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A Master's Exhibition of Sculpture Presented to The TRANSPORTRAIT ____________ A Master’s Exhibition of Sculpture Presented to the Faculty of California State University, Chico ____________ In Partial Fulfillment of the Requirement for the Degree Master of Fine Arts in Art ____________ by Trevor Earl Lalaguna Spring 2011 TRANSPORTRAIT A Master’s Exhibition by Trevor Earl Lalaguna Spring 2011 APPROVED BY THE DEAN OF GRADUATE STUDIES AND VICE PROVOST FOR RESEARCH: Katie Milo, Ed.D. APPROVED BY THE GRADUATE ADVISORY COMMITTEE: _________________________________ _________________________________ Cameron G. Crawford, M.F.A. Sheri D. Simons, M.F.A., Chair Graduate Coordinator _________________________________ James A. Kuiper, M.F.A. DEDICATION This project is inspired by and dedicated to my fiancé and my family; I would also like to extend my dedication to the twelve adopting parents who allowed my project to live on and of course my babies. iii ACKNOWLEDGMENTS I would like to thank the amazing faculty at CSU Chico for opening my eyes to the art world beyond my sketchbook. I thank my committee chair and good friend Sheri Simons, for always pushing my thoughts and creations to the edge. My committee members Elise Archias for bringing a love for art history into my life and giving me a sense of belonging, James Kuiper for being playful, intelligent and fresh thinking, Michael Bishop for his support in and out of school and giving me the opportunity and guidance to achieve this degree. iv TABLE OF CONTENTS PAGE Dedication................................................................................................................... iii Acknowledgments ...................................................................................................... iv List of Figures............................................................................................................. vi Abstract....................................................................................................................... viii TRANSPORTRAIT Background: Fence Post-Postmodern ..................................................... 1 The Gallery: It’s a Setup!........................................................................ 3 The Work: Me, My devices, and a Dozen .............................................. 5 Influences and Inspirations: Perform, Delegate, Create ......................... 10 Notes........................................................................................................................... 14 Bibliography............................................................................................................... 16 Master’s Exhibition .................................................................................................... 18 v LIST OF FIGURES MASTER’S EXHIBITION THE UNIVERSITY ART GALLERY SPRING 2011 FIGURE PAGE 1. “Transportrait,” 97 digital photos and found frames; L210”x H60”; Fall 2010............................................................................. 19 2. “Treevort,” wood, plexiglass, rope, fabric and paint; L15 ½” x H 90 ¼” x W13 ½”; Fall 2010 ................................................... 20 3. “Treevort, Active Detail,” wood, plexiglass, rope, fabric and paint; L15 ½” x H 90 ¼” x W13 ½; Fall 2010..................................................... 21 4. “Playgrounded,” fabricated steel, chain and enamel paint; L172”x H35”xD9”; Fall 2010 .................................................................... 22 5. “Playgrounded, Active Detail,” fabricated steel, chain and enamel paint; L172”x H35”xD9; Fall 2010...................................................................... 23 6. “Investment,” fabric, metal and zipper; L26”x W18”x D10”; Fall 2010 .................................................................. 24 7. “Investment, Active Detail,” fabric, metal and zipper; L26”x W18” x D10”; Fall 2010 ................................................................. 25 8. “Care-E-All,” fabric, metal, zippers and plastic buckle; L24”x W14”x H10”; Fall 2010 .................................................................. 26 9. “Care-E-All, Active Detail,” fabric, metal, zippers and plastic buckle; L24”x W14”x H10”; Fall 2010 .................................................................. 27 10. “12 Hangers,” wood and fabric; L176”xH 20”x D9; Fall 2010..................................................................... 28 vi FIGURE PAGE 11. “Adoption Station,” wood and paint; L48”x H30 ¼”x W22”; Fall 2010 .............................................................. 29 12. “The Finally,” reception detail; 97 digital photos, found frames, wood, and fabric; dimensions variable; Fall 2010 ..................................... 30 vii ABSTRACT TRANSPORTRAIT by Trevor Earl Lalaguna Master of Fine Arts in Art California State University, Chico Spring 2011 This paper is an analysis which discusses and dissects both the physical work and the process involved in creating my thesis exhibition; Transportrait. Culminating in an exhibit of seven sculptural works, this body of work was born out of the making and collecting that occurred within a six month performance period prior to the final exhibi- tion. This performance period was orchestrated by me, serving as the parent and care- taker to twelve identical stuffed creatures. Leading in with an introduction to my upbring- ing and personal aesthetic, the reader is then taken into the set-up of the gallery to exam- ine the methods of placement and relationship of the works as a whole. I will go into de- tailed descriptions of each sculptural work, its function and concept. I will close by dis- cussing my artistic inspiration and understanding of myself within the contemporary world of fine art. viii TRANSPORTRAIT I have developed my artistic concepts through everyday actions and occurrences. The way in which people operate on a daily basis is the backbone for my inspiration. I am captivated by the mixture of order and chaos I observe in people who choose to organize their lives, and the way life seems to throw their best intentions out of whack. Within this paper, I will examine and justify my thesis project, Transportrait. I will be discussing my upbringing, background, and motivations for practicing art. I will break down my initial intent and experience in Transportrait and its visual structure, provide an over view of the sculptural work and its conceptual support, followed by my artistic influences and personal placement in the art world. Background: Fence Post-Postmodern . my way of life doesn’t change the way of my art. The way of my art changes my life. In periods of growing and experiencing, I see obstacles; I see something that I must go through. Then immediately, I think we must build the work which is about that obstacle, and then go through it.1 I am easily distracted by the simplest of occurrences. I often find myself scattered, head in the clouds, losing track of my possessions as well as myself. This lack of order is a threat and causes frustration, panic and doubt. I have always functioned best when organized; I feel that most people do. Each individual constructs and develops systems with the aid of devices, communication and routines to tend to the tasks and challenges of the everyday. These devices include clothing, homes and vehicles. 1 2 Communication includes our response to our environment and the ones that are around us. Routines create familiarity and allow us to function with confidence and ease. We use our developed systems to move forward, but at the same time they preserve and capture our history. I was brought up on a large cattle farm by my mother and father, in a very traditional manner, where structure created order. I was raised with strong morals and a stronger work ethic. If my father taught me anything it was this, “the deeper the post hole is dug the stronger the fence will stand”. I gained a large amount of my values through the process of a hard day’s work, and putting your head down and your ass up to get things accomplished. Though I see myself as a hard worker, all the little shifts in the beat of life tend to captivate and distract me. These distractions developed an attitude in me that led to me becoming an artist and performer. Growing up in the country (often playing alone on a dirt pile somewhere half- naked) the landscape served as a desolate stage calling for imaginative action, and I was there to serve it. Always being a little on the shy side in public, I needed a push to expose the performer in me that I fantasized being. I loved the idea of being a performer, but my anxieties and shyness forced me to hold back. I always wanted to be seen, but not made fun of or humiliated because of my actions. Wearable sculpture provided me with a method to mask my anxieties. This form of art also allowed me to be something besides myself; a new character that could take ridicule as well as chance. Performance artist Pat Olesko states it well when discussing her performance costumes, “By wearing these costumes and making myself up as a pedestrian sculpture, I was creating an armor that would not only bring people to me by its interesting character but also hide me.”2 3 My discovery of wearable sculpture allowed me the protection I needed to perform, resulting in many works and performances which have laid the groundwork for Transportrait. Transportrait created an opportunity for me to perform, and nurture a scheme that would draw the attention of others to the same type of distractions that so often captivated my attention. Though I would serve
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