exercise 4

There is a room in Art House, where lies all the things nobody wants anymore. Not much is there. Just some here and there, and a little in the corner. 

A rickety shelf,  some dishes, old homework assignments. Nobody knows where they should go, so they just sort of sit, waiting to be remembered or wanted by somebody else. As we all do, I suppose.

I brought my big bag of things that I don't want anymore down to the designated area for such things. They really just take up space. I've been trying to do some spring cleaning. Even the room itself seems unwanted. It sits, unused, for it is useless. Too small to be a room, too big to be a closet. Not the kitchen, not the bathroom. Some forgotten step in the digestive process we've evolved past utilizing.

Awkward. 

I began to throw my things around the room. Nothing stuck; I still didn't want to keep any of it.  Unsatisfied entirely by my surroundings. 

Each item was so close to being something I liked. But each had a fateful quality which emphasized its lack of adequacy. 

Sad. 

I sort of mixed them all together into a soup I didn't much care for. Throwing stuff about. Kicking it around. We take care of the things we love. But I didn't feel anything for these items at all, except for perhaps a dull disappointment. It could've been better. But it's not, and it's never going to be.

I threw it all into a video I didn't much care for. And wrote about it in a blog post I wasn’t quite proud of.

love,

Mathilda

 

Exercise 3

Dance is a world I don't frequently frequent. I took ballet lessons when I was eight, but I didn't much care for the shoes. 

I was immediately fond of Andy Gambrell. He was so down-to-earth and relaxed. If somebody had to tell me the worst news of my life, I think I'd want it to be him. 

Witnessing Andy Gambrell and Susan Gingrasso interact before and after the dance was really charming. It's clear that they have a tender, creative relationship and mutual admiration. Co-creation is akin to parenting, I suppose. 

Regarding the dance performance, initially, I struggled to “get it”. I promptly gave up trying. Once I relinquished my quest for understanding, I began to enjoy it. The rhythm of the feet on the floor. The delicate movements. It did echo Yvonne Rainer’s Minimalism. Dance is a kind of communication I sometimes struggle to understand, especially when there is no music involved. But with Yvonne Rainer's work as well, I found the longer I watched, the more intentionality I could see between the lines. No, they're not just doing stuff.

It became clear that the dance really was Susan Gingrasso’s interpretation of the paintings. This is a very obvious observation. But I was struck by how much movement she could see in paintings that to me felt like quiet and still memories. If I were to make an interpretive dance of the same pieces, I don't think there would be much dancing involved. 

To me, the work felt less like an interpretation of space and more like an interpretation of interpretation. 

It created this sort of chain of interpretations. Andy's work, interpreted by Susan, Susan's work, interpreted by the dancers, the dancers dance, interpreted by the audience. 

love, Mathilda

Exercise 2

For my installation, I am searching for a space that's not much in particular. Not much light. Not much inside of there. Not much going on. Not much space. Not much window. So I got up in the morning and began my search for very little. 

I'm drawn to spaces below ground. Buried. 

They said, "Raise your standards!"

I replied " " not much at all... 

I roamed from dorm basement to dorm basement. Most dorm basements have a few common rooms. Abandoned card games and DVDs. Artifacts. Relics of a devoted CA on duty. Somebody's mother now. 

I visited Art House, Trevor Hall, Sage Hall, Kohler Hall, the Mudd Library, Ormsby Hall, Colman Hall, Steitz, Youngchild, and Memorial Hall. 

Colman had the most not much going on going on. Nestled beneath the quaint "North Wing" of the building are three little completely nothing rooms. They hold mismatched furniture and a table or two. No windows. Not much to remember. Four blank walls in each. They're perfect. I can't even remember which one I like best, because there's nothing to like about any of them! 

In order to use a room in the north wing of Colman, I suspect I should speak to a Colman CA and start from there. My potential challenge is moving the furniture out of one room, I could just shove it all into one of the other three, granted permission from the lovely CA of course... I may also want to play with the idea of using all three rooms because they are so similar.

I found a few other rooms that were nothing in particular, but they were just too big. The three little Colman crannies are cramped. I want it to be stuffy there. 

Too many people. Too much going on. 

link to video documentation

Three Objects

I began this project by collecting three or more real-life, portable objects that meant something to me in a provocative way. 

I keep a box on my shelf. It's dark green and metal. About the size of a complete Webster's dictionary (Webster, 436). Big enough for all of the words. I keep all of my most potent possessions in there. It's big enough for all of my most potent possessions. Love letters, bullets, promise rings, knives, teeth, empty little bottles. A box of stories from that one time that I... 

I harvested some sentimental secrets from that treasure trove. I don't have much of a statement about them, though. 

I started to be consumed with the endless potential of certain things. Even packaged consumer goods. Even a can of soup can evoke consumerism. A pack of Jell-O, already opened, already consumed. What's the story there? The possibilities are as endless as something that lasts forever. 

I wanted to make a comment about spirituality, so I decided to include a cross. Happy Easter (God, 268). In conjunction with the packaged consumer goods, I thought I could evoke a sort of worship of consumerism. Totally true, wow. "At the altar of the self-checkout line, we kneel and eat a gumball" (Nietzsche, 16).

I wanted to take us to a sort of 'desperate quest for beauty' place... I didn't want the altar to be completely barren; however, to keep it in line with the themes I'd already curated, I decided to go with some flowers. Flowers are often on religious alters I guess, but to add a superficial element, I thought fake flowers would work better. I plucked a few out of a vase, where they had been pretending to drink water. 

I decided to round out my altar with some trash. I think it worked with the theme of orthodox consumerist lifestyle of post-postmodern American all you can eat idolatry... and whatever comes after...   

Works Cited 

Merriam-Webster. Merriam Webster’s Collegiate Dictionary. Springfield, Merriam-Webster, 2014.

God. Holy Bible. ESV ed., Crossway, 2001.

Friedrich Wilhelm Nietzsche. The Genealogy of Morals. New York, Boni And Liveright, 1918.

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