A P P L I C AT I O N
M A C FA R L A N E
P O RT F O L I O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FA L L
M.Arch I Applicant, Fall 2018 University of California, Berkeley College of Enivronmental Design
C O N T E N I studied geology in college, and my art is informed by that science. These pieces are mineralsâ€”built through the tessellation of a single unit cell in an organized lattice. They are mountainsâ€”gaining volume and dimension through each single fold, rising millimeter by millimeter. In the end, the landscapes that emerge are not unlike those found in nature.
Cover: Jane Feather, process shot. Right: Fall, detail.
N T S OOKS
PA P E R
B O O K S I started folding books in the fall of 2014 when I created Jude Deveraux (left) for a sculpture class. Instantly, I became fascinated by the unexpected sculptural patterns which emerged from simply tiling the folded books next to one another. Over the past three years I have created over a dozen finished pieces—all variations on the original theme. Trashy romance, trade sci-fi, or pocket western: all original content becomes lost in the form; only the folding angles and tessellation patterns matter.
Jude Deveraux, 2014. 3’ x 4’. Used romance novels, glue, board. Brown University Student Exhibition 2014 Grand Prize Winner. Acquired by the Brown University Stephen Roberts ‘62 Campus Center.
Jane Feather, 2016. 1.5’ x 2.5’.Used romance novels, glue, board.
Helen McMaster Bujald, et al., 2017. 3’ x 3’. Used romance novels, glue, board.
Lois L’Amour, 2016. 2’ x 2’.Used westerns, glue, board.
K. A. Applegate, 2016. 3’ x 5’. Used Animorphs, glue, board.
Garth Nix, et al., 2015. 3’ x 3’. Used fantasy novels, glue, board.
Jude Deveraux, 2014. 3’ x 4’. Used romance novels, glue, board.
Above: K. A. Applegate, 2016. 3’ x Left: Helen McMaster Bujald, et al., 2017. 3’ x Right: Jane Feather, 2016. 1.5’ x 2.5’. D
x 5â€™. Used Animorphs, glue, board. x 3â€™. Detail. Used romance novels, glue, board. Detail. Used romance novels, glue, board.
Unlike paperbacks, magazines reveal clues to their content even after being folded. A National Geographic article about the ocean reads as a blue wedge. On the whole, Playboys tend toward warmer and fleshier tones. I created a large scale interactive installation for the 2016 Seattle Erotic Art Festival (following page) that encouraged visitors to riffle through the folds on a wall of porn. After the festival finished, I re-installed the modular panels on the ceiling of my apartmentâ€™s bathroom.
M A G A Z I N E S
Far left: Vug I & II, 2017. Each 2’ x 6’. Used National Geographics, nails, board, door hinges. Installation for Immerse: Pacific Northwest Ballet’s 2017 Young Patron’s Gala. Above: Installation view.
Above: Riffle, 2016. 10’ x 20’. Used porn, board, nails. Installation for the 2016 Seattle Erotic Art Festival. Below: Isometric schematic.
Above: Riffle II, 2016. 12’ x 8’ x 4’. Used porn, board, nails. Installation on the ceiling and upper walls of my apartment’s bathroom. Below: Isometric schematic.
In Dust to of cobble only hot g rocks, flo head, swa each other fall (much rators.) F entitled F
o dust, I suspended a plane es from a metal grid using glue and fishing line. The oating above the viewer’s ay slightly and knock into r. Occasionally, one would h to the chagrin of the cuFor my senior solo show Foliation (next page), I cre-
ROCKS ated a series of wall hanging rock sculptures, and Flood, an installation of phyllite in the corner of the gallery. In geology, foliation refers to repetitive layering in metamorphic rocks and the tendency of certain micaceous rocks to break along parallel planes, forming sheets not unlike pages in a book.
Above: Dust to dust, 2013. 3’ x 3’ x 14’. Rocks, glue, fishing line, custom welded support. Brown University Student Exhibition 2014 Grand Prize Winner. Far left: Dust to dust, detail from below.
Clockwise from far right: Flood, 2014. 3’ x 4’ x 5’. Found phyllite installation. Grave, 2014. 2’ x 2’. Slate, grout, board. Fall, 2014. 2’ x 2’. Found phyllite, grout, board. Creep, 2014. 2’ x 2’. Slate, grout, board. Warp, 2014. 2’ x 2’. Found phyllite, grout, board. All works exhibited as part of senior solo show, entitled Foliation.
S T I C K S I’m interested in pattern, scale, and multiplicity. I am drawn to the emergent forms that can arise from the simple repetition of objects: books, rocks, so why not Q-tips? I imagine Linea as a prototype for a larger body of work. Altering any of the parameters—the length of the wooden cotton swabs, the frequency of their placement in the grid, the shape of the mesh support—would produce an entirely different work.
Above: Linea, 2014. 1’ x 2’ x 6”. Cotton tipped applicators, wire mesh, plywood. Right: Detail.
Fort, 2015. 10’ x 10’ x 5’ (1’ x 1’ x 1’ deflated). Trash bags, heat gun, PVC pipe, Shop-Vac. Clockwise from left: Installation view, section schematic, detail with participant, interior details.
B A G S In the spring of my senior year, I devised a method with which I could create and seal an opening between two trash bags by melting their plastic together with a heat gun. Once the tied shut, all the connected bags act topologically as one volume. This allowed me to design structures made solely of bags, which I could inflate on-site in a matter of minutes. I created Castle (following page), which hung from a framework of PVC pipe and consisted of four chains of connected bags. Fort (left), is made of 35 connected bags, and rises into a self-supporting igloo on inflation. It is large enough to hang out inside.
Castle, 2015. 6’ x 6’ x 10’. Trash bags, heat gun, PVC pipe, ShopVac. Left: Installation view; right: stills from video of inflation.
Left to right. Noah, 2017. 1’ x 2’. Charcoal and conte on tinted paper. Quinby, 2017. 2’ x 2’. Charcoal and conte on tinted paper. Uncharted II, 2014. 11” x 17”. Screen- print on folded paper. Oceans IV, 2014. 11” x 17”. Monoprint.
W O R K S
P A P E R
t h a n k s !