2012 Matches

2012 Matches:
Elyse Leyenberger (Photography '12) : Andrei Jackamets (BFA Photography '83)

Ryan Berardi (Sculpture '14) : Anthony Visco (BFA Sculpture '70)
Kaylyn Gray (Multimedia '13) & Michael Knaub (Multimedia '13) : Michele Kishita (BFA Painting '97, MFA Painting '10)
Diane Meck (Dance '13) : Geoffrey Kershner (BFA Acting '00)
Kennedy Dickerson (Photography '14) & Michael G Malloy (Photography '12) : Nancy Eichenbaum (BFA Photography '87)
Megan Beck (Illustration '13) & Lydia Guadagnoli (Illustration '14) : Veronica Cianfrano (MFA Painting '11)

Saturday, June 30, 2012

Breakfast of Champions

This summer I have the opportunity to work with Veronica Cianfranco, a local Philadelphia artist, and her artist group CHER (Champions of Empty Rooms).  Each week is so new and different, as my tasks are constantly changing depending on what Veronica and her group is working on. I am fellowing alongside Lydia Guadagnoli, and the experience is pretty new for the both of us since we are illustration majors and the fine arts realm is new to us.

In my first week Veronica and I helped Lauren McCarty make a stop motion video for her to use on Kick Starter, to help raise funds for her project. Lauren’s project is titled Stuff Hero, where she asks people to become Stuff Hero’s themselves by adopting items that she has found in thrift stores, trash bins, or on the street. The “Hero’s” then document their experiences with these items, like how they interact with it, where it is placed, and how its meaning evolves as it becomes a staple in their life. By asking these questions Lauren hopes to figure out how we as a material culture interact with used objects that come with histories and identities.

My job was to act as an extra pair of hands. I had several chores like wiping down the dumpster, reflecting light for the camera, assisting with costume change, and applying sparkle tears. The actual production went really smoothly and it was the fastest stop motion project I have ever been a part of. We spent four hours in the back parking lot of Oregon Diner, and were done by 7 p.m just in time for dinner.

I even got to be in the video as a Stuff Hero; I adopted a lamp. And after the movie was wrapped we went to the Oregon Diner, where Lauren treated us to a nice dinner. We discussed how taxes work for artists, and setting up lesson plans as art teachers.

You can see the final Kickstarter video at http://www.kickstarter.com/projects/486878143/the-stuff-crusade. I really love how Lauren put her own touch on things with all of her sequins and illustrations. She has 26 days left and has already raised $852. Way to go Stuff Hero’s!

Friday, June 29, 2012

And There The Moon-Bird Rests From His Flight

Today, I helped out the CHER group take down their installation in the Rosenwald-Wolf Gallery window on Broad Street. One month ago, we spent six hours on a rainy Monday moving, taping, painting, and  building the display. It was saddening to see all of that precision and effort packed away in the trunk of Veronica's car in a matter of 15 minutes. From this experience I did learn that as an artist, you are responsible for all aspects of your work, whether it's installing, transporting, or displaying. With entire installations this is quite a challenge because the piece has to look perfect from every angle and sometimes there are multiple objects in the piece so they need to be arranged precisely, not to mention moving all of the stuff from a studio to a gallery.
The title of the piece was And There The Moon-Bird Rests From His Flight. The title comes from a quote in Shel Silverstein's Where the Sidewalk Ends, a popular children's bookThe idea was formulated during a CHER meeting. The goal was to put up a window display that was fun and eye catching to promote their art, and because of the recent death of Maurice Sendak, it was only appropriate to create an installation depicting their favorite childhood authors and illustrators. What they came up with was a scene from a child's bedroom. It consists of a fort made of bedsheets with a desk as its foundation. Surrounding the fort are handmade pillows with intricate drawings by CHER's Jessie Clark attached to them. The real eye catcher in the installation is the creepy yet whimsical monster emerging from the fort. 
I asked Veronica what she planned on doing with the bedsheets, desks, pillows, and monster. She said she would reuse them in other projects; nothing ever goes to waste. 

Wednesday, June 20, 2012

"What is one to say about June, the time of perfect young summer, the fulfillment of the promise of the earlier months, and with as yet no sign to remind one that its fresh young beauty will ever fade." ~Gertrude Jekyll

It's been a little while since my last blog post, but that's because I've been busy enjoying my time here at Endstation Theatre Company!  
If you would like a summary of my experience thus far, please read my blog post for the company that just went up today!  http://endstationtheatre.org/blog/


June is flying by!

        The Acting Interns have continued attending master classes, and in fact, the number of classes per week has doubled so that we now have one every Monday, Tuesday, Wednesday, and Thursday! 
I'm very grateful for these opportunities to continue my education... for free! 
We've continued Linklater Voice work, and have also experienced a Headshot & Resume workshop, a Marketing/Audition workshop, and Scene Study classes.  I've really enjoyed them all and am learning a lot in each class.  (In addition, each of us have just received two scenes that we will start work on next week.  More to come.)  

        The Comedy of Errors is now half-way done with its run!  I can't believe it.  We only have 5 shows left.  Each performance has been unique, and I'm still having a great time.  One performance was especially unique, as a loose dog explored the area and found his way into our playing space to join the play.  He even managed to sneak some food off of a picnic blanket...
But, regardless of whether or not our cast comprises of a dog, it's always nice to see the audience enjoying themselves on a cool/warm summer's evening, sipping wine and laying out their picnics.  We still get a ton of laughs every night which helps us feel like the jokes are new (although most of them never get old, in my opinion!).

If you'd like to get a visual on what this show is like, watch our preview video! 

I'm the silly, short one with the golden bow tie.

        Rehearsals for Macbeth are coming along, and we have now had a few full runs of the show.  It's nice to see the show in its entirety...  With this play, we've been rehearsing by section/scene, so not everyone is always called at the same time or on the same days.  
        The "apparition"/"cauldron" scene has been re-imagined so that my character gets possessed... it's pretty creepy and intense.  
A few days ago, as I was busy being possessed, I managed to scrape myself up a little.
...it looks pretty bad, but it really isn't.  

I just felt a little silly since my newly "injured" hand and knee are the same hand and knee that I chose to give my character injuries in.  I decided that this was just my version of Method acting.

        Besides rehearsals, performances, and classes, I've also just begun my Administrative duties that are a part of my Fellowship.  I'm assisting the Artistic Director in choosing the musical for next year's season, and will be helping with Endstation's "Playwrights Initiative" program (which brings 3 playwrights to the Sweet Briar campus to write, workshop, and develop new plays http://endstationtheatre.org/playwrights/) as well as "Unearthed" (a new musical being developed by Endstation here this summer  http://endstationtheatre.org/community/)!

        I've also helped out with poster-duty: running Blue Ridge Summer Theatre Festival posters and handouts to businesses and restaurants in the nearby city of Lynchburg and in surrounding areas, including vineyards nestled all over the mountains.

I'm so enjoying myself.

Until next time!

One last thing!  Think about supporting this company 
through our "Sponsor an Artist" campaign :)  
At least take some time to watch the crazy video!!  

Monday, June 18, 2012

Lace Shopping

My name is Lydia Guadagnoli. I am Illustration Major at the University of the Arts and will start my Junior year in the Fall. For a couple of weeks now I've been interning with alumni Veronica Cianfrano, a local collaborative artist. She got her MFA in Painting at University of the Arts in 2010 and has since then been featured in galleries and shows. She was a co-founder of CHER (CHampions of Empty Rooms) a group of passionate artists who work together to make unique installations and drawings. 
Today me and another intern named Megan were sent to find antique lace and doilies for Veronica's upcoming installation. The installation is going to be a gallery display illustrating the life of the poet Edgar Allen Poe. 
We met in front of Hamilton Hall and headed towards Philly AIDS Thrift on 5th and Bainbridge Street. After searching through bins and bins of fabric we could not find anything usable. Veronica instructed us that the doilies had to be less than a foot long and each piece had to be around $1 each. So we continued to 4th Street (Fabric Row) and managed to find other thrift stores and vintage shops that had several pieces of lace which we ended up purchasing. Tomorrow we will meet with Veronica and show her the lace we found. Hopefully if the lace is acceptable we will help finish some parts if the installation. I will be sure to bring my sewing supplies! 

Thursday, June 14, 2012

Autobiographical on Material, Process, and Meaning

Professor Kishita gave me a list of questions that would help me understand my art. In response, I answered many of these questions in essay form as practice for writing a thesis. The questions also included a section on craft which I did not answer in essay form. I do not give craft the level of respect it deserves.

I justify this action in my mind by stating that craft is not as important as its ability to convey meaning, and is often a tool to make something clean, or an idea of strength and beauty that should be applied when making something to give or sell. I don't see my works as objects of trade so I do not clean them or fortify them. My ideas of craft can be seen in this poorly written essay.

It may be shameful that I worked with an english professor but I did not have her proof read it before I submit it for the world to see. I hope the meanings behind my words are understood the way I initially write them. Without further adue, A painfully long and boring essay about myself. Save me the embarrassment. Don't read it!

Autobiographical on Material, Process, and Meaning
by Michael Knaub

The first material I ever used for art was the crayon. Whither it was on paper or the wall, I can’t remember. My older brother often made drawings for our grandmother with them so they were always in crawling reach. I was told by coloring books that I should apply a certain color to certain shapes based on what they depicted, I ignored these suggestions by drawing grass orange, pants green, and dogs blue. I used more than one color in a designated space. I never stayed in the lines. My current oil paintings are created in a process similar to that of filling a coloring book. I’m told how I should not treat my work like it were a paint by number but I cannot yet separate myself from the literal narrative I achieve through drawing to aid my concepts. I create my own cartoons and fill in the pattern appropriately. 

My high school was a great environment for my artistic explorations. There, I was able to take a verity of courses in the arts and crafts. The teachers there introduced me to many mediums. Acrylic painting was my favorite next to oil pastels. Most of my high school portfolio was done in acrylic paint on canvas. I was also attracted to the easy application and blending capabilities of pastels. They were my go to for painting thumbnails, color studies, and quick cartoons. I was also introduced to photoshop in high school. It let me explore design and composition with ease. Now, I use photoshop to create thumbnails. 
As my painting matured, I switched from acrylics to oils. I was able to use all the techniques I acquired through pastels, acrylics, and drawing with greater control than I had with acrylics. It seemed that the oils wanted to do all the same things I wanted.
I grew up with the knowledge that my family was had may artists. I have always looked to pictures, music, and dance for inspiration. My Uncle, Robert Eppinger, greatly influenced my interest in painting. His paintings adorn my parents house even in my youngest memories. He paints scenes of nature, animals and portraits with romantic likeness. He inspired me to choose painting as my concentrated area of study. 

I consider material as something that has a context unique to it’s self. In the past, I thought of medium as just a building block to my art. From studying sculpture, I learned about the importance of materiality and how I can use different materials to strengthen my ideas. This is why I think working only in oil for the rest of my art career will limit my artistic expression. I use oil paints to portray subjects that are delicate, religious/spiritual, and beautiful. 

In my strife of becoming an artist, I desire to create art that is evocative to a sensational experience. In terms of flesh and desire, I have approached skin an illusion to be touched by handling it with smooth texture, fluctuated areas of warmth and coolness, and glow. In the same terms, I created created a painting in which the material symbolized these ideas. I used pure gold leaf as a ground to the painting to symbolize desire, and painted blood to represent the flesh. I wanted the combination of these two elements to be ambiguous, so the viewer may attach their own archetype to each resulting in a more personal interpretation. 

  My idea of affective color is a combination of colors that act as an object force that give an illusion to something that truly exists in the world. Only by capturing this force, can the color evoke subjective interpretation. I like to advocate the philosophy that art is a reflection upon natures manner of existence. I apply this idea to my work by portraying ideas that can be associated with social experiences and emotional feeling.

As a student, I like to think of how my art works can act as a start to a series. I like to study what I have done, try to experience it differently, and compile the themes that can be literally, and subjectively pulled from a work. From there, I brainstorm different ways I can approach these ideas. If I am inspired by this study process, then I consider these themes worth of elaboration and the work a success. 

The first time I found process inspiring was from the transformative beauty of Andy Goldsworty’s paintings and sculptures made from natural material. I remember a specific sculpture made from strips of ice. It seemed more like it was divinely forced into place than the mark of a man. The first time felt like my process was powerful occurred when transformation was part of works meaning. I made a short film around the concept of glory fading, my subject was embraced hands. One was made of wax and the other glass. By melting the wax over the glass, I hoped to evoke ideas of attachment, absence, and impression. 

When I paint, meditation is a large part of my process. I attempt to achieve a peace of mind and a sense of unity with the universe so I may separate myself from thought to paint with feeling. I believe drawing is an expression of the mind and painting is an expression of the spirt so in order to transcend from drawing to painting, this separation must take place. I don’t mean to disregard drawing completely. In my opinion, the most successful paintings in the world are in perfect harmony between drawing and painting, mind and spirt. I don’t believe my paintings have reached that harmony because I draw (poorly) more than anything. 

I learned about similes in grade school. For some reason they were the highlight of my poetry education. I was also taught metaphor but for some reason It did not stick in my mind as well as simile. A metaphor is like an unopened box where a simile is as literal as a straight answer. What I did not understand was that the answer to a metaphor was suggestive. I also did not know the deffiniton of suggestive. 

When I look at a painting I deem finished, I see it as a the answer(s) to a question(s). I do not always know the question, or even the meaning to the answer. I am satisfied as long as I peruse knowledge and understanding. I am often faced with the question, “What were you trying to achieve?” When my professors ask me this question I always find trouble. I am not trying to make a statement. I do not try to show my bias opinions. The images in my artworks usually come to me like a jolt to my senses. For a single moment, my eyes are taken over by these images like they are premonitions of the future so I recreate them because I want to understand why they inspire me. 

Michele Kishita! Painter, Sculptor, and Mixed Media Artist

I would like to take this opportunity to introduce the artist who hosted me during this wonderful internship experience.

Michele Kishita is a Painter and Mixed Media Artist living in Philadelphia. She recently graduated from The University of the Arts' Graduate program for painting. She is currently First-Year Writing professor at the University, and she also works with students as a counselor by helping them handle the problems college life throws at them. She describes this specific job as difficult but highly rewarding.

I had the opportunity to read the Michele Kishita’s master’s thesis. In it, I learned about the Japanese philosophy of beauty called wabi-sabi, American painter Milton Avery, and about the ideas behind American paintings of the fifties.

Wabi-sabi is an idea of beauty stating that the elements of time can only add to an objective beauty. This concept is very complex and is not limited to this definition. I am not even sure how accurate mine is but this wikipedia page seems to define it well. Professor Kishita was greatly influenced by the time she spent in Japan. This influence can be seen in her work through the beautiful, intrinsic papers she collages within her paintings.

Her interest in Milton Avery comes from a sense of calm evoked from his work. In her thesis paper, she tells a story of when she was teaching her class about the American 1950's. She taught the class that within this tense period of life for Americans, there was a need for a serene sense of calm that the artist of the time, like Milton Avery, delivered.

She notes this specific work of art.

Milton Avery, Offshore Island. 1958

I was fortunate to see this Michele Kishita painting progress to its final state.
Michele Kishita, Sudden Downpour. 2012

There is so much to say about Michele Kishita; I feel I am cutting myself short. To be continued? Perhaps a Biography?

-Michael Knaub

Self Promotions

One of the projects I took on for Professor Kishita was organizing her emailing list. This is something I have already done for my internship at Wendy's Art & Frame Shop so i'm confortable with the process. She tells me that I should start organizing my own emailing list so I may better promote my senior thesis Show.

She introduced me to another useful online resource called Mail Chimp. It is a website that offers many templates for newsletters.

This website is excellent for self promotion via email and proves useful to any artist or gallery that want their newsletters to be made and sent quickly so as to save time for those other important tasks.

Professor Kishita also showed me other important documents for studio artists. She stresses the importance of keeping detailed invoices of everything an artist may sell, and keeping recepts of every art production expense to document them into spreadsheets so the expenses may be written off as business expenses durring the tax season. She also showed me her cover letters that she sent to different galleries in her pursuit for gallery representation.

-Michael Knaub

Online Resources

Professor Kishita introduced me to some useful internet resources. They are called Kick Starter and USA Projects. They are fundraising websites for art projects that I will definitely use in the future. Kick starters is a website that anybody can join and start fundraising projects. They have a system where with every pledge someone makes, they receive a trophy from the artist like artwork, services, and acknowledgment. These sometimes fun and quirky rewards encourage people to pledge money for their projects.  

For Uarts students considering using this website, It is best to do it through the university to get the most exposure. 
*Examples of trophies. 

Professor Kishita strongly encouraged me to use this website responsibly if  I decided to use it. She told me stories about people she knew using this website for personal gain. They would start by claiming a need for certain resources that require large sums of money only to find other means to gain these resources so they take the money that was funded to them and used it however they pleased. 

USA Projects is a more exclusive site. The people who wish to start a fundraising project must first be backed by one of their associated organizations. I would prefer to use this site because there is no pressure to offer rewards to the people who pledge and every pledge made by the public is match by the website. 

These sites inspire me to make a project about connecting people. Coming from the technology of skype and facetime, I want to propose an installed FaceTime connection between two distant cities where the connection is 24/7 and available to the public at all times. It would be installed in a highly public area so as to give everybody the opportunity to connect with a stranger form a different culture, or even meet with friends. 

-Michael Knaub

Monday, June 11, 2012

Hello Everyone! I'm Ryan Berardi

Hello everyone!

       My name is Ryan Berardi and I am currently a Sculpture Major at The University of the Arts about to enter my Junior year in this upcoming Fall semester. This summer I am interning with local artist and sculptor Anthony Visco. He specializes in sacred art and devotional art. His main focus currently is a commission for a Pennsylvania Church in which he will be producing a life-size bronze sculpture of Mother Theresa.

    I met with Anothony for our first official day this past Tuesday. When I entered the studio he was in the middle of unwrapping the Mother Theresa clay sculpture. I helped him unwrap the figure, while he explained to me the importance of keeping the clay at a certain stage of moisture in order to ensure than the ideal clay modeling could be performed. He then taught me how to properly spray the figure with a spray bottle full of water in order to allow the clay to absorb the water and not let it get too dried out. He also explained another very important factor of keeping the clay wet is so that we can  stick shim walls into it during the future mold making process.

       The rest of my day consisted of Anthony teaching me clay modeling skills on another sculpture in his studio. The sculpture is being done in oil-based clay, different from the Mother Theresa figure that's being done in water-based clay. With oil based clay you do not need to worry about keeping it wet or wrapping it, as it will always stay wet and pliable. The sculpture is a figure standing on top of organically shaped rocks that are cloud-like. Starting from the figure down to the base, the rocks become more and more geometric and have harsher edges. When I first approached the sculpture, the rocks were all bumpy and had holes exposing the styrofoam base. Anthony told me to focus on the rocks and smooth them out, while filling in the holes. What you think would be an easy task, becomes very daunting when you begin to work on it. My job was to rough out all of the bumps, while trying to make every rock unique and different from one another, without making a "pattern" in the sculpture, but still making everything work cohesively. Anthony explained to me to work with the natural light in the room, to focus on the lights and darks, and to create varying light throughout the space in order to create more depth and make it more dynamic.

    I met with Anthony again on Wednesday, where he had me working directly on the Mother Theresa sculpture. The sculpture is Mother Theresa, a standing elderly woman figure, with her arms flexed at the mid point of her body, all dressed in drapery. Anthony had me focusing on the drapery of the sculpture. He taught me how to use a rake tool to both smooth out the bumps and holes in places I was working, and also create a lined pattern on the drapery. He explained that the lines are both a by-product and a function for the final sculpture. The lines in the sculpture are intended to catch more light and to create more variation of light in the darks of the sculpture. By doing so, you create more light variation throughout it.

    In the afternoon, Anthony took me to the National Shrine of St. Rita of Cascia, a few blocks up on S. Broad Street. There, he showed me the Shrine of St. Rita, which consisted all of his work. In the center of the Shrine was a  bronze sculpture of St. Rita. Around her in the corners of the chapel were sculptures of the three patron saints John the Baptist, Nicolas of Tolentine and Augustine. The shrine also had two large murals, and plaster relief sculptures. All of the works were absolutely amazing and beautiful to see. They were the perfect context for the Mother Theresa sculpture I had been working on, since it was also going to become a bronze sculpture just the St. Rita.

    On Friday I met with Anthony at his studio where we continued to work on the Mother Theresa sculpture. The day consisted of some final modeling work on the sculpture, in order to prepare for the mold making process, the next step. Anthony taught me how to properly mix plaster in order to ensure the ratio of water:plaster is correct. We created a wall out of plastic around the base of the sculpture and filled it with plaster.

    The next time I post will be after the mold-making of the Mother Theresa sculpture, which I am very excited to learn about. I will also have pictures of the stuff that I have been working on too, instead of just describing everything.

Monday, June 4, 2012

like painting a masterpiece, it's a work of heart.

This past weekend marked the opening of The Comedy of Errors!!

A shot from Tech Rehearsal!  (Courtesy Endstation Theatre Company)

        Our original opening night was rained out because of a threatening storm that covered the entire East coast (which was a pretty big deal since it was the first time a show has been cancelled in the 4 years of the Blue Ridge Summer Theatre Festival's existence).  To raise our spirits, a large majority of Endstation Theatre Company enjoyed an intense, two-hour game of Aliens!, which involved a spaceship, a lost captain and crew members, water guns, aliens (duh!), and a cloak of light..
        Saturday, June 2nd became our opening night, and turned out to be a PERFECT day; sunny but cool, and the house was packed!  It was a lot of fun, and nice to see other company members and my old host-family out in the audience!  Now that we've had a handful of preview performances and two "real" performances, it's neat to see how different each audience responds to our show.  

The cast of The Comedy of Errors!  (Courtesy Amy Rauchwerger)

        Macbeth rehearsals have continued, and I am happy to say that I have lines!  :)  It's a small section, but I think it will prove to be a rather intense part of the play.

        This week, I've also started attending the master classes for the Acting Interns.  These master classes occur every Tuesday and Thursday for the rest of the summer season, and are taught by rotating company staff members.  The first was a "Linklater" Voice class, in which we touched upon voice, but focused primarily on breathing, correct alignment/posture, and releasing tension throughout the body.  It was interesting to see how the technique builds upon itself, and also to realize a freeness in my body and a connectedness to my breath.  It always takes a while to get myself to a place of breathing deeply from the diaphragm, and is something that I've been working on all year, so it was nice to focus an hour and a half on just that.
        Our other class focused on improvisation.  Improv is naturally challenging, and has always been a bit of a weakness for me personally (not to mention the fact that it's been a while since I've done it), so the class was... difficult.  But, I'm trying to be mindful of the fact that it takes professional improv actors years and years of training to get good at it.  It's a difficult class to track progress in, but I'm just focusing on doing the best I can, which is probably what I should focus on anyway.  But to make myself feel better, I will say that we've already learned many things from this first class, like creating information that is as specific as possible in each scene.

        Lastly, I've enjoyed growing friendships and having way more fun than I deserve...
Some of this may have been caused by the Disney movie weekend marathon that we happened to create (just Lion King or Mulan would have been enough to set me off!).
Also, the lengthy discussions/listening sessions regarding musical theatre that I've enjoyed may have added to that.
And the fact that I converted 10+ people over to "The Phantom of the Opera at the Royal Albert Hall" 25th Anniversary Performance might have been an added bonus.  

Unfortunately though, I've also had to say goodbye to the Assistant Director of Comedy who is taking on another internship for the rest of the summer!  Good luck with everything Blayze!!

Gallery Fun

On Sunday, we had a fun day going to different art related places. I spilled wine on the floor at the Davinci Alliance. There, Professor Kishita introduced me to an artist who she met by chance and became a friend like one she had all her life. Judy Engle is her name. Her work consists of collaged photos that create interior spaces with the undertone of object displacement. 

Then we went over to 319 N. 11th building to see he other friend H. John Thompson's installation. She explains how his work is in homage to memories of building things with his father. His installation includes windows from his parents house before they were replaced. This sentimentality towards these objects of his past speak so clearly about nostalgia which strikes me as warm hearted and true.  

On the same floor in a gallery called Marginal Utility, we talked briefly about the model sized architectural sculptures then took fun photos. 

There was a tiny sculpture in the gallery space, Grizzly Grizzly, that I thought to be very curious. 
Its meaning and purpose is a mystery to me. I just appreciate its play on visibility. 

Sunday, June 3, 2012

Hello Blog Fans,

I'm Michael Knaub and i'm a Senior Multidisciplinary Fine Arts Major. I am currently working a summer fellows internship with artist Michele Kishita. She introduced me to a documentary that has inspired me to think more about the context in which art can make a change in the world. It is called Waste Land by director Lucy Walker. This film follows artist Vic Muniz to his homeland of Brazil as he puts a spotlight on the modest, hardworking people who call themselves "Pickers". They sort through trash piles in a landfill to recover recyclable materials. Muniz helped them gain recognition so that they may have better working and living conditions. 

In her studio, I explored fabric as a means to make a painting. My first work is fabric on board. It is a text piece showing the words, "For your eyes only", I want to explore the meanings behind textile and apply them to my ideas. To me this work suggest words that can be taken from an intimate conversation, ironically, the work is meant to be displayed publicly so the word 'your' describing something seemingly private becomes a conversation that is not so secretive. 

I received a question sheet from Michele that would allow me to think more about my work. I am answering it in essay form so here is a preview of the document.
         The first material I ever used for art was the crayon. Whither it was on paper or the wall, I can’t remember. My older brother often made drawings for our grandmother so they had always been in crawling reach. I was told by coloring books that I should apply a certain color to certain shapes based on what they depicted, I ignored these suggestions by drawing grass orange, pants green, and dogs blue. I used more than one color in a designated space. I never stayed in the lines. My current oil paintings are created in a process similar to that of filling a coloring book. I’m told how I should not treat my work like it were a paint by number but I cannot yet separate myself from the literal narrative I achieve through drawing to aid my concepts. I create my own cartoons and fill in the pattern appropriately. 
There will be more to come. Until next time...