peter park m.arch I applicant b.a. studio art
statement The materialâ€™s physicality is crucial to the development and process of my work. I use banal, utilitarian materials such as drop cloths, plastic sheeting, and brown paper as sources of inspiration and exploration. I manipulate the surfaces of these materials to enhance its physicality, while creating forms. Many of the primary processes are comprised of line making, gestures, or singular actions to create forms. Using these primary processes, I am deeply rooted in the ritual of repetition. Repetition is crucial in the explorative process and for the creation of tension within the body of work. By means of repetition, banal materials, and primary processes, I am interested in recording the body through portraits.
another one This body of work delineates humanity through the depiction of portraits of imaginary people via mark making and lines. The significance of using imaginary characters is to portray a solitary character who is detached from any associations. The closeup view leaves little sense of context for the viewer to create any associations. The nonchalant and detached treatment of the canvas is significant to further emphasize the insignificance of the character. The nonchalant treatment is depicted through the gritty surface quality, the lack of stretcher bars, and the awkward cropping of the head. The large scale also avoids being intimate with the viewer. In conclusion, this body of work is a critique of the indifferent and solitary disposition of society today.
no. 3 54 x 72 oil on canvas spring 2010
no. 4 54 x 72 oil on canvas spring 2010
no. 6 54 x 72 oil on canvas spring 2010
no. 7 54 x 72 oil on canvas summer 2010
no. 8 54 x 72 oil on canvas summer 2010
no. 10 54 x 72 oil on canvas summer 2010
no. 11 54 x 72 oil on canvas fall 2010
no. 12 54 x 72 oil on canvas fall 2010
no. 13 54 x 72 oil on canvas fall 2010
no. 14 54 x 72 oil on canvas fall 2010
topography of sleeping The Topography of Sleeping is a juxtaposition of the rough and stark physicality of brown construction-grade paper with the intimate gesture of sleeping. I asked several friends and acquaintances to participate in this exploration by sleeping on the uninviting paper. The surface of the brown paper became a site of recorded, intimate space and time. Through this action, the topography of a landscape was created. After each recording, I examined the recordings by shading areas to record my investigation of the paper. These recorded topographies of sleep are a translation of a three dimensional act onto a two dimensional surface.
peter 36 x 84 charcoal on paper spring 2010
rosie 36 x 84 charcoal on paper spring 2010
jan 36 x 84 charcoal on paper spring 2010
henderson 36 x 84 charcoal on paper summer 2010
ellen 36 x 84 charcoal on paper fall 2010
in(di)visible An obsession with plastic sheetingâ€™s semi-transparent quality was the starting point to these works. In(di)visible was an exploration of light, movement, and structure. I first experimented with many different types of paints on plastic and was intrigued by the subtle effect of matte medium gel. Due to its ethereal quality, the gesture can only be seen at certain angles where the light reflects off of the gel. The fluid gesture was a direct documentation of the movement of my body. The movement of the whole body around the structure was integral in creating these gestures. When first approached, the wooden structure of the painting is dominant, but as the viewerâ€™s eyes adjust and the reflection of light is caught, the gesture cannot be dismissed. These works depict the ephemerality of the body in relation to space.
no. 1 24 x 72 medium gel on plastic winter 2010
no. 4 24 x 72 medium gel on plastic spring 2010
no.5 24 x 72 medium gel on plastic summer 2010
no. 7 24 x 72 medium gel on plastic fall 2010
no. 8 24 x 72 medium gel on plastic fall 2010