Collect and collage / organize in your sketchbooks at least 20 images (no smaller than ½ page each) of objects, devices, or systems which you feel embody some notion of Truth. These research images can come from any source, however whenever possible you must properly cite your source. From this research develop three concepts in the form of models or sketches to share in a discussion with the class. You will be sharing both your research and your concepts with your peers, so think clearly about why each image is of interest to you. Be prepared to discuss the object, subject, concept, context, meaning and function of each.

Some questions to ask:

• What is it? What does it look like? How do we identify it?
• How is it made? What are the physical qualities of the object?
• What is the underlying concept? What ideas does the work embody?
• Is there an implied or explicit function?
• How would it be used?

Responsibilities

• Work through drawings or models to come up with a few ideas that you might pursue. Investigate the form or concept that motivates your idea – identify what Charles Ray calls the armature (hint: read articles linked below).
• Identify which construction strategy (or strategies) you will use to create the work (see below).
• Think about what finishes/coatings/surfaces are best suited to your project. Your concept might require something very traditional like a paint, stain, or more unconventional like tar, flocking, plush, or glitter. Or, is the concept better served as raw, unfinished wood?
• Carefully consider the way in which your piece makes contact with the ground; A wealth of information can be imparted by this relationship.
• Your piece can stand or sit on the floor or mount to a wall (it can not hang from the ceiling)

Strategies

This is essentially a wood construction project. As such there are four basic strategies that you might utilize in order to realize it.

1. Work reductively from a solid wood form. Laminate pieces of lumber together to create a solid wood block. Depending on your form, this might actually mean working from several blocks that are then joined together. Carve down using the band saw, grinders, and hand tools to create the overall form, detail with sandpaper and die grinder (best for organic forms or masses). Ex: Ben Butler, Charles Ray, Ursula von Rydingsvard
2. Work additively in strips or sheets of wood that can be glued together or configured with joints or screws, think about fencing, furniture, or structural framing (best for rectilinear and geometric forms). These strips or pieces of wood may be so thin that they can bend (best for curvilinear forms).  Ex: Los Carpinteros, Martin Puryear, Matthias Pleissnig, Sol Lewitt, Ben Butler
3. Collage pieces of wood together, with a plan or without. Think about these like building blocks – grown-up legos. Ex: Phoebe Washburn, Louise Nevelson, Lauren Clay, AJ Fosik
4. Think about your form in stacked slices or pieces of plywood that connect to each other through lamination or a simple joint. Ex: Maya Lin, Tobias Putrih

Reading

Charles Ray – Hinoki

Calvin Tomkins – Meaning Machines: The sculptures of Charles Ray

Slides

Project 1

Timeline