Reflection on Artist Talk Matthew Gamber and Colleen Fitzgerald (Sep 21, 12:15pm)

When I first visited the Cantor Gallery in the Performing Art Center, I was immediately drawn to both of the photographer's works because of their non-traditional form. I was amazed by Professor Fitzgerald's folded photography since I have never seen a photo being folded like paper which transforms a 2D image into a 3D shape. I was stunned by Professor Gamber's work not only because of its large scale, but also the fact that I can use 3D glasses to look at photography with depth and dimension.

 After I attended their Artists Talk, I understand that both artists, Matthew Gamber and Collen Fitzgerald, took the experimental approach to explore photography in an innovative and non-traditional way. I really like Fitzgerald's idea of imperfection and how she came to the process of discovering different possibilities of folding films when it first started by an accident. I think it is very interesting how she explores the over-imaged New England fall scenery in a more experimental way and adds her own style, folded film, and mark (such as her fingerprint). 

When I first look at Gamber's huge wall photography, I was confused since I didn't understand his strategy of putting the red, blue, and green lines around the branches. It is until I put on the 3D glasses that I immersed myself in his photography. The simple glasses suddenly give the photography a liveliness: when I walk around, the branches move around as if I am in the scene. This effect is what Gamber wants his audience to feel: being immersed and involved in photography. Because traditional photography are usually printed out and shown on the wall where the viewers see the work in a 2D frame. But Gamber took a different approach where the audience could walk into the photo as if they are immersed inside. The looking becomes the experience of the viewers. Gamber's work reminds of Elyse Deeb Speaks' s article "Experiencing Louise Nevelson's Moon Garden"  (2007). Speaks talked about Nevelson's sculptural exhibition Moon Garden Plus One and how her work creates an organic environment and viewers feel not only seeing the work but also entering into it. I think Gamber's work also explores such idea of inviting the viewers to the scenery that Gamber selected for us. 

Reflection on Artist Talk Victor Pacheco and Leslie Schomp (Sep 27, 4pm)

I was definitely fascinated by the two artists' use of materials and their conversation and exploration of the selected materials.  I think Professor Pacheco and Professor Schomp all explored closely the texture of the materials and a combination of both drawing and sculpture. For example, Professor Schomp chose "hair" as the tangible fabric to create work in different scales and she describes hair as the most "cost-free, non-expensive, and humble" material. Hair seems like a  double-sided thing where I love it when they are on my head but hate it when it falls. The hair pretty much represents myself (my hair color and whether it is curly or not), my genes, and my history. Using hair as the material seems like an ongoing conversation and re-interpretation of myself and see I can transform my hair into other forms that connect with me. It is interesting to see how Professor Schomp did her self-portrait with other animal forms such as elephant and snake. 

Professor Schomp also talks about the idea of walking. Walking is a period of time when we can empty our minds, collect our thoughts, or reflect on our actions. When I watch Susan Rothenberg's documentary video in ART21, she also really likes walking and the importance of walking for its meditation effect. I think walking, our naturally learned skill, is the most intimate experience of human beings that utilizes our body muscles and reflects our minds. 

Professor Pacheco describes his experience with materials and that he just likes to play with different materials. His work with bronze, wood, metals, or even plastics explains his love of these earthly matters. I love his two sculptural works and how to play with texture and color to create two branches-like sculptures. I couldn't help myself looking at the details of the work and walking around them to see different angles. I think this is the charm of sculpture since you can walk around and create your own experience viewing the work. 

Reflection on Artist Talk Michael Beatty and Amy Finstein (Sep 29, 12:15pm)

One thing I learned is the importance of scale for sculptural work. Do you make massive sculptures that people have to look at to see or do you make small sculptures for people to look closely? Professor Beatty talked about how he likes his work of scale to be small and intimate and that he wants the viewers to almost hold the object in their hand and let their body respond by physically touching the sculptures or the desire of touching and observing. 

For his hanging sculpture, Professor Beatty wants to make the object move and spin in a playful way. I love his hanging work especially after he explains his inspiration from ocean and ocean animals. When it stays still and only spins very slowly, it feels like a peaceful ocean where things are quiet and in order. The slowness of the movements brings a harmonious feeling. However, when Professor Beatty spun the object and apply a force, the sculpture suddenly becomes more lively like those little sculptures are actual lives swimming. It feels like watching a nature documentary where a stimulus or an event hit the surface and suddenly the fish flows are disturbed and everyone is moving and swimming to escape the chaos and try to restore peace again. The limited palette (gray, white, and black) of his sculpture works gives a united impression of all the works. In fact, all his selected work in the gallery looks like one series that these assembles are put together as a united whole to create a unified space.  For me, the use of color creates a sense of mystery and a detached sensation. But the shapes are very organic that they feel alive.