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Hiraeth a Thesis Submitted to the College of the Arts of Kent State

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Hiraeth a Thesis Submitted to the College of the Arts of Kent State Hiraeth 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 Shannon Black May, 2019 Thesis written by Shannon Black B.F.A., Youngstown State University, 2017 M.F.A., Kent State University, 2019 Approved by _______________________________________________ Peter Christian Johnson, M.F.A., Advisor _______________________________________________ Marie Bukowski, 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 ACKNOWLEDGMENTS………………………………………………………………………………………….……………….....vi HIRAETH…………………………………………………………………………………………………………………….……………...1 FIGURES……………………………………………………………………………………………………………………….……….…..6 REFERENCES…………………………………………………………………………………………………………………………....26 iii LIST OF FIGURES Figures Page 1. Hiraeth (Exhibition)…………………………………………………………………………………………………………….6 2. Cynosure.………………………………………………………………………………………………………………….……..….7 3. Cynosure View 2……………………………………………………………………………………………………….………..8 4. Cynosure View 3…………………………………………………………………………..………………………………….…9 5. Cynosure View 4………………………………………………………………………………………………………..……..10 6. Cynosure Detail……………………………………………………………………………………………………………..….11 7. Cynosure Alternate View……………………………………………………………………………………….………….12 8. Limerence………………………………………………………………………………………………………………….……..13 9. Limerence View 2………………………………………………………………….………………………………….………14 10. Limerence Detail……………………………………………………………………….…………………………………..…15 11. Limerence Detail 2………………………………………………………….……………………………………………..…16 12. Revere…………………………………………………………………………………………………………..…………..…….17 13. Revere View 2………………………………………………………………………………………………..……………..…18 14. Somber…………………………………………………………………………………………………………..…………..……19 15. Somber View 2…………………………………………………………………………………………………………..…….20 16. Demesne………………………………………………………………..……………………………………………………..…21 17. Vacuity……………………………………………………………………………………………………………………………..22 iv 18. Vacuity View 2…………………………………………………………………..………………………....................23 19. Solemn……………………………………………………………………………….….………………………………..……24 20. Solemn View 2………………………………………………………………………………………………………….….25 v ACKNOWLEDGMENTS The past two years have been some of the most challenging yet rewarding times of my life. I feel very fortunate to have been surrounded by so many supportive people throughout this experience. I would first like to acknowledge my unbelievably amazing parents, James and Cynthia Black, for their unconditional love, support, guidance, and help throughout my entire academic journey. Without them, none of this would have been possible. I would also like to thank my loving sister Brittany Shaw, for setting an example of what hard work, persistence, and determination looks like, while going through college with two children. I would like to thank the rest of my extended family as well. I would like to thank my partner Daniel Newman, who, being an artist himself, provided me with the love, reassurance, support, and understanding that I so needed during this process. I would like to thank my emotional support dog Nigel, for making those extra hard days a little easier. Coming home from the studio to see him every day made my anxiety and depression much easier to deal with. I would like to thank my advisor Peter Christian Johnson, for his mentorship these last two years. I have gained so much knowledge from him that I will carry with me for the rest of my life. I would also like to thank the rest of my committee, Emily Duke, Andrew Kuebeck, and Davin Ebanks, for their critical feedback and advice. I greatly appreciate each of you. Lastly, I would like to thank all of my hilarious studio-mates for putting up with me and providing me with comical entertainment every single day. I will miss you all so much. vi 1 Hiraeth My work explores the manipulation of geometric forms using architectural structures as a reference. Architecture suggests solidity and permanence, qualities that are sought after by some humans, but overlooked by most. Like humans, buildings display the physical scars of life. Abstracting forms that are specifically familiar to me creates an obscured experience for the viewer. This body of work is my perspective on the deterioration of the familiar, as well as the distortion of the reality we know. Utilizing the blueprints of my childhood home as a foundation for each form, and abstracting variations of this architectural structure demonstrates that change is constant, and exposes the transformation of what once was. This grouping of sculptural objects reveal the emotional impact of loss and expose my personal experience with memories and pain. One of the many important factors of architecture is that it affects its occupants both physically and mentally. Architecture, specifically in residential homes, is transformative in the way that it can shape and form an individual’s identity. I am interested in the relationship between buildings and the human condition. Home, a place of comfort and control creates a sense of order, acting as a comfort zone and shielding us from the unpredictable chaos of the outside world. Many desire meticulous control over matters in which they have no power, but time changes everything regardless. The distortion of time and memory manifest within my minumental landscapes. Empty and monochromatic rooms create a sense of sterility and vacancy, coinciding with my recollection of time deteriorating memory. 2 I am intrigued by aesthetic formalism because of its simplicity, and ability to present work in its purest form, free of associations and mysterious in nature. Clay serves as a malleable and flexible material in which I can abstract, alter, and transform geometric shapes, in a way that other materials cannot provide. Slabs are formed into walls, and floors. Forms are cut into cross sections of a home, allowing viewer to become a voyeur, peering in on my orderly system, which is fabricated and false. Intentionally, there are no obvious windows or doors, in hopes to prevent the contents inside from escaping; physically and conceptually. By trapping in these contents, I feel a sense of control in which I otherwise do not have. Enclosures devoid of anything domestic feed into to the austerity of an empty and hollow space. Removal of color strips the foundations down to their bare bones, until they are a shell of what they once were. Stony and pristine structures suggest a sturdiness that can withstand the passing of time. Wall pieces serve as an alternative perspective to these complex systems, displaying the accumulation of a foreign matter within the walls of a sterile space. Filled cavities conceal undesirable cognizance. Pedestal pieces are flipped, stretched, bent, or curved, in order to disorient and confuse the viewer, similarly to how my perception of this once familiar place is skewed. Industrial materials offer a raw quality to the monotony of minimal forms, highlighting the idea of aspired perfection. Avoiding flaws reiterates the impersonal nature of these forms that are detached from human emotion. These negative spaces of lifted forms offer a break for the eyes and add interest to a dense object. The act of covering or veiling the forms in simple surfaces while also drawing attention to display methods transform simple objects into trophies that memorialize and commemorate my home. The work is not about the memories but rather the void of them. The lack of a figure in a space that is intended for living reinforces the 3 absence I feel not being at home anymore, creating a sad and cold emptiness. The viewer and their interaction with the piece forces them to wonder how this dystopian model functions. I chose to convey the emotion of sadness and emptiness because this is how I feel when reminiscing about my childhood. My memories, like the objects I create, are alluring, and idealized, yet cold and unforgiving. Many of the memories I have of my childhood are happy, but by reliving them as often as I do, I feel like a voyeur living in my own past. I consciously strive to focus on the present and future, but cannot seem to shift my focus from these memories. I am interested in this dichotomy of feeling sadness from reliving happiness, a phenomenon I find paradoxical because of how often people seem to find solace in happy memories. I represent this complex emotional state through contrast. Contrast is a recurrent theme in this body of work, both physically and conceptually. I am interested in the dichotomy of contrasting surfaces while maintaining a harmonious balance. Interior vs. exterior, crunchy vs. sleek, opaque vs. transparent, black vs. white... Speckles reference jesmonite, an aggregated material commonly used in the construction of commercial or industrial buildings.1 Using these surfaces generates a stark and cold feeling removing personal associations with the home, creating implications of loss, deficiency, and forfeiture. Concrete suggests stability and sureness while resin encapsulates those ideas. Concretes opaqueness hides the pain, while transparent resin exposes it. Situated on stands like the precious jewel my home is, the forms hover above rocky waters of uncertainty. 1 Chandler, Barbara. "Jazz up Your Home with London Design Fair's 'material of the Year'." Homes and Property. September 01, 2017. Accessed April 24, 2019. https://www.homesandproperty.co.uk/luxury/interiors/design/london-design-fair-material-of-
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