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Because I asked: Fine Arts Thesis Project (Part II)

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Created: 08/10/10
Last Edited: 08/18/10
Views: 3570
Appreciations: 145
Comments: 6
Description
"Because I Asked" is a series of material explorations in typography. The raw text material derives from answers to two prompts: What do you believe? and What do you know? Material and type are actively manipulated to achieve emotional affect.
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  • Because I Asked
    Conceptual Explorations in Physical Typography
  •         My Fine Arts Thesis is an investigation of the ways we negotiate knowledge, ideology, and belief within a society that deters their thorough consideration. Individual introspection is hindered by a culture of distraction brought forth by advances in communication technology. The formation of meaningful connections, both interpersonal and communal, is dependent on a mutual understanding of value systems.However, a variety of forces hamper our ability to relate to each otherin this manner. These include displacement and fragmentation resulting from the blurring of physical contexts in an era of technology;individuality as its own ethos; the problem of moral certainty and postmodernism; and a fear of judgment within a hyper-pluralistic society. 
          With these concepts in mind, I confronted individuals with the questions "What do you know?" and "What do you believe?" Some were individuals that I knew closely (though still without great knowledge of the plausible answers to these questions.) Some answered the questions (via email) as indirect contacts. These questions are purposefully broad and daunting. The very way that different people access the questions reveals their unique mentality and value-system.
          The responses are typographically translated into materialrevelation and declaration. The diversity and delicacy of the responsesare reflected in the use of eclectic materials that blur the linebetween text and object. Type as material is actively manipulated toachieve specific emotional affect and contextualization. Formally, thework revolves around motifs of vulnerability, permanence, ascension,suspension, and disintegration.
  • Godless, Etched Plexi-glass, 18"x30", 2009

    FULL RESPONSE:

    "What do I know? Thatis an excellent question. I was raised in a home where God was nevermentioned. We never prayed, read the Bible, went to any church...it wasas godless a home as can be. Yet at as young as 5 years old I innatelyKNEW there was a creator who made everything. My problem wasn't beliefin God...it was finding out how I could meet Him. I discovered the wayat age 16 when a friend of mine met Jesus Christ and told me about Him.As she told me about Him, just as I innately knew there was a creator,I knew that I had finally found the way to meet God. I immediatelyinvited Jesus to come into my life and 5 years after that I had anunexpected encounter with Jesus that changed my entire life in 3-4minutes. That happened on March 6th, 1977, and my relationship with Himhas gotten better & better over time. It has been the bestrelationship I've ever had, and totally fulfilling."
  • Pride, Acrylic and Spray Paint, 2009-2010
  • Intolerable Part 1, Found Granite, 18" x 4" , 2010
  • Seemingly Prevalent Law, Molding Paste & Acrylic on Plywood, 2010
  • Culture (1 micrometer), Etched plexi-glass (100mm), nail on plywood, 2010

    FULL RESPONSE:

    I believe that HE is a perfect being who not only  did he make the universe but also made us, human beings.   Itamazes me to see how our bodies start from a very small cell that growsinto a fully perfect person, developing from a baby into adulthood withsuch a perfect machinery.
  • The Materialist, Manually-punched BFK paper, 33" x 44", 2010

    FULL RESPONSE:

    Ihear this desire expressed in assertions about how we can 'forget'language or 'the past'. But we are not disembodied 'minds' or'spirits', we are organisms (which is to say we are 'wholes'), if ourminds forget, our cells remember (or our neural pathways, however oneshould express this). But this notion of forgetting is a dodge. Aninability to admit limitation and finitude.
  •  Why, Snow, February 2010