LESLEY ART + DESIGN
MFA IN VISUAL ARTS CANDIDATE
MFA Candidate: Lesley Art + Design
Faculty Advisor: Alex Jackson
Artist Mentor: Julia Rooney
Group: 1
SUFA2020
THE FOLLOWING STATEMENT AND WORK WERE
CREATED OVER THE COURSE OF THE SUFA20 TERM
Excavate: uncovering, unmasking, and unearthing. What does it mean to be an artist as an excavator, and more so, what happens when the physical action of excavation is prioritized over painting, drawing, or any mark-making? I assume the role as excavator in order to find what is in the underbelly of the material and in my practice. My initial desire to create was to get messy and discover what the tools were capable of doing while searching for ways to communicate fragility and vulnerability. What better way to examine fragility than to dig and carve away at the work without the pressures of turning out an aesthetically pleasing masterpiece?
Implementing transdisciplinary methodology that consists of borrowing printmaking techniques (relief) and instruments (cutting tools) and then applying them in a non-printmaking way to a plethora of different substrates challenges a system previously established while testing the strength and fragility of the materials. My work has always been very additive and subtractive, but currently, I have flipped the sequence; I carve first, then build. Different outcomes are forced to emerge when different parameters are set. Additionally, in the printmaking world, the matrix only lasts for so long before it is worn out and no longer printed. When I push my new system in a hyperactive deconstructive way through carving, the final outcome no longer matters. The process that contains the significance, and the outcome sometimes does not even survive the carving.
It is paramount to record the process to document what is valued. Additionally, my time-based media eliminates any preconceived responsibility of producing a final piece thus allows for hyperactive digging to occur. I want the voyeur to experience my vignettes as I did while I was carving away at the piece, so I film in an aerial perspective. I keep the camera low to the ground so the voyeur can be included in the process.
MFA Candidate: Lesley Art + Design
Faculty Advisor: Alex Jackson
Artist Mentor: Julia Rooney
Group: 1
SUFA2020
THE FOLLOWING STATEMENT AND WORK WERE
CREATED OVER THE COURSE OF THE SUFA20 TERM
Excavate: uncovering, unmasking, and unearthing. What does it mean to be an artist as an excavator, and more so, what happens when the physical action of excavation is prioritized over painting, drawing, or any mark-making? I assume the role as excavator in order to find what is in the underbelly of the material and in my practice. My initial desire to create was to get messy and discover what the tools were capable of doing while searching for ways to communicate fragility and vulnerability. What better way to examine fragility than to dig and carve away at the work without the pressures of turning out an aesthetically pleasing masterpiece?
Implementing transdisciplinary methodology that consists of borrowing printmaking techniques (relief) and instruments (cutting tools) and then applying them in a non-printmaking way to a plethora of different substrates challenges a system previously established while testing the strength and fragility of the materials. My work has always been very additive and subtractive, but currently, I have flipped the sequence; I carve first, then build. Different outcomes are forced to emerge when different parameters are set. Additionally, in the printmaking world, the matrix only lasts for so long before it is worn out and no longer printed. When I push my new system in a hyperactive deconstructive way through carving, the final outcome no longer matters. The process that contains the significance, and the outcome sometimes does not even survive the carving.
It is paramount to record the process to document what is valued. Additionally, my time-based media eliminates any preconceived responsibility of producing a final piece thus allows for hyperactive digging to occur. I want the voyeur to experience my vignettes as I did while I was carving away at the piece, so I film in an aerial perspective. I keep the camera low to the ground so the voyeur can be included in the process.
MFA Candidate: Lesley Art + Design
Faculty Advisor: Alex Jackson
Artist Mentor: Julia Rooney
Group: 1
SUFA2020
THE FOLLOWING STATEMENT AND WORK WERE
CREATED OVER THE COURSE OF THE SUFA20 TERM
Excavate: uncovering, unmasking, and unearthing. What does it mean to be an artist as an excavator, and more so, what happens when the physical action of excavation is prioritized over painting, drawing, or any mark-making? I assume the role as excavator in order to find what is in the underbelly of the material and in my practice. My initial desire to create was to get messy and discover what the tools were capable of doing while searching for ways to communicate fragility and vulnerability. What better way to examine fragility than to dig and carve away at the work without the pressures of turning out an aesthetically pleasing masterpiece?
Implementing transdisciplinary methodology that consists of borrowing printmaking techniques (relief) and instruments (cutting tools) and then applying them in a non-printmaking way to a plethora of different substrates challenges a system previously established while testing the strength and fragility of the materials. My work has always been very additive and subtractive, but currently, I have flipped the sequence; I carve first, then build. Different outcomes are forced to emerge when different parameters are set. Additionally, in the printmaking world, the matrix only lasts for so long before it is worn out and no longer printed. When I push my new system in a hyperactive deconstructive way through carving, the final outcome no longer matters. The process that contains the significance, and the outcome sometimes does not even survive the carving.
It is paramount to record the process to document what is valued. Additionally, my time-based media eliminates any preconceived responsibility of producing a final piece thus allows for hyperactive digging to occur. I want the voyeur to experience my vignettes as I did while I was carving away at the piece, so I film in an aerial perspective. I keep the camera low to the ground so the voyeur can be included in the process.
MFA Candidate: Lesley Art + Design
Faculty Advisor: Alex Jackson
Artist Mentor: Julia Rooney
Group: 1
SUFA2020
THE FOLLOWING STATEMENT AND WORK WERE
CREATED OVER THE COURSE OF THE SUFA20 TERM
Excavate: uncovering, unmasking, and unearthing. What does it mean to be an artist as an excavator, and more so, what happens when the physical action of excavation is prioritized over painting, drawing, or any mark-making? I assume the role as excavator in order to find what is in the underbelly of the material and in my practice. My initial desire to create was to get messy and discover what the tools were capable of doing while searching for ways to communicate fragility and vulnerability. What better way to examine fragility than to dig and carve away at the work without the pressures of turning out an aesthetically pleasing masterpiece?
Implementing transdisciplinary methodology that consists of borrowing printmaking techniques (relief) and instruments (cutting tools) and then applying them in a non-printmaking way to a plethora of different substrates challenges a system previously established while testing the strength and fragility of the materials. My work has always been very additive and subtractive, but currently, I have flipped the sequence; I carve first, then build. Different outcomes are forced to emerge when different parameters are set. Additionally, in the printmaking world, the matrix only lasts for so long before it is worn out and no longer printed. When I push my new system in a hyperactive deconstructive way through carving, the final outcome no longer matters. The process that contains the significance, and the outcome sometimes does not even survive the carving.
It is paramount to record the process to document what is valued. Additionally, my time-based media eliminates any preconceived responsibility of producing a final piece thus allows for hyperactive digging to occur. I want the voyeur to experience my vignettes as I did while I was carving away at the piece, so I film in an aerial perspective. I keep the camera low to the ground so the voyeur can be included in the process.
MFA Candidate: Lesley Art + Design
Faculty Advisor: Alex Jackson
Artist Mentor: Julia Rooney
Group: 1
SUFA2020
THE FOLLOWING STATEMENT AND WORK WERE
CREATED OVER THE COURSE OF THE SUFA20 TERM
Excavate: uncovering, unmasking, and unearthing. What does it mean to be an artist as an excavator, and more so, what happens when the physical action of excavation is prioritized over painting, drawing, or any mark-making? I assume the role as excavator in order to find what is in the underbelly of the material and in my practice. My initial desire to create was to get messy and discover what the tools were capable of doing while searching for ways to communicate fragility and vulnerability. What better way to examine fragility than to dig and carve away at the work without the pressures of turning out an aesthetically pleasing masterpiece?
Implementing transdisciplinary methodology that consists of borrowing printmaking techniques (relief) and instruments (cutting tools) and then applying them in a non-printmaking way to a plethora of different substrates challenges a system previously established while testing the strength and fragility of the materials. My work has always been very additive and subtractive, but currently, I have flipped the sequence; I carve first, then build. Different outcomes are forced to emerge when different parameters are set. Additionally, in the printmaking world, the matrix only lasts for so long before it is worn out and no longer printed. When I push my new system in a hyperactive deconstructive way through carving, the final outcome no longer matters. The process that contains the significance, and the outcome sometimes does not even survive the carving.
It is paramount to record the process to document what is valued. Additionally, my time-based media eliminates any preconceived responsibility of producing a final piece thus allows for hyperactive digging to occur. I want the voyeur to experience my vignettes as I did while I was carving away at the piece, so I film in an aerial perspective. I keep the camera low to the ground so the voyeur can be included in the process.
