He may also see us as puppets, manipulated by the common criticism, particularly stressed by Catholicism, that we are not like other animals. He also may very well believe just the opposite. This piece of work may be a representation of his own belief in a higher connection that is explicitly experienced by human beings. Maybe it’s all a game, like the ball and string?
Thursday, February 19, 2009
Thursday, February 12, 2009
Tuesday, February 10, 2009
Thursday, February 5, 2009
Ekstasis
Resembling a mid-evil battle weapon, this object immediately drew my attention. It's primary elements consisted of wood and metal. What you could call the "body" of the work resembles the three dimensional shape of a fallen seed. Yet, it is wood. Naked of all color or shade, the wood grain shows through, all knots included. From this wood, a smell escapes. Filling my nostrils, I am immediately reminded of a wood furnace or lumber yard. It rests with one end resting upon the floor for support.
Metal extensions reach from almost half way up the structure. They meet a conjoining metal piece at their base, creating a triangle in their entirety. At the very ends of the connecting metal base of the triangle (or the corners), there are wheels. It seems to be some sort of axel. Directly in the center of this axel a gear is present. It is made from the same material of the axel and has many, small bitting teeth. The obvious purpose of these teeth are no secret, for wrapped around half the circumference of the gear rests links resembling a severely oversized bike chains.
In its entirely, the structure stands eight plus feet tall including the extended height added by something that can only be characterized as a crank. This crank also extends at around the same location as the triangle, and is constructed of the same type of metal, with its handle sculpted from pure wood. The handle measures roughly three feet in length, with the metal portion painted an earthy green color and the handle painted red. Adding not only colorful expression, the paint also coats the handle, giving it a smooth feel.
Lastly, connected to the back of the wooden body, there is a metal loop with the capability for 360 degrees on a swivel. Attached to this loop, an excessively long leather belt lies on the floor, like a tail of a great beast.
All in all, this structure may very well serve the purpose of a tool for only the largest of men or maybe giants to either pull or drag.
My imagination ignites with a frenzy of possibilities regarding its purpose as I exit the gallery.
Metal extensions reach from almost half way up the structure. They meet a conjoining metal piece at their base, creating a triangle in their entirety. At the very ends of the connecting metal base of the triangle (or the corners), there are wheels. It seems to be some sort of axel. Directly in the center of this axel a gear is present. It is made from the same material of the axel and has many, small bitting teeth. The obvious purpose of these teeth are no secret, for wrapped around half the circumference of the gear rests links resembling a severely oversized bike chains.
In its entirely, the structure stands eight plus feet tall including the extended height added by something that can only be characterized as a crank. This crank also extends at around the same location as the triangle, and is constructed of the same type of metal, with its handle sculpted from pure wood. The handle measures roughly three feet in length, with the metal portion painted an earthy green color and the handle painted red. Adding not only colorful expression, the paint also coats the handle, giving it a smooth feel.
Lastly, connected to the back of the wooden body, there is a metal loop with the capability for 360 degrees on a swivel. Attached to this loop, an excessively long leather belt lies on the floor, like a tail of a great beast.
All in all, this structure may very well serve the purpose of a tool for only the largest of men or maybe giants to either pull or drag.
My imagination ignites with a frenzy of possibilities regarding its purpose as I exit the gallery.
Sunday, February 1, 2009
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