Hannah Rose Garrido

Monday, February 12, 2024

Found Objects: Assignment

Hatched Womb
4in x 4in x 6in
Vintage porcelain egg, chicken wire, plastic babies

Fruitful Ascent
31in x 11in x 13 ½in

plastic babies, clear class candle holders, blue candle sticks,
glass bowl, plastic and wax apples and pears, fabric

Babbling Brew
12in x 11¼in x 8in
plastic babies, red glass tea cups, vintage teapot, fabric

Artist Statement:

In this collection of found object works, the surplus number of babies holds significance, becoming an essential part of the artistic narrative. As I meticulously crafted 60 plaster babies, I realized the importance of abundance in bringing my vision to life. That being said, I turned to using plastic babies instead to have a surplus amount to bring the idea to its resolved potential. The sheer quantity allowed me to manifest the surreal essence I envisioned, ensuring that each piece resonated with the intended impact. Among these works, three distinct pieces emerge, each telling its own enigmatic tale. One sculpture portrays the babies emerging from fruits, scaling the candlesticks, embracing the whimsy of unconventional exploration. Another depicts the babies climbing out of a vintage cracked porcelain egg, symbolizing emergence and rebirth. The third presents a vintage teapot, where babies overflow from its spout, accompanied by two teacups filled with the same curious figures. These surreal compositions are not statements but invitations for contemplation. They exist to provoke individual thoughts, allowing viewers to interpret and perceive what resonates with their own sensibilities. By intentionally presenting these unconventional scenes, I aim to spark curiosity and encourage observers to explore their own interpretations of the unexpected narratives embedded within these compositions. The surplus of babies serves as a catalyst for this exploration, inviting viewers into a world where imagination and interpretation intersect, inviting contemplation without imposing a singular narrative.

Inspiration:

Nancy Fouts
https://www.flowersgallery.com/artists/86-nancy-fouts/

Salvador Dalí
https://www.tate.org.uk/art/artworks/dali-lobster-telephone-t03257

Meret Oppenheim
https://www.moma.org/collection/works/80997

Friday, December 8, 2023

wood

Indonesian Fax
Wood
24in x 24in x 2 ½in

Artist Statement:

My intention for this sculpture was to explore the medium of wood. For this piece, I focused on formalism. I was more interested in the form and materials than the meaning behind it. I wanted to hone in on the structural aspect of the shapes and their relationships with one another. I sought to really understand the physical aspects of the wood to create something that focuses on the material. I salvaged a beautiful piece of detailed carved wood from old furniture and wanted it to be the focal point, bringing it new life. By deciding to create a radial design around it, I wanted to achieve emphasis on the center. I knew I wanted to create a piece that had contrasting wood colors and take the beauty of the wood into consideration. I challenged myself to go against my usual work and make something where measurements are crucial to how the piece will turn out, responding to the wood with a formalist mindset. I sanded down all the pieces until they were smooth to the touch and then I brought it to life by rubbing in petroleum jelly. The smooth texture is particularly important to this piece because it brings the grain of the wood to the surface. The point where my piece disengages with formalism is when I was inspired by the motif of stars for the structure of the radial design. However, I quickly went back to the headspace of formalism when I started to physically work and assemble the wood.

It was a challenge to focus on the measurements and not go off script. I continually wanted to eyeball a measurement or try different shapes of pieces of wood that needed to be cut all the same. Because each part relied on each other, I could not do that. If even one piece did not fit right, it would ruin the overall function of the piece. I am a strong believer that through the creating process, one unveils what they are making and the meaning of the piece. One starts to twist and turn to explore the idea they started with through the creating process and that is what develops the final piece. This piece I created had that to some degree, with first deciding what wood looks good together and then making different cuts of wood to see what shape I wanted. Once those decisions were made, I stood by them throughout the process and would not alter them. This challenge that I presented to myself made me grow as an artist.

Inspiration:

Salem Barker
https://www.salembarker.com/catalpa-form2-contemporary-wo

Kerry Vesper
https://www.vesperwoodsculpture.com/starflower

Tony Cragg
https://ropac.net/artists/37-tony-cragg/works/10663-tony-cragg-in-no-time-2019/

Mold Making: Assignment

Bebe Lawn 9 ¼ in x 7 in x 2 ½in Plaster held by wood

Artist Statement:

This sculpture was made with the intention mast to master the art of mold making. Creating duplicates of an object where one cannot distinguish a difference between them was my main goal for this assignment. The chosen object, a miniature plastic toy skeleton, became the focal point of my creative exploration. Through meticulous effort, I crafted 18 replicas of this skeleton, each an indistinguishable twin of the original. Subsequently, I ventured into the realm of texture, fashioning a textured landscape reminiscent of earth's surface for the skeletons to rest upon. Utilizing oil-based clay, I carefully imprinted the skeletons, creating an illusion of them enmeshed within the texture of the earth. The resulting molds, cast in plaster, boasted dimensions that added depth and authenticity to the terrain. As I navigated through the display, a disquiet lingered—an unspoken disharmony between the skeletons and the textured ground. It was then that I decided to courageously reevaluate my creation. The ground, with its captivating texture, held my attention and urged a new vision. Revisiting initial musings involving a miniature plastic baby, I introduced this element to the textured ground. The fluidity and natural fit of the babies within this landscape contrasted starkly with the rigid nature of the skeletons, invoking a captivating sense of movement and resonance. Central to this reimagined narrative, an egg emerged, serving as a focal point amidst twelve encircling babies. The piece, left in pristine white, found its soul in the infusion of red light, a deliberate choice to immerse the sculpture in a cinematic hue. This sculpture transcends conventional storytelling; its narrative is not explicit but rather exists as an emotional tapestry woven from the interplay of light and objects. It invites viewers into a realm where feeling takes precedence over explanation, where the essence of cinematography breathes life into an evocative exploration of form, texture, and unspoken narratives.

Inspiration: