Wednesday, December 3, 2025

Fluxus Box



Photos










Mind Bent-o, foam, needle felt, air dry clay, yarn, glass, cork, watercolor paper, fabrics, watercolor, acrylic , 13” x 4” x 11 1/2”

My intent with this piece is to visually communicate the tension between human vulnerability and the pursuit of a goal. Each object in the box was chosen to reflect a different stage of that struggle and the emotional weight that comes with it.

The needle felted heart represents the fragile and deeply human side of ambition. It suggests that the desire to achieve something meaningful often exposes the parts of ourselves that are most tender. The jar of fall leaves, mixing early greens with vivid reds, symbolizes the cycle of life and death. It speaks to the joy that can come from moving toward a dream as well as the pain of confronting physical and emotional limits.

The tower topped with a brain and trailing nerves illustrates a state of fixation. It embodies the feeling of becoming trapped in one’s own thoughts while striving for something important, like being caught in an isolated tower built from internal pressure.

The golden scroll contains the idea of complete knowledge, something beautiful yet ultimately out of reach. It reflects the way certain goals can drift into the realm of the impossible without losing their fascination.

The final object, a thin and exhausted human figure, acknowledges the toll that striving can take. Despite the weight he carries, he continues to move forward. His presence brings the theme back to the core idea that vulnerability does not stop the pursuit, but instead shapes it.

​In-process Images

Foam base



Skirt

Hand base




Water color paper

Painted paper


Research
-Screenshot an image from the research source. I encourage more than one piece/source of research.
-Source hyperlink for research.

Fluxus Artists Inspiration:
George Maciunas


George Maciunas, Excreta Fluxorum, 1973/1978. Plastic box with offset label, containing objects in various media with offset labels.



Link: 

Notes
Movie Goemon’s Bloodspary and the Fuma conspiracy with both handle themes of the pursuit of a goal at the expense of relationships and one’s body.

For this project, I first started by making my objects and then made the box afterward to fit the objects comfortably. I began by making a heart. At first I tried to make it more realistic, but I ended up creating a swirl instead, and I loved it. I undid some of the felt to make all the pieces spiral. It was worth it and beautifully stylized.

The tower was inspired by the idea of a personality type system called the Enneagram, where a certain personality (Type 5) tends to separate themselves from others in pursuit of knowledge. This is why there is a brain sitting in an ivory tower. I was comfortable making structures with watercolor from the previous project, so I used that experience to make the tower.

The jar of leaves was an immediate idea. I already had the jar from a mindfulness activity, and I loved its shape, so I used it for the leaves. The fall leaves are a small Easter egg referencing my original character Nathaniel, whose fictional birthday is November 1st, 1996. He is a fall baby, and I chose All Hallows’ Day as his birthday because themes of life, death, and mortality are important to his narrative. These leaves were made with watercolor.

The golden scroll has some lore behind it. It contains all the knowledge of everything that has ever been and everything that will be. The scroll is heavily protected, and it is considered a suicide mission to even attempt to reach it. Nathaniel, my original character, tries to retrieve it and fails, but is thankfully resurrected by a paranormal being. In that tunnel vision state, the scroll was all that mattered to him, and he put far too much of his self worth into obtaining it. The scroll was made from a folder painted gold, rolled up, and tied with a red bow.

The last object is the human figure of Nathaniel. When I made him, I intentionally created a bent metal frame. His ribs show, and he looks tired from the pursuit of his goals, yet he still does not want to give up. He is made of air dry clay, brushed out black yarn for the hair, and watercolor and acrylic for his skin and other features. He wears a green fabric skirt. Green is an important color for his character because it represents the color of his magical aura.

The box is bento box made of cardboard and duct tape painted brown to represent my characters half Japanese heritage. The inside is lined with red fabric.



Thursday, November 6, 2025

Paper Cutting Sculpture

Paper Cutting Sculpture

Full views




Close ups




Goemon’s Wedding
140 lb/300 gsm watercolor paper
8 ½” × 9”


Landscapes in the styles of old masters
Album of ten leaves, ink and color on silk
8 1/8” x 8 3/8”

Gao produced works to supply the growing demand for mementos of Nanjing's fabled sights, including places with nostalgic links to the city's glory days under the Ming. A sensitive recorder of the familiar, Gao was also an innovative experimenter with light, atmosphere, and color whose art reflects a creative response to Western influences introduced by Jesuits such as Matteo Ricci (1552-1610).

Haboku-style landscape
 hanging scroll,
63.5 x 31.7 cm

This work has affinities in its composition and technique with a landscape by Shūbun (flourished 1414–63), with an inscription by Kōsai Ryūha (1375–1446) (Private Collection, Tokyo). However, that work has a larger and more confident scale, a more coherent relationship of foreground to middle-ground and is stylistically more advanced.


Fragrant Garden under a Hazy Moon
Hanging scroll; ink and color on silk
611/4” x 40 1/4”

In a garden of spring blossoms and mountain-shaped boulders, a group of gentlemen relax, converse, and accept wine and delicacies from youthful boy-attendants. Eroded ornamental garden rocks like those from Lake Tai identify the scene as taking place in China. A hazy moon hangs in the sky while bands of mist, rendered by unpainted areas of silk, obscure the far distance.





Reflection

The sculpture is a response to Landscapes in the Styles of the Old Masters, a Haboku-style landscape, and Fragrant Garden under a Hazy Moon. These works influenced both the structure and atmosphere of my paper sculpture. From the old masters, I took inspiration from the balance and depth often found in traditional landscape paintings. I wanted my piece to have a clear sense of space and flow, so I arranged it with stairs that lead up to a Japanese-style house, creating movement and direction for the viewer’s eye. The trees were also an important factor as well, so I added them in my work as direct inspiration from this piece.

The Haboku-style landscape influenced how I approached landscape. I used crumpled copy paper to suggest the forms of the mountains and rocks. I was also inspired by the way the foreground and middle ground were shown, creating a sense of hierarchy that was eventually added to the final paper sculpt.

Fragrant Garden under a Hazy Moon inspired the mood and softer details of my work. I included a small back garden, ponds, and a waterfall to create a calm, reflective feeling. The shimenawa ropes around the rock pillars and the torii gate at the base of the stairs add spiritual meaning and cultural symbolism, showing respect for nature, the culture, and sacred spaces.

I paid attention to balance, texture, repetition, and scale when designing each part. The stairs and rails create repetition and guide the eye upward, while the garden and water add contrast and softness. I did my best to imagine the space as an actual real-life space. How do they get to their house? How do they not fall off? Where do they relax? What features do they find spiritually important that would cause them to place a Shinto shimenawa rope indicating a purified space where a Kami spirit lives in? All these little details are imperative to the narrative of this piece. Overall, my piece combines structure, nature, and symbolism to reflect the beauty and calm of the very artworks that inspired it.


In process Images












Sunday, October 12, 2025

Secret Lives of Color

Color 1: Avocado




Avocado
The Hass Avocado
Needle-felted wool over foam

3 ½ in × 2 ½ in × 2 in



In my piece, I recreated an avocado through needle felting, using a foam base and layers of green and brown wool to form a life-sized Hass avocado. I mixed different shades of green to capture the realistic texture and tones of the fruit’s flesh, while the dark outer skin and brown pit completed its natural look. The choice of avocado connects to my Hispanic background, as it’s a staple food in my family and culture. Historically, the color avocado became symbolic of nature and environmental awareness during the 1970s, when society began to link green tones with ecological consciousness and back-to-nature values. I liked how this meaning paralleled the avocado’s modern reputation as both an everyday food and a symbol of health and sustainability. Through this piece, I wanted to show how something as simple as a fruit can carry cultural and historical significance, representing both personal roots and a broader connection to the earth.


Color 2: Scheele’s Green

Scheele’s Green
Nathaniel’s Necromancy
Digital Illustration 

In my piece, I used Scheele’s Green to embody the tension between the beauty and danger that defined the pigment’s history. The color’s vivid, otherworldly beauty made it extremely desirable in the 18th and 19th centuries, yet its hidden toxicity led to slow, invisible deaths. Henceforth, I reflected this story through my character Nathaniel, who uses necromantic abilities. His powers mirror the deceptive charm of Scheele’s Green: both give life and take it away. Historically, the pigment’s use in wallpapers, fabrics, and even candies showed society’s obsession with beauty despite the risk, a theme I echoed by surrounding Nathaniel in luminous green fog that symbolizes the deception beneath elegance. Through this, I aimed to communicate how Scheele’s Green represents humanity’s willingness to embrace beauty even when it kills.




Thursday, September 18, 2025

Speaker Events


Speaker Event 1:

Innovation in Foods
Danielle Brooks, Beekeeper and Owner, Honey Truck Company, Flagler Alumna 2009



Speaker Event 2:

Tea ceremony
Mai Ueda, performer, keeper of tradition.






Friday, September 5, 2025

Experimental Sculture Collection



Experimental Sculpture Collection



Mother Lan, Belial, Luma Airhead



Mother LAN
wood, yarn, wire, packing tape, tracing paper, ink, hot glue
size



Luma Airhead,
wood, ink, watercolor paper, masking tape
size



Belial
 packing tape, tissue paper, yarn, hot glue, wire
 size

In process images

Mother LAN



Luma Airhead








Belial







Reflection Statement

The three sculptures visually communicate Repetition (Mother LAN) through the continuous use of green yarn weighted down by glue, Negative Space (Luma Airhead) through the empty space within, and Focal Point (Belial) through the use of color and line.

While exploring materials to construct my sculptures, one thing I found imperative to focus on was identity and uniqueness. How I could push the boundaries of what is expected, challenge norms, and move beyond my comfort zone. As I observed the other sculptures around me, I wanted mine to stand out. To do this, I looked through the class blog for inspiration and made sure not to shy away from unfamiliar processes, such as operating wood-cutting machinery.

At times, I felt my work lacked height and visual interest near the base. This happened multiple times, but each time I resolved it by adding a bottom tier and incorporating something unusual such as the feet/leaves on Luma Airhead, the strings on Mother LAN, or the lattice wall and glue stones on Belial.

For future projects, I plan to continue experimenting with paper and wood, and to learn more advanced techniques for wood cutting. This piece opened up new possibilities in woodworking and introduced me to creative methods, such as using packing tape to build a figure. It is surprisingly sturdy when enough layers are applied.

Inspiration

Artist: Tara Donovan
https://buffaloakg.org

Untitled
Mylar, hot glue, tape
30" × 248" × 203"

Artist: Chiharu Shiota

The Key in the Hand by Chiharu Shiota (Venice Biennale 2015) – artjouer
The Key in the Hand
donated keys, red wool yarn, and two old wooden boats
590" × 590" × 197"

Artist: Cornelia Parker
https://www.tate-images.com

Cornelia Parker,Cold Dark Matter ,1991 ,Significant Works ,Sue Hubbard
Cold Dark Matter
wood, metal, ceramics, paper, textiles, wire
157" × 197 " × 197"

Fluxus Box

Photos Mind Bent-o, foam, needle felt, air dry clay, yarn, glass, cork, watercolor paper, fabrics, watercolor, acrylic , 13” x 4” x 11 1/2” ...