CREATING FORM AND CONTENT WITH LINES Using only a strait edge and pens, I created abstract environments with undulating voids and masses. I focused on using pattern, rhythm and line weight to create the concept of communicating forms. 1. Pen and colored pencil on paper, 14”x 17”, 2015 2. Pen on paper, 14”x 17”, 2015
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1. Pen on paper, 4”x 7”, 2015 2. Pen on paper, 14”x 17”, 2015
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TRAVEL SKETCHES The art of creating lines is the basis of all creative expression. Throughout my travels I challenged myself to draw something everyday. I tried to create a habit of expressing my thoughts visually. At first I focused solely on what I saw with my eyes. I looked at how lines formed shapes and how each shape interacted with those around it. 1. Amsterdam, pen on paper, 2015 2. Gothic Quarter, Barcelona, Pen on Paper, 2015 3. Parisian Apartment, Pen on Paper, 2015 4. Roman Forum, Rome, Pen on Paper, 2015 5. Roman Alley, Pen on Paper, 2015 6. Bridge over the Tiber, Pen on Paper, 2015 7. Temple of Zeus, Delos, Pen on Paper, 2015 8. Castel San 窶連ngelo, Rome, Pen on Paper, 2015
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TRAVEL SKETCHES 1. Sant’Andrea al Quirinale, Rome, Pen on Paper, 2015 2. Sant’Andrea al Quirinale Ceiling, Rome, Pen on Paper, 2015 3. The Louvre, Paris, Pen on Paper, 2015 4. Sacre Coeur, Paris, Pen on Paper, 2015 5. Palazzo Barberini, Rome, Pen on Paper, 2015 6. Tempietto, Rome, Pen on Paper, 2015 7. Verona, Pen on Paper, 2015 8. Parthenon, Athens, Pen on Paper, 2015 Palazzo Barberini
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OBSERVING OBJECTS This project was completed in the introductory architecture course, Lesson in Making. I chose seemingly mundane objects and began thinking of their design in terms of function. Likewise I was asked to draw everyday objects arranged as a still life in a variety of styles such as blind contour, and value studies. The purpose of the assignment was to notice on surface and form but more importantly to observe and explore the relationship between line, planes, and light. 1. Toothbrush Study 1, pencil on paper, 12”x12”, 2014 2. Toothbrush Study 2, pencil on paper, 12”x12”, 2014 3. Toothbrush Study 3, pencil on paper, 12”x12”, 2014 4. Blind Contour Series over 2 hours, Pen, Pencil, Charcoal on paper, 18”x24”, 2014
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OBSERVING OBJECTS 1. Still life, pen on recycled paper, 12”x12”, 2014 2. Blind Contour Scene, pen on paper, 12”x36”, 2014 3. Still life value study, detail of 18”x 24” 2014 4. Blind contour Series, Pen, Pencil, Charcoal on paper, 18”x24”, 2014 5. Still life, pen on recycled paper, 12”x12”, 2014 6. Still life value study, charcoal on paper, detail of 18”x 24” 2014
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PROUNS For another project in Lessons in Making I created 3 dimensional models based on dynamic abstractions from a 4”x4” square. I created layers and shifted pieces of the original form up and down the base axis, sometimes creating a solid form, a patterned series of layers or I would use the absence of material to created form using negative space. I then chose my model material from recycled cardboard, choosing either one texture or color to emphasize unity or a mixture of colors and textures to emphasize dynamic juxtapositions. 1. One point perspective sketch plan, pencil on paper, 9” x9”, 2014 2.. One point perspective sketch plan, pencil on paper, 9” x9”, 2014 3. One point perspective sketch plan, pencil on paper, 9” x9”, 2014 4. Proun model, repurposed cardboard, 4”x4”x5” , 2014 5. Proun model, repurposed cardboard, 4”x4”x5” , 2014
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DESIGNING WITHIN AN ENVIRONMENT The final project in Lessons in Making was based upon a real landscape. I chose my location from a topographical map and had to think about incorporating the environment with my design. I wanted to create an environment that included the tree line as well as the ocean so I focused on drawing out the surface area of the structure. I also included a pavilioned walking path that followed the water line to emphasize the experience of water. I began by sketching on top of the topographical map then moved on to plans and perspective sketches. Finally I constructed a 3 dimensional model that included the built environment. 1. Topographic Map with multiple iterations of Pavilion Placement, colored pencil, collaged paper, pen on printed paper, 20”x24”, 2014 2. Elevation study, pen on paper, 8” x 13”, 2014 3. Elevation study, pen on paper, 6” x 13”, 2014 1.
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1. Pavilion model terraced pathway detail, new and repurposed cardboard,, 7”x 7”x 10”, 2014 2. Making of terrace model and scale model, cardboard, .5” x 3” x 4”, 2014 3. Pavilion model, new and repurposed cardboard, 7”x 7”x 10”,2014 4. Plan study, pen on paper, 8” x 13”, 2014 5. Combined plan and elevation presentation, pencil and pen on paper, 18” x22”, 2014
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CREATING A STATMENT WITH TEXTURE AND SIZE I focused on creating a field that unified each canvas. The proportions of each piece were quite large so I used subtle variations in color and texture by pasting old newsprint continuously on top of the surface, then ripping it off in some areas. This process was repeated until there was an equal thickness to each piece that was balanced between the surfaces looking too heavy or too clean. The focal point on each piece was created using Indian Ink which is quite thin and was absorbed into the layers of newsprint which allowed for a feeling of cohesion of materials. 1. Triptic, Mixed Media, Newsprint with India Ink, 36�x36� each, 2011
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FIELDS The beginning inspiration for this series was to listen to a bird song and then depict it visually. Noticing how each individual sound exists within context of the other notes and while it remains one audible noise, it doesn’t compete with the entirety of the songs construction. Each of the fields depicted are abstractions of organic construction. I focused on allowing different aspects of the environments to stand out without competing for sole attention to insure each portion of creation is given equal attention. 1. Field, colored pencil and collaged tissue paper on paper, 12”x20”, 2014 2. Field, colored pencil, pen and collaged paper on paper, 6”x10”, 2014 3. Field, pen and collaged tissue paper on paper, 6”x10”, 2014 4. Field, colored pencil on repurposed cardboard, 12”x20”, 2014
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LIFE DRAWING The human body is an incredible learning tool when exploring how to draw planes and lines while also maintaining a sense of purpose for the planes being rendered. Gesture drawings, color studies, and value studies of live models allowed me to explore the concept of baring weight as well as shape and form and the importance of light in rendering objects. 1. Life drawing color study, colored pastel, 18”x24, 2013 2. Life drawing value study, charcoal, 18”x24”, 2013 3. Gesture studies, pastel, 18”x24”, 2013 4. Life drawing, Pencil and colored pastels, 18”x24”, 2013
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1. Life drawing study, charcoal, 14”x 18”, 2013 2. Gesture studies, ink, 18”x24”, 2013 3. Head Study, Charcoal, 18”x24”, 2013
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SCULPTURE The process of creating three-dimensional objects based on two-dimensional sketches was a difficult task to grasp. The wing and skull represent two different stages in a bronze casting. The wing is a wax sculpture, it is then cast in cement, the wax drained out of the cast then molten bronze is poured into a cavity of the cast. The longhorn skull shows a finished bronze piece. Once the bronze sets, the cast is broken open and the bronze is hammered and filed by hand to fix any imperfections left by the casting process. 1. Wing study, pen on paper, 2015 2. Wing study, pen on paper, 2015 3. Wing, Wax sculpture, 5”x3”, 2015 4. Longhorn skull, bronze cast, 6” x 4” , 2015 5. Longhorn skull, bronze cast, 6”x 4”, 2015 6. Longhorn skull concept sketch, 3” x 6” , 2015 7. Example of cement cast drying process, cement plaster and iron frame, 2015
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PHOTOGRAPHY These series of photographs were processed in a dark room using black and white, 33mm film. I focused on textures found in and around nature, both organic and man-made. 1. Nest, black and white photographic paper, 8”x12”, 2013 2. Tires, black and white photographic paper, 8”x12”, 2013 3. Feild, black and white photographic paper, 8”x12”, 2013 4. Bench Swing, black and white photographic paper, 8”x12”, 2013 5. Moss, black and white photographic paper, 8”x12”, 2013 6. Trash Bins, black and white photographic paper, 8”x12”, 2013 7.Nest, black and white photographic paper, 8”x12”, 2013
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WILSON AND ASSOCIATES The sketches shown are for a high-end hospitality hotel in Changsha, China. These are hand drawn elevations I drew for the lead architect to modify for client approval. I drew the design details based off of a combination of concept photographs and the clients specifications for the pool and spa area. 1. Spa elevatoin A, pen on paper, 12”x 6”, 2015 2. Spa bathroom elevation A, pen on paper, 6”x6”, 2015 3. Spa bathroom elevation B, pen on paper, 6”x6”, 2015 4. Spa bathroom elevation A, pen on paper, 6”x6”, 2015
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The Old “New Look”: How Fashion Shaped Gender Roles of the 1950’s Abstract of final paper Spring 2015
Women’s Fashion and style is an indicator of how women’s roles are viewed and dictated by the society and decade of the iconic look. Exploring the adherent changes in fashion as well as fashion magazines and their content during World War II and the transitional years after shows a correlation between social anxieties after World War II and the extremely ridged gender roles during the 1950’s. During World War II Fashion magazines boasted hard lines and utilitarian style. Articles encouraged women to fill jobs left empty by troops and offered advice on how to manage style in the midst of rationing. Empowerment and feminine unity were celebrated and encouraged. However after the War ended fashion had a shift in esthetics. Interesting fashion trends and styles returned to a more traditional silhouette and demeanor while other art forms reacted to the post World War II era with a far more modern approach. Jackson Pollock is famous for abstract expressionism, a groundbreaking approach to painting and fine art. The same need for innovation was expressed in literature from authors like Jack Kerouac and Allen Ginsberg. However, the iconic “New Look” dictated women’s fashion from Christian Dior’s 1947 collection. Ironically, Dior told the press his inspiration for the “new Look” was based on a traditional feminine silhouette and established esthetics. He compared his design to a delicate flower. Society, emerging from the most catastrophic war in modern history, was happy to return to the safety and comfort of an old style. The popularity of Dior’s “New Look” can be correlated with gender roles displayed during the time. Women’s magazines stopped writing about issues that faced women in the work force and instead opted to include articles about manners, child rearing and marital matters. Society’s pressure for women to maintain an traditional feminine role and to have perfected her abilities as a wife and mother created an environment that was rife with anxiety that would carry on in American society throughout the Cold War. It is important to be able to view fashion not only as an art form but as evidence that displays social and gendered stratification specific to a time period.
PERSONAL WORK 1. Self Portait, acrylic on canvas, 24”x36”, 2011 2. Wine Study, colored pencil on paper, 18”x12”, 2015 3. Value Study, pencil on paper, 12”x18”, 2013 4. Venice, acrylic on canvas, 8”x12”, 2012
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