Process & Documentation
S P A C E
As I began this project, I set out to explore the abstract concept of space as an interpretation of the intimacy and connection of two spaces. I wanted to create a very minimal and formalist piece where a series of wooden frames would give way to an interplay and abstracted connection between each frame. The forms include wood and a side facade of stainless that is intended to play with reflective light and lines. The series of frames can be looked through and connections can be made about the communication between these intimate spaces. I set out to, through personal and intimate history, to address interconnectedness and the seeming impossibility of truly connecting and communicating with another entity.
With a personal allusion to intimacy and heartbreak, I was also inspired by this phenomenon of connection and communication in nature, ironically, space. A friend of mine is an astrophysicist here at UF and I discussed with him a similar occurrence that is happening in his studies of star formations in Orion's constellation.
Right now, there is a cluster of young stars towards the bottom of Orion and these stars are in a separated cluster, moving independently from the stars set deeper into the constellation. They move with a different velocity and rotation as well. Though part of the bigger entity, these stars are studied to reveal exactly how and which way they are moving, along with what will happen with regards to their relationship with the rest of the stars. Despite apart of the same mass, they exist and act independently, not entirely connected to the others.
P R O C E S S
The wood I received were old boards that I sorted through a warehouse downtown for. They were bowed, raggedy, and splintered with rusty nails, but through days of milling, I transformed and refurbished them to perfection. It was challenging and time-consuming, but it was rewarding and meaningful that I worked with wood to the utmost extreme. I really got a feel for the materiality and spent a lot of time perfecting the boards in the wood shop. New to wood, this felt intimate and powerful to spend this much time re-shaping and giving life to these boards again.
So much time working with and listening to the wood. I gained a sense for the material and grew to appreciate my very minimal sculpture, knowing the work and precision that went into just creating the form, which adds to the formalist sensibilities of the piece. Also, this work adds to my exploration of intimacy with space and communicating with other entities. I learned, listened, shaped, re-shaped, transformed, and spent a lot of meticulous work and time with the wood.
A second aspect of the peace was working with stainless steel. This took a lot of planning and back and forth with the welder, but it ended up successful. After a couple trips to the welding shop, deciding if I should use aluminum or stainless steel, and reassessing technical concerns such as cutting the metal to size, color & aesthetic, price, and adhering. I made good connections with two individuals at Boone Welding who helped me out through troubleshooting and even technical issues to get it all to work.
After some hard decisions, I stayed true to what I wanted and splurged on stainless steel for its aesthetic quality of being richer and darker in color than aluminum. It was more appropriate for notions of intimacy and combining well with the wood. When the sheets ripped in the drop shear with Brad, I returned to Boone and had them cut it. Sculpture implies money, what am I to do. It was much more precise and worth it in the end.