Artist.

I had to share these amazing pieces and realized projects by Luc Deleu.  He founded T.O.P. office which is a studio that operates to push our perceptions and experiences of what architecture and urban design are.  I find the placement of these large structural objects within our built environment to be a redefined physical, mental and spatial experience.  Our awareness of objects, as having a particular function and/or place of context is sculpturally and physically challenged in Luc Deleu's work.      

My first few days in chicago were spent riding my bike around the city and exploring.  I stumbled upon this industrial site/company the other day and was intrigued with what I saw.  A. Finkl & Sons is the name of the company and they produce die steels, plastic mold steels, die casting tool steels and open-die forgings.  These large forms are then sold off to other manufactures in 18 different counties.  100% of their products are manufactured here in Chicago.
While taking photos I chatted with the security guard, whom informed be how the company started.  In 1879 German immigrant Anton Finkl founded the company for his development of a  new kind of chisel that could help separate and clean bricks that had been destroyed in the Chicago fire.  The history of this company the forms they produce were of great inspiration.    

After working for the last month, i finally finished and installed my piece for Waubonsee Community College.  This was made possible through the Art Department and the Dickson window art space.

As an artist, I aim to explore meaning with a conscious look at material and the intersection of space around me.  I am interested in how exterior and interiors are defined by line and how we engage within that threshold.  Through this installation I attempt to steer our perceptual understanding by framing a portion of what is around us. Navigating space is necessary, but comprehending our built and natural environments takes more than just “being present”.  A heightened perception and willingness to break down space into parts is essential.

 The structural characteristics and material makeup of the Dickson Center were the key elements that inspired this Installation.  I attempt to heighten the viewer’s perception by minimizing the dimensions of the space and accentuating the angular nature of surrounding architecture.   I consider the shift that material can take through the process of refinement within my work.

I was recently asked by Waubonsee Community College to build a sculpture as part of the Dickson Window art project.  Artist's produce work for a 3 month installation in the space.  I was lucky enough to be asked by my former professor to construct a piece.  The photos here show the foundation of the work, which is a series of poured concrete slabs that will eventually be configured into a specific shape.  Fortunately I had my cousin assisting me with the pour and made this portion of the project run very smoothly.  This opportunity has enabled me to continue working and investigating with material on a large scale.  I find enjoyment when the materials weight pushes my own physical strength.  A material shift takes place.  At first the concrete, in bags and a struggle to lift is in a dry state, but once water is added then poured into the molds becomes workable with much ease.  The final step and last finish to the concrete 

In a rush and just left Penland.  Here are a few images of some work I made with my time their the past couple of months.  I'll touch more on the experience at a later date!

During my visit to the Sun Tunnels I sat and composed a few quick half blind drawings of the Earthwork.  I say half blind because I tend to keep it mostly quick and gestural without looking, but will look down occasionally to add a few last details that are thoughtfully placed.  I started to draw like this my last semester at Alfred in Hope's drawing class.  It started with the horses in Hope's class.

My last and final Earthwork that I visited on my trip was the Lightning Field. This work was created by Walter De Maria and commissioned by the Dia Foundation who to this day maintains the work and sets up visitation to the piece.  The first two photos are of the Dia office in Quemado, NM.  This is where the photos stop unfortunately, because the Lightning Field is a protected copyrighted work.
     The visit starts out by arriving to the Dia office in Quemado then waiting for a truck to pick you up and take you to the work.  After the truck arrives you pile in everything you will need for the night, because you are housed in a cabin that is located right near the work.  The cabin houses 6 people at a time.  My visit included one other girl and myself.  It was the perfect amount of people we both later agreed.  The drive is about 45 minutes on some unpleasant bumpy roads.  After driving for awhile and looking at the beautiful scenery I finally saw that we were approaching.  We came upon the cabin and the 400 stainless steel poles.  The driver dropped us off and showed us the cabin and then said I'll pick you up tomorrow afternoon, then she left.  For the next 24 hours it was just Tanja, myself the cabin and most importantly the work in the middle of nowhere.  
     So let me explain what the Lightning Field is..  The work consists of 400 stainless steel poles with pointed tips that form a grid within the land.  The total dimensions are 1 mile x 1 kilometer.  There are 25 poles running East to West and 16 poles running North to South, all evenly spaced 220 feet from each other within each row and are about 20 feet tall.  The work is suppose to attract lightning when storms are crossing the desert.  That is just one part of the work.
    The experience of the work takes place in the Lightning Field.  As you make your way into the Lightning Field you find yourself placed within this large grid that connects you to the surrounding environment.  The natural landscape and extremely high elevation adds to the physical experience as you weave through the grid.  The work seems to change in scale through the contact of other individuals within the large landscape.  At times Tanja and I would be quite close in proximity and then all of a sudden be to far away to see each other.  This allowed for the perception of scale to be heightened.  The grid kept us in contact to a specific dimension within the land.  The poles acted as place markers and were so structurally organized.  As you stood in front of a single pole and gazed down the row you found how perfectly in line they actually are, it was quite amazing.  The experience of the work addresses the time space continuum that is at hand.  The experience of sleeping in a cabin in the middle of nowhere right upon the work with a stranger whom you get to know within the time of your visit is completely surreal and rewarding.  The isolation allows you let go of everything and to fully take in the work, land, sky and people.