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PARASITES PREDATORS AND SYMBIONTS

A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts

By Jody L. Vankeuren May 2021

Thesis written by

Jody L. Vankeuren

B.F.A., Edinboro University of Pennsylvania, 2018

M.F.A., Kent State University, 2021

Approved by

Andrew Kuebeck, M.F.A., Advisor

Marie Buukowski, M.F.A., Director, School of Art

John R. Crawford- Spinelli, Ed.D., Dean, College of the Arts

TABLE OF CONTENTS

Page

LIST OF FIGURES ...... IV

AKNOWLEDGEMENTS ...... V

CHAPTER

1. INTRODUCTION ...... 1

2. RESEARCH ...... 1

3. PARASITES PREDATORS AND SYMBIONTS- INDIVIDUAL WORKS ...... 4

4. INSTALATION ...... 8

5. CONCLUSION ...... 9

FIGURES ...... 10

REFERENCES ...... 28

iii

LIST OF FIGURES

Figure Page

Art Smith. “Patina” ...... 10

Bruno Martinazzi. ‘Goldfinger’ ...... 11

Susanna Heron. Cardboard ...... 12

Fecundity Detail View I ...... 13

Metabiosis ...... 14

Metabiosis Detail View ...... 15

Endoparasitism ...... 16

Endoparasitism Detail View ...... 17

Ela Bauer. ...... 18

Elizabeth Galton. Orchid Gem for Swarovski Runway Rocks ...... 19

Phoresis ...... 20

Phoresis Detail View ...... 21

Adam Paxon. with Four Eyes II ...... 22

Fecundity ...... 23

Fecundity Detail View II ...... 24

Parasites Predators and Symbionts Installation View ...... 25

Fecundity Installation View ...... 26

Phoresis Installation View ...... 27

iv

ACKNOWLEDGMENTS

I would like to thank Andrew Kuebeck for his leadership and teaching. For the advice that encouraged me to push beyond my boundaries. I have learned so much from much time here. Thank you to my undergrad teachers Cappy Counard and Sue Amendolara for the introduction into this field. The passion you share for this field reinforced my convictions to go to Grad school. It is your example that I strive to emulate with my own students. Thank you to

Debra Eck who encouraged and nurtured my exploration of the sculptural arts.

Thank you to my partner, Christopher Sampson, for your continued support. You have

been my voice of reason and my rock through these past two years. Thank you to my mother,

Rebecca Vankeuren. You fostered my love of art at a young age and continue to cheer me on as I

pursue my education. Your positivity and uplifting spirit have guided me along this journey. To

Kelsie and Colleen Breads. You guys have been there from the beginning of this journey. Thank

you for always being there and thank you for helping me set up my thesis. Thank you to the

Sampson family for accepting me into the family and making me feel like I truly belong.

Thank you to my studio mate Maria Camera-Smith for being there through the thick of

this journey. I have learned so much from you and continue to be inspired by the perspective you

have brought over these past two years. To the rest of the people, I have not mentioned, thank

you as well. My time here at Kent State has been valuable and I feel that I have grown not only

as an artist but as a person. Thank you.

v

1

I. INTRODUCTION

The complexities of interpersonal relationships between organisms in an environment are endlessly varied. These relationships can be mutually beneficial like the symbiotic between algae and , or they can be harmful like the unwilling connection of a parasite to its . This body of work explores these relationships as metaphors for the cyclical nature of human conflict, in the form of large-scale wearables. My thesis, Parasites Predators and

Symbionts, consists of four wearable pieces. In certain pieces the brutality of nature asserts dominance over these organisms and they in turn become parasites themselves. In some of the pieces, the cycle continues in the form of reproduction and dispersal; still others represent the moments of stasis in which neither organism holds dominion over the other.

II. RESEARCH

Prior to this body of work, I was primarily making small self-contained jewelry pieces which I would have at one time referred to as wearable sculptures. I had felt that in order to be considered art, jewelry had to function apart from the body as an independent sculpture. While reading Glen Adamson’s book Thinking Through Craft, this view was challenged and ultimately adapted. In his section of the book on supplemental crafts he discusses the work of Art Smith and how, “his compositions must be activated through the act of wearing.” 1Off the body Smith’s pieces are unwieldy conglomerations of with little to no structure.2 His pieces require exhibition on the body in order for their forms to be understood. After being exposed to his work

I became interested in this idea of jewelry pieces that were completed by the body. This became integral to my design process. I started thinking critically about using the body as a form from

1 Adamson, Thinking Through Craft, 25. 2 Fig. 1.

2 which to build the design of the jewelry piece from. The human form became a kind of scaffolding from which the jewelry would be constructed.

Part of my design process is material based research and experimentation. In Obscure

Objects of Desire: Surrealism, Fetishism, and Politics Johanna Malt describes the ambiguous category of matter represented by fur, feathers, and hair. She states these types of matter are, “ as close to live flesh as matter can come. They are of the body but not of the flesh.” She goes on to explain these types of matter have been, “robbed of their association with life,” having been,

“removed for the body out of which they grew.” However they, “remain as charge relics of that presence.”3 This manner of thinking led me to embrace materials that could represent the ambiguous category of matter that Malt defines.

In my work wool and silk are included in this category of materials that bring to mind the absence of life yet also bring a charged presence to the piece. Wool is harvested from a still living . If properly done the animal is unharmed, yet while working with the wool I felt this presence that Malt describes. The raw wool roving contained sticks and leaves and coarse hairs. While working with the wool, it was impossible to forget that this material came from an animal.

Silk is harvested from the cocoon of the silkworm. In the process the worms are killed.

The experience of working with delicate silk chiffon is far removed from the experience of working with raw wool roving. In this case the material is refined and does not hold such obvious traces of the animal that created it. Although the wool roving feels charged while working with it, I have noticed that this effect is mitigated when it is combined with the silk chiffon in the form of nuno felting.

3 Malt, Obscure Objects of Desire Surrealism, Fetishism, and Politics, 42.

3

Aside from these natural materials I started experimenting with alternative materials and metal to capture the charged presence that fur feathers and hair have. One way I have found to invoke this extra layer of meaning to material is through surface quality. Malt describes the

“hermetic surface of the fetish object,” and how this surface creates a, “paradoxical interplay of seductive allure and distancing barrier.” 4My experiments with silicone have been influenced by this idea of allure and repulsion. The silicone material is translucent and by embedding wool in the silicone a depth of implied texture is achieved without sacrificing the smooth alluring surface. The smooth surface on some of the silicone pieces has been pierced through by monofilament tipped with resin. These eruptions mimic and imply another force that is at work. I think of these elements as parasites that have embedded in their host and their fruiting bodies have now broken through the surface.

The metal I use in my pieces is also treated in a way that places emphasis on surface quality. Chasing and repoussé are processes in which sheets of metal are hammered from the back and front using steel tools to develop lines and form. This manipulation of sheet metal allows me to construct thin shells of smooth fully realized texture. This is ideal for representing segments and pod-like forms. After being hammered the metal is treated with a patina to darken the crevices and bring a more lifelike quality to the cold, hard surface.

The surrealist influence is present in this body of work and continues to be further developed through my research. As examined by Glen Adamson in his discussion of the supplemental, the influence of Surrealism and in particular, its offshoot Biomorphism, “tended to attempt a complete integration of body and jewel.”5 The jewelry forms of this movement were

4 Malt, Obscure Objects of Desire Surrealism, Fetishism, and Politics, 6. 5 Adamson, Thinking Through Craft, 23.

4 more of an extension of the body such as Bruno Martinazzi’s 'Goldfinger' Bracelet.6 The form of which is an intricately molded human hand.

American Critic Rose Slivka’s discussion of British “new jewelry” from the 1980’s contrasts this idea of melding jewelry with the body.7 She states “This jewelry does not accommodate the body - rather it is in orbit around the body. . .jewelry is now a body cage and a mind opener.”8 Inspired by both the discussion of Surrealist jewelry and the discussion of British

“new jewelry” from the 1980’s my thesis explores both the synthesis of jewelry with the body and the concept of jewelry that does not accommodate the body. Portions of the pieces in my body of work are in direct contact with the wearer. The silicone components lay against the body like a second skin.9 The silicone acts as a permeable membrane that forms a connection with the wearer. In contrast with the silicone elements, the more cage-like elements of the pieces limit the mobility of the wearer. They are less integrated with the body and use it more for structure.

III. PARASITES PREDATORS AMD SYMBIONTS – INDIVIDUAL WORKS

The notion of jewelry as a cage for the body led to the development of the first piece in my thesis. This piece, titled Metabiosis is made of cold porcelain pods cast stems and a wire framework covered in felt.10 Metabiosis is an example of an, “indirect dependency, in which one organism creates or prepares a suitable environment for a second.”11 This is often at a biological level based on soil nutrients, or is based on a form of protection. In this case the jewelry piece forms a protective cage around the wearer, and the wearer provides scaffolding on

6 Fig. 2. 7 Fig. 3. 8 Adamson, Thinking Through Craft, 27. 9 Fig. 4. 10 Fig. 5. 11 World Heritage Encyclopedia, .”Metabiosis,’ accessed April 21.2021, http://self.gutenberg.org/articles/metabiosis#Metabiosis

5 which the organism grows. Each section of the framework has been tipped with a cast bronze stem. The bronze stems, inspired by vertebrae, are then topped with an open cold porcelain pod or a delicate enclosed bud. This large neckpiece represents the use of the body as a form for the organism to grow on that has been prepared at a microbiological level. The organisms in affect shelter each other.12

The second piece in my thesis is Endoparasitism. “An endoparasitoid is a parasite that lives inside another animal and ultimately kills it.”13 (The main components in this piece are designed to look like parasites are living within them.) An example of that influenced this piece is the relationship between cordyceps and ants. The cordycep fungi infect the ant and cause it to act erratically. It will place itself in a vulnerable position and wait to be killed as a form of dispersal for the fungus.14 A similar instance happens in where a phytoplasma bacteria infects plants and causes them to transform in order to appear more appetising to insects so that they, in turn, will disperse the bacteria.15 The structure for this piece is wire framework is covered in felt. Each felted stem is topped with a silicone pod or bud.16 The large silicone pods are partially covered by metal skins. These skins are split open revealing the fleshy silicone within. The silicone elements are bursting with monofilament balls topped with resin representing the parasites fruiting bodies.17 These growths seem to burst outward from the pods secreting a sticky liquid. The bursting growths take on the appearance of cordyceps breaking

12 Fig. 6.

13 Amateur Entomologists' Society, s.v. “Endoparasitoid,” accessed April 21.2021, https://www.amentsoc.org/insects/glossary/terms/endoparasitoid

14 Stone, The Secret Lives of Thai Fungi Revealed, 920. 15 Hogenhout, Phytoplasmas: bacteria that manipulate plants and insects, 404. 16 Fig. 7. 17 Fig. 8.

6 through the exoskeleton of the ant. After being infected the pods reach out invasive tendrils to probe the wearer as if looking for a weakness. They have been transformed into a parasite by the endoparasitoid living within them.Ultimately the organism will die but not before using its host body to infect another. In this case it will eventually infect the human host.

These first two pieces in my thesis are influenced by the work of Ela Bauer whose work is inspired by the, “liquid aspects of reality.”18This idea of aspects of reality or materials that have a sense of slippage harkens back to the discussion of a fetishistic surface. Her pieces are reflective of, “growth principles and evolving concepts of sequence and process.” 19My first two works show the stages of an organism's life from small beginning buds to larger forms that seek to expand their territory and disperse infection to the host.

The large theatrical work of Elizabeth Galton has been described as, “grasping on to areas of the body that have been forgotten by most jewelry designers.”20 21This idea of grasping and the exploration of a unique location for body jewelry directly to my slug piece titled

Phoresis. “The term phoresis is derived from the Greek word meaning “to carry.” In this type of symbiotic relationship, the phoront, usually the smaller organism, is mechanically carried by the other, usually larger, organism, the host.” 22This is a temporary solution in which one organism uses the other for transportation and does not harm them. However, this type of relationship has the potential to turn into a predatory one. This relationship is defined by the specific anatomical features used for attachment. I used felt for the antennae of the slug creature to create a sense of a

18 Fig. 9. 19 Cheung, New Directions in II, 29.

20 Astfalack, New Directions in Jewellery, 86. 21 Fig. 10. 22 . Bogitsh,Human Parasitology (Fifth Edition), 1.

7 velcro-like attachment similar to the way burdock seeds cling to animal fur. This is a primarily felted long body with tan, apricot and rosy pink nuno felted ruffles inspired by sea slugs.23 The spine of the creature consists of segmented components textured using chasing and repoussé.24 It is common for to use phoresis and so I took my inspiration for the metal spine components from trilobite fossils. The eyes as well are inspired by the fossil record.

Trilobites were some of the first creatures that developed eyes able to see in the murky waters.

The piece is worn from the shoulder down the arm with the top of the piece wrapping around the wearer's neck. The neck is a sensitive location. By having that as the connection point tension is created between the two organisms. This relationship has the potential to turn harmful.

The work of Adam Paxon relates directly to the final piece in my thesis.25 His colorful biomorphic forms explore transparency and are described as “breathing, quivering, foraging.”

This sense of implied movement is present in this whole body of work, but it is the description of, “as if to burst with ripeness,” that I feel most relates to my pupa piece.26 This piece contains bulbous fleshy silicone forms bursting from the body akin to parasitic growths. Paxon’s pieces are also described as having a, “fecundity, a sensuous and at times an eroticism,” to them.27 This idea of fecundity, the ability to produce offspring is what inspired this piece. My pupa titled

Fecundity is the final piece in my collection and it represents the idea of the ability to produce offspring but not necessarily the desire to.28 The brutality of certain births in nature are part of this theme. There is a species of sea whose newborn children eat the mother from the

23 Fig. 11. 24 Fig.12. 25 Fig. 13. 26 Astfalack, New Directions in Jewellery, 166. 27 Astfalack, New Directions in Jewellery, 166. 28 Fig.14.

8 inside out and are essentially born from her corpse.29 Another particularly haunting element of reproduction in nature is that it is common for aphids to be born already pregnant.30 Though they are insects, it is impossible for this not to bring to mind instances of consent and choice. This piece is primarily a nuno felted element with a hanging chrysalis form. The chrysalis form is cradled near the body as though it is an infant but the growths or egg-like forms erupting from its underbelly are not representative of a positive interaction.31 In this case the offspring have become a kind of parasite. The body of the chrysalis consists of segmented plates that have been textured using chasing and repoussé. Yet even the armor-like spine cannot protect this organism from its responsibility to reproduce.

IV. INSTALLATION

For the displays in my show, I wanted human forms that would not distract from the pieces themselves. I chose to use white non-de script mannequin torso placed upon pedestals.32

To display Fecundity, the pupa piece, I chose a slim female mannequin. I wanted the display to reflect a younger woman in the prime of her fertility.33 In this case it is the fertility that makes her vulnerable. At this stage in a woman's life, the prospect of unwanted impregnation is a looming fear. For Phoresis I chose a muscular, fit male model. I wanted this to represent someone

29

“The Most Extreme: Births,” Season 1, Episode 2, Animal Planet, 14 July. 2002. Amazon Prime, https://www.amazon.com/Most-Extreme-Season-Episode- Births/dp/B000KGGOHW

30 Stern, “Aphids.” Current biology, 2. 31 Fig. 15. 32 Fig 16. 33 Fig 17.

9 who generally is not perceived as defenseless.34 The connection point of this piece is the neck. A sensitive part of the anatomy is exposed and is taken advantage of.

V. CONCLUSION

The large-scale wearables in this thesis are only completed with the addition of a body. I am interested in the conversation naturally generated by strategically placing these simulated environments on the human form. Jewelry represents a personal, intimate relationship between the wearer and the piece. The increased scale includes not just the wearer in this complex relationship but also the audience. I am inspired by the surrealist movement's long-standing commitment towards transformation and the ever changing boundary between attraction and repulsion.

34 Fig. 18.

10

Figure 1 Art Smith. “Patina" Necklace.1959 , 11 1/8 x 6 1/8 x 1/4 in. Brooklyn Museum

11

Figure 2 Bruno Martinazzi. Goldfinger. 1969 20k , 18 kt white gold, 2 7/8 x 2 1/2 x 2 1/4 in

12

Figure 3 Susanna Heron. Cardboard Spiral. 1978 Cardboard.

13

Figure 4 Fecundity Detail View I, 2021 Copper, wool, silk chiffon, silicone, resin, mono-filament

14

Figure 5 Metabiosis, 2021 Bronze, copper, wool, silicone, cold porcelain

15

Figure 6 Metabiosis Detail View , 2021 Bronze, copper, wool, silicone, cold porcelain

16

Figure 7 Endoparasitism, 2021 Copper, wool, silicone, resin, mono-filament

17

Figure 8 Endoparasitism Detail View , 2021 Copper, wool, silicone, resin, mono-filament

18

Figure 9 Ela Bauer. Ring. 2005. Silicone, coral, silver

19

Figure 10 Elizabeth Galton. Orchid Gem for Swarovski Runway Rocks. 2004. Rhodium-plated silver with Swarovski crystal

20

Figure 11 Phoresis, 2021 Brass, copper, wool, silk chiffon

21

Figure 12 Phoresis Detail View, 2021 Brass, copper, wool, silk chiffon

22

Figure 13 Adam Paxon. Brooch with Four Eyes II. 2011. Acrylic, lacquer & enamel, 7.5 x 8.5 cm

23

Figure 14 Fecundity, 2021 Copper, wool, silk chiffon, silicone, resin, mono-filament

24

Figure 15 Fecundity Detail View II, 2021 Copper, wool, silk chiffon, silicone, resin, mono-filament

25

Figure 16 Parasites Predators and Symbionts Installation View, 2021

26

Figure 17 Fecundity, Installation View, 2021 Copper, wool, silk chiffon, silicone, resin, mono-filament

27

Figure 18 Phoresis, 2021 Brass, copper, wool, silk chiffon

28

REFERENCES

Adamson, Glenn. Thinking through craft. Oxford: Berg. 2007.

Amateur Entomologists' Society, s.v. “Endoparasitoid,” accessed April 21.2021,

https://www.amentsoc.org/insects/glossary/terms/endoparasitoid

Astfalack, Jivan. New Directions in Jewellery. London: Black Dog Publishing Limited, 2005.

Burton J. Bogitsh, ... Thomas N. Oeltmann, in Human Parasitology (Fifth Edition), 2019

Cheung,Lin. New Directions in Jewellery II. London: Black Dog Publishing Limited, 2006.

Hogenhout SA, Oshima K, Ammar el-D, Kakizawa S, Kingdom HN, Namba S. Phytoplasmas: bacteria that manipulate plants and insects. Mol Pathol. 2008 Jul;9(4):403-23. doi: 10.1111/j.1364-3703.2008.00472.x. PMID: 18705857; PMCID: PMC6640453.

Malt, Johanna. Obscure Objects of Desire Surrealism, Fetishism, and Politics. Oxford: Oxford University Press, 2004.

Stern, David L. “Aphids.” Current biology : CB vol. 18,12 (2008): R504-5. doi:10.1016/j.cub.2008.03.034

Stone, Marcia. “The Secret Lives of Thai Fungi Revealed.” BioScience 59, no. 10 (November 2009): 920. doi:10.1525/bio.2009.59.10.20. (ants)

“The Most Extreme: Births,” Season 1, Episode 2, Animal Planet, 14 July. 2002. Amazon Prime, https://www.amazon.com/Most-Extreme-Season-Episode-q Births/dp/B000KGGOH