Category Archives: Student Work

Working With the Given: Student Responses


Originating in a discussion of Marcel Duchamp’s “ready-mades,” and taking inspiration from Alberto Burri and the Arte Povera movement in Italy, students foraged for found materials to provide a palette of possibilities for original designs.

The main problem inherent in working with “junk” is achieving a unity that somehow transcends the humble origin of its means. In other words, how do you make something that doesn’t look like a bunch of trash stuck to a background? Avoiding the “scrapbook effect” is paramount. The most successful solutions are those that manage to activate the ground, drawing it into the overall design so that it participates in the whole, even to the point of asserting a prominence that vies with the more obvious figural elements. In many cases the solution presents itself by adjusting the proportion of the ground, cutting it down to find the right balance with the materials, which is really just a way of enlarging the elements within the design. In other cases, designs cluttered with too many bits and pieces are improved by simplifying, allowing a few extraordinary forms, colors, or textures to breath and resonate.

Working with found material is a brilliant way to explore an alternative modality in design. Beginning artists often conceive of the process of designing as starting with an idea and working in stages to realize it. What many students come to appreciate is that the process of design can be as much a matter of finding a certain rightness, a logic, as it were, inherent in the materials and in their various relationships as we play with possibilities. It’s a bit like starting a fire with wet wood, trying to ignite a spark that continues to build. When it works, the results can be an epiphany. The often striking impact of the best pieces borders on the miraculous, not less so because of the sheer improbability of finding beauty in what most people regard as trash.

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Shifting Ground

Figure-Ground Metamorphosis Spatial perception is a continuous, cognitive process of inferring three-dimensional sense from the constantly shifting pattern of retinal sensation in which we are daily immersed. For everyone except visual artists the process is almost completely unconscious; something we have picked up from birth, along with our native language. The central mission of the visual sense is to identify “things” and distinguish them from the empty space that surrounds them. Graham Collier, in his book, Form, Space & Vision states, “…to perceive space… there must be a figure on a ground. For then a visual tension is created between the physical presence of something that intrudes, and the… apparent emptiness which surrounds it…” Naturally people take more interest in actual things than they do in empty space, but for an artist this isn’t necessarily so. Over time, working with the two-dimensional language of art trains the artist to be acutely aware of both object and space as two co-equal entities. In the student work below, working with one of Collier’s classic exercises, the co-dependence of figure and ground, and the capacity of each one to shift or reverse, is beautifully demonstrated.

Students employed the subtractive process of block printing to create a sequence of individual rectangular designs that, together, configure a larger rectangle. The unifying element of repetition works to break down the perception of each print’s individual design, and the recognition of metamorphic change propels the eye forward. The  whole enterprise is fraught with instructive ironies regarding the nature of figure-ground interactions. First, the initial figure is produced by an absence – removing the solid material of the block with a cutter – but in the print it appears as a presence, a white figure on a dark ground. The white mark reads unequivocally as figure due to the relative smallness of its area with respect to the larger black rectangle, and also because our eye can surround it. After each printing, students “add” another mark, or several marks, before printing again. Some students worked out their cuts in advance from a master plan while others, like jazz musicians, improvised by responding intuitively to the developing image. In the process of subtraction marks are added to the design.  Somewhere along the march of progress an interesting thing happens. First, the ratio of white figure elements to black ground equalizes. Figure and ground become ambiguous and interchangeable. Then, as cutting continues, the figure-ground relationship reverses. The black ground has become the figure and the white has become the ground. The total design consists of twenty stages arranged in a flowing pattern from left to right and top to bottom. Students are challenged to select the states from 30 to 40 printings  that best create an integrated whole with smooth transitions and without abrupt changes that interrupt the flow or that create undue emphasis.

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Frottage: Student Response

The senses of sight and touch are strongly linked. Tactility in art adds another level of impact to the more obvious formal elements of shape, line, and color. Texture can be both actual and visual, the first being a factor of the materials used, and the latter generated by the mark-making of the artist. Students in this project investigated texture as a design element using “frottage,” a strategy first developed by the Surrealists, to lift textures from the world around them. A period of foraging for textures armed with an array of different media and papers was followed by designing with the raw materials of found textures. In the designs below students worked within the constraints of two different design constructs. A columnar structure defines the first problem. Students selected textural elements by cropping and experimenting with various arrangements with the goal of breaking down the taxonomic effect of the columns. In the best designs similarity groupings and continuities lead the eye across the borders, configuring larger patterns of movement within the whole. Contrasts provide  forces of variety, emphasis, and visual weight that organize to produce a balanced, integrated and dynamic whole. The second design was developed from a previous problem involving isometric forms. The final design is a large square composed of four smaller squares, each of which contains an isometric figure translated into three values, black, white, and a middle-value consisting of the optical gray of the frottage elements.

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Isometrics for Artists: Student Response

Isometric projection is a simple form of perspective used by artists, architects, and engineers to show depth or dimension without the apparent distortions that form undergoes as it recedes in space. Isometric perspective employs parallel lines that never vary from the parallel, unlike linear perspective in which parallel lines appear to converge toward a common vanishing point. In isometric projection there is no convergence and no vanishing points. Josef Albers, an important 20th century artist, designer, teacher and color theorist, created a large number of works that employed the design construct of the grid and isometric projection, which he called “Structural Contellations.” In this project, students were challenged to engage with the same tools and limitations: the grid structure and parallel line inventions.

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