let me tell you something
‘Este libro esta dedicado para toda mi familia.” A mi madre Noemí, que ha sido la mayor fuente de inspiración y que me enseñó en la vida a jamás rendirme y seguir mis sueños sobre todas las cosas. A mi padre Sergio, que me enseñó el valor del trabajo duro, honrado y constante. A mis hermanos, Mónica y Sergio que han sido mi apoyo absoluto, confianza y energías para seguir adelante, y a mi tía Charo, por toda su ayuda y por ser para mí como segunda madre. Al mismo tiempo, quisiera agradecer a mi segunda familia. La familia irremplazable que encontré en MICA, MFA in Illustration Practice. Con respeto y agradecimiento infinito a mis increíbles maestros Whitney Sherman, Jaime Zollars & Rebecca Bradley y mis mentores Eric Leland & Lydia Nichols. Mi estrella, Lisa -Perrito- Perrin, y a todos mis hermanos y hermanas: Mailey, Lisk, Jun, Valeria, Josh, Lynn, Alex, Kevin, Jacoby, Seo, Decue, Barnes, Aehee, Jennifer, Eric, Yuanjin, Diana, Catherine, Megan, Schneider, Lautman, Rob, Laurent, Danny, Jasu, Il Sung, Abby, Liz, Spring, Ji Yeon, Ding Ding, Nargol, Stacey y Tong. Y a mis carnales: Christophe, Nick y Givens. Quisiera también agradecer a los maestros que hicieron que esta thesis fuera posible y que redefinieron por completo mi carrera como artista: Ryan Hoover, Pete Karis y en los que encontré un apoyo y confianza incondicional: Jose Villarrubia, Kirsten D’ Andrea Hollander, Fletcher Mackey, Jenna Frye, Ben Luzzato, Catherine Behrent y Lauren Adams. Y a mis importantísimos colaboradores: Jean Paul, Glenn Simmons y Xiao Xiao. Finalmente, a todos mis hermanos de Mt.Royal School of Art, Rinehart School of Sculpture, PEM, Community Arts, MFA Graphic Design, Post Bac Design & Arts, Hoffberger School of Painting, Curatorial Practice y a todos mis queridísimos Undergraduates en donde encontré increíbles amigos e historias que se quedarán conmigo para siempre. Gracias por todo MICA. El único lugar en el mundo en donde por primera vez me sentí en casa.
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Eduardo Corral
FROM:
EL SEﾃ前R TUBE
EXPERIMENTAL CONTEMPORARY ILLUSTRATION ART PROJECT
EDUARDO CORRAL
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Through my thesis I decided to explore the grey area between fine art, illustration, and graphic design. My illustrations do not have literal concept behind them, there are no constraints on me as an illustrator trying to communicate someone else’s message. I am aware that what I am doing may not be considered traditional illustrations. My shift toward fine art is intentional and part of exploration of understand myself as a maker of things. For me illustration is a tool to express my personal ideas. I am trying to understand where I fit in to the creative world and how illustration fits in too.
This search for nostalgia, is inspired by the actual ability to physically contain history, not relying on the memory but by being capable of manipulate it, understanding its true form to detail. Being able to acquire obsolete and forgotten objects from our childhood, or any specific moment in time, automatically recreates a tangible bridge between the past and the present certifying its existence. This in the end, satisfies a very common human desire for controling time and to being capable to pause it.
This is a very accurate image of the toys I had when I was 5 years old.
While looking at this four images, most of the people will inmediatly recognize the bottom left artifact (object no.3) as the top part of a vintage orange juicer. This automatically sparks the question of why it is referred as a “toy� by this author?
As a kid, I remember playing with my “orange juicer”, in the same way as any of my other toys. The reason behind this, is because no one told me that this wasn’t a toy. The fact that this ”object” was next to the rest of my toys, give me the right context, to turn it into something else. At least for my 5 year old self, my juicer was something like this:
= this, could be:
On the opposite side, a funny story happened. I was the owner of this strange artifact in the image: it was called Tupperware’s Pop-A-Lot. I just recently discovered, that it was a toy, created to throw and catch a small ball, propelled by the red bellow attached to the end of the yellow cone shaped structure. No one ever told me how t o use it, and I never guessed exactly how to play with it. In the end, this mysterious artifact, remained forever as the mysterious “thing” that I have among my toys.
“sometimes, an object can lose its meaning regardless of being in the right context. This is a very important line of investigation, that its extensively explored in my project.”
credits to: http://www.stevenjohnson.com/tubepinst.htm
credits to: http://gonkedglookedslurped.blogspot.com
Eduardo Corral a.k.a. TLaloC’s Elgreen Project is an exploration of the human fascination with the unknown, driven by an instinctive and playful reinterpretation of nostalgia. It is inspired by the curious search for obsolete man-made objects that serve as tangible links to an era in a distant past. This translates into the ongoing creation of a collection of mysterious artifacts with no identifiable function or certifiable existence. They are reminiscent of old appliances, tools, and forgotten contraptions. Every one of these artifacts is named, numbered, catalogued and given life. This is how they become part of Elgreen project This is a universe populated by fictional art objects disguised as toys that come together to create dream-like environments open to free interpretation by the viewer.
A N D T H AT ’S H O W I C A M E U P W IT H T H IS A P P R OP R IAT E M OT T O ; ) .
website w w w . e l g r e e n p r o j e c t . c o m
Following creative lines of investigation such as The Bouba-Kiki effect, Pseudoword and Ideasthesia, along with artistic practices such as automatic drawing, every one of these artifacts is named, numbered, classified, catalogued and given life. This is how they become part of ”Elgreen project,”. This is a universe populated by fictional art objects disguised as toys that come together to create dream-like environments open to free interpretation by the viewer.
IN THE BEGINNING OF 2014, I DECIDED TO ILLUSTRATE A STRANGE ARTIFACT, EVERYDAY. THIS ONGOING PROCESS, HAS BEEN FUNDAMENTAL FOR THE EXPANSION OF THIS UNIVERSE.
My primary interests are in illustration, fine art and graphic design. I’m engaged and inspired about the growing consciousness that increasingly connects these different creative branches. In Elgreen Project, the extensive use of graphic design is evident. I consider it absolutely fundamental for this project, as It provides a sense of reality, that makes this universe palpable and intrinsically familiar for the viewer.
being Formally trained as a Graphic Designer, I truly believe in the power of the Logo as
a symbol for identity, and the ideology behind “The Artist as a Brand�.
Blueprints for “the wall” in the Mayerhoff Gallery space
LAS FÁBRICAS 72in X 16in Duratrans/ mounted on aluminum lightbox Adobe Illustrator
This retro futuristic landscape is directly inspired by the core concept of Elgreen Project. “This universe is populated by mysterious artifacts with strangely familiar characteristics borrowed from the collective memory of obsolete artifacts lost in time, incited by the human fascination with the unknown and driven by a playful reinterpretation of nostalgia.” This dream-like illustration is a vessel for this curious devices and depicts in a whimsical fashion how nostalgia is fabricated.
Simply said: Ryan Hoover’s Digital fabrication changed my entire artistic process. Thanks to his class, my objects moved fr 3-D rhino / 3-d printing / digital scanning / abs plastic / laser cutting / cnc routing / grasshopper
Sculpting. Object no.9 “Vonbraun-anákarin” at the studio.
Materials: paper maché / Magic-Sculpt / ABS 3-D printed parts.
Assemblage. Magic- Sculpt / 18 gauge iron wire
OUTSOURCING PROCESS: After an extensive research among inflatable companies in the US, I just decided to outsource the design for my inflatable sculpture overseas, in China. The co$t of my design was quoted in just a small fraction, in comparison of the prices in the U.$., and the times of production, were 3x faster. This in the end, tuned to be the best decision for my inflatable project, but it was also a great challenge. The language barrier was evident and many times we were lost in translation. After almost 5 months of distorted communication, and a lot of invested time, “The Pig” came to life, victorious!.
FIRST SKYPE MEETING -MESSAGE BETWEEN THE CHINESE COMPANY AND ME-
OCTOBER 22, 2013 - FEBRUARY 18, 2014
“The pig” object no.009 Vonbraun-anÁKARIN ‘The Pig” It is directly inspired the Object no. 009 from the ongoing “Elgreen Project”. It works as a direct extension of Elgreen Project, intending to perplex the viewer with its strange appearance. This will unconsciously invite the viewer to a playful free-interpretation of its actual meaning. The Pig’s moniker, was a “code name” that my professor Rebecca Bradley, used in reference to PINK FLOYD’s inflatable Pig, that vaguely resembles to it.
BLUEPRINTS FOR “THE PIG” INFLATABLE SCULPTURE
“The PIG”, was created with one goal on mind: “to be the strangest inflatable ever created!”
The “PIG” outside / Cohen’s Plaza
Photo credit: Diana Flores Blazquez
The “PIG” inside / Brown Building’s Atrium
Photo credit: Diana Flores Blazquez
Blueprints for “BLACK wall” in the Mayerhoff Gallery space
MY SUPER TALL “BLANK CANVAS”
THE BLACK WALL
READY FOR THE PARTY!
AT THE EXHIBITION
for
WELL, TO BE HONEST, ALL MY LIFE I’VE ALWAYS REALLY, REALLY LIKE TO THINK THAT...
BUT FOR THE FIRST TIME IN MY LIFE, I KNOW FOR SURE WHATS NEXT
NEVER STOP DOING WHAT I LOVE.
NO MATTER WHAT.
G RAC IAS
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