As I continue to move forward in developing my voice and sense of touch with clay I will utilize playfulness. Play is human; it drives us to move forward while understanding where we came from; play allows us to experiment, it is a learning experience that encourages development. Author and philosopher James S. Hans wrote, “Play requires a state of openness, vulnerability, and immersion. It is a mode of thinking, feeling, and doing that both generates and navigates meaning in the everyday.”
I have developed a group of forms that contain anthropomorphic qualities, allowing them to be seen as animated, playful, and potentially humorous. The various sets of incongruent forms seem lively and enthusiastic, intended to bring joyfulness to the user/viewer. Joy is a desired human emotion obtained through experience. Creating “FUNctional” vessels that bring users and viewers joy is becoming a driving force in my studio practice.
Stacked sets of plates are reminiscent of characters waiting to come to life through use. The plates in particular have evidence of construction history, seem touched and worn, but also animate the tabletop with their exaggerated curves and overall wonky/loose nature. The work becomes alive in a users hand is intended to enhance seemingly mundane, everyday occurrences, providing a sense of joy or excitement through their playfulness. Verticality is necessary when considering a tabletop, especially one that promotes joy through play. I have developed a set of vessels that retain playful qualities through formal elements that excite and activate interaction with the tabletop.
James S. Hans also wrote, “It is through play that man adapts to his changing world, that he constantly challenges and changes the rules and structure in which he lives.” Juxtaposing the animated bases with architectural construction plays with expectations of the vessel. Proportions are quirky, line quality varies, and they seem in motion yet stagnant, these forms create humor; a sense of play that I will continue to develop and foster in my quest to make “FUNctional” objects.
Portuguese designer Susana Soares has developed a device for detecting cancer and other serious diseases using trained bees. The bees are placed in a glass chamber into which the patient exhales; the bees fly into a smaller secondary chamber if they detect cancer.
Scientists have found that honey bees - Apis mellifera - have an extraordinary sense of smell that is more acute than that of a sniffer dog and can detect airborne molecules in the parts-per-trillion range.
Bees can be trained to detect specific chemical odours, including the biomarkers associated with diseases such as tuberculosis, lung, skin and pancreatic cancer.
every time i see pictures of this sculpture i wonder why people crop out the best part
BOTH THESE GOATS ARE POPPIN ROCK SOLID BONERS
Using the Golden Ratio (1:1.618) as his basis, Marquardt constructed a two-dimensional figure called the Golden Decagon Matrix, a design which perfectly correlates with the shape of B-DNA , the most common form of DNA found in nature. Within the shape of a Primary Golden Decagon Matrix, forty-two secondary golden decagon matrices (each smaller than the Primary by a multiple of Phi [1.618]) were overlaid and uniquely positioned to form the various components of the human face. When the extraneous lines are removed, the resulting image is the Phi Mask or Facial Mask, composed of line segments and shapes which relate to each other through the Golden or Divine Proportion (1:1.618). The placement of the secondary matrices and the decisions as to which segments were removed were influenced by data collected by studying photographs of people “universally” considered beautiful (ie. supermodels).