friction lamps
winter ‘19 - summer ‘20
winter ‘19 - summer ‘20
Learning from the Kyoto vases below, I found 3d prints with a single thickness tear where the head moves up to the next level. The tear enabled me to remove the mold easer, so to control it I modified the cylinder to give it an edge, and oriented the software to create the tear along it. I realized how uncomfortable materials are bending into a cylinder, and developed the shape farther to include a deflection in the section to reinforce the move.
The realization lead to a new development in how I was using paper in lamps. Taking what I learned with the vases, I started with a sheet of newsprint and two binder clips to support the light.
Then I moved to mylar, its slight deflection pinches the two ends removing the need for adhesives. Its translucency also catches light when the lamp is off, and obscures the location of the light.
The realization lead to a new development in how I was using paper in lamps. Taking what I learned with the vases, I started with a sheet of newsprint and two binder clips to support the light.
Then I moved to mylar, its slight deflection pinches the two ends removing the need for adhesives. Its translucency also catches light when the lamp is off, and obscures the location of the light.
non-ocular model
spring ‘18
I used heated plaster panels, recorded sounds, and warm scented water to represent the experience of the porch from the project March Flower. I cast panels to stand on and touch to replicate the heat of concrete in summer, and a bowel that I filled with warm water and sage to replicate the humidity and smell I associate with the site. I also found recordings of the Cicadas specific to the site and played a quiet conversation from a movie. Everyone's interaction was different with the model than with an ocular model, sitting on the warm panel, talking about how the Cicadas provoked memories of home, and a discussion of details that does not normally come from other models.
kyoto vases
fall '17
The exercise was to diagram a place. I chose to diagram my experiences of places in Kyoto using vases. I cast the vases myself out of plaster.
A vase creates a form that contrasts an apparent surface with a hidden one. A threshold is between something apparent and hidden. It also produces a controlled subtle surface that enabled more specific expression.
The vase celebrates its flowers as the flowers mark the vase. Emotion colors experience as emotions are marked by an experience. When the experience becomes memory it is like a dried flower, frozen and fragile.
models
tube lamp
summer '16
A lamp that combines three drawing tubes into a tripod. I reused old tubes from my mother’s time working for the Arkansas Highway department. They are marked with references to the process of constructing the Arkansas interstate highway.
lattice lamp
fall '14
A lattice of painted wood sticks that support a light. The instability of the structure contrasts with the solid concrete base.
