dialogue. by Kcomley889

dialogue.

Keith Comley:

Visual Art Portfolio

dialogue.

Keith Comley: Visual Art Portfolio What is this? I have found that I have done far too many things in far too many ways. And with this: I am happy. However, to define the artist is to define the soul and frankly, Iâ&#x20AC;&#x2122;m not the simple sort. I am not a painter, actor, or artist - I am human. And with my many pursuits there is one clear defining factor that unifies them all; I am attempting to create a dialogue. Whether it is through directing, sculpting, or sketching, I am creating a dialogue with myself. I am pursing an honest dialogue with my own feelings, thoughts, and behaviors. My work is the greatest reflection of who I am. So to answer your question - this is neither a true portfolio, nor magazine, nor script. This is simply a starting place to start a dialogue with you.

Dedicated to my Mother; Without you I would have neither strength nor grace to create. Thank you. Wrttten By Keith Comley Edited by Savannah Faircloth

Table of Contents Page.Title 4. Gesture Various Gestures 6 Bleed and Flow.10 Portraits.12 16. Direction Macbeth.18 14 Actors. 1 Bench.20 Masked.24 26. Function Finding Form.28 Patterns.30 Tennessee On Hudson 32 Various Logos.34 Posters.36 38. Creation Building Momentum.40 Letting Go..42 Various Prints.44 Invasive Species.46 Soap Selfies.48 Tower.52 Found Items 56 Gesture in Metal .60 3

Gesture

Various Gestures

Across: Muse of Music Above: Gesture #22 Right Top: Gesture #23 Bottom: Gesture #24

Above: Search Across: Burn Medium Bristol board, Ink , Shaving Cream

Bleed and Flow.

Water Color Painting I find it incredibly important to set challenges for oneself. I constantly try to expand the medium that I am able to work in and find new ways to create. One early attempt at this was a serious of watercolor floral paintings. Drawn from life and placed in a sterile manner, I originally hoped to focus on line quality and gesture. Initially done as blind contours, I quickly discovered the form language of the flowers and then continued my experimentation by adding color. I quickly ventured into the new territory of watercolor and found ways to define the flowers further by adding a variety of color and shades that helped bring the drawings to life. Across: Water Color Studies 8

Water Color Studies 2

Water Color Studies 5

Water Color Studies 1

Water Color Studies 11

“untitled”

Photo By: Heather Sydell.

Modeling for Sport

Portraits

In terms of photography, my joy in creating is found in the process: though I frequently will capture self portaits to track my physical growth over time. Through collaboration with other artists, self-portraits have provided a timeline of my physical growth and appearance, as well as my spiritual journey as an artist and human. One aspect of photography I have also admired is the ability to instantly capture a moment in time – which many of my pieces so desperately try to create. “Come Look at the Freaks”

Photo By Megan Abbott

“Cursed Image of Faith”

Self Portrait

Cursed Image of Harmony”

Self Portrait

“Cursed Image of Transendence”

Self Portrait

“Cursed Image of Patience”

Self Portrait

Above:“Wings”

Photo By Megan Abbott

Below: “Fence”

Photo By Megan Abbott

Accross: “Momentum”

Photo By Megan Abbott

Direction

Macbeth.

Role in Production

Setting of Production

During the course of Macbeth, I was the Assistant Director to Britt Corry, as well as the character Ross, Macbethâ&#x20AC;&#x2122;s nobleman. I had many responsibilities including overseeing the quality of the production, assisting in artistic direction, and facilitating in production management. Since the show blended stage and screen, one of my many responsibilities was to oversee the completion of portions of the filming and to make sure that they matched the cohesive direction that Corry established. On top of facilitating filming, I was responsible for the blocking, physical movement, and holistic vision of the witches in Macbeth. Though only seen in three scenes, their omnipresence is palpable in the show.

All Shakespearean shows have very specific locations: Romeo and Juliet, Taming of the Shrew, Macbeth. One modern convection of Shakespeare is to take the original story and change the setting to see how the story and text have a universal truth. For instance, Flagler Collegeâ&#x20AC;&#x2122;s version is textually in Scotland. However, the show looks and feels like it is set in a mythical Caribbean culture that is reminiscent of Ponce De Leon discovering Florida in 1513. Many of the textures, costumes and props take influence from New Orleans voodoo, 1950 westerns, and the age of discovery in the New World. The audience will hopefully understand that the setting is Scotland - if Scotland was a mythical Caribbean island of the coast of America.

Witch Master Since the Flagler production had such strong physical ties to Caribbean culture, the style and flow of the witches were directly inspired by voodoo and Caribbean myths. The main concept for the witches is that each witch is a non-human creature that serves the Goddess Hecate who was featured in our version. Inspired by voodoo practices, the witches served Hecate much like puppets or voodoo dolls. Being mere puppets, the witches were ragged and mysterious, but also ha different methods of seducing Macbeth. Each witch physically resembled a different stage in a womanâ&#x20AC;&#x2122;s life; one being a maiden, a mother, and a crone. The inspiration for the three phases being because of Hecate being known as the three-faced goddess of magic. This was a natural translation and allowed for each of the actors to rely on tactics and movements styles different from each other. Photographs by Lauren Swain: left and across By Josh Wallace: above

Logo Design Since the production had such a unique translation, a custom logo was necessary. The logo is designed to be sharp and agile, much like the wildlife and animals found in the Florida landscape. Since the production featured heavy ties to nature and wildlife, taking inspiration from these shapes was a natural choice. The logo also features a skull and snake to remind the viewer of the dark content and unique setting of the show. 19

14 Actors. 1 Bench. Vector Benches Created originally for Benchworks III as a logo for the poster. The benches range in style from square, reminisent of clip art, to free flowing and more like japanese calligraphy. Of the benches created, the one chosen for the logo was free flowing and hieroglyphic in nature. The illustration was featured on the poster as well as the program.

Writing BenchWorks III was a devised theater piece where 14 actors came together and created a body of work with one central aspect - a wooden bench. The pieces varied in tone, theme, and style. However, a few favorites did stand out. Of the nine pieces I wrote, three were selected to be preformed; a comedic monologue, a dramatic monologue, Left:Vector Bench 1 Right:Vector Bench 6

and a non-realistic scene..

Brandy Horse Piss. God how I love the smell of horse piss. It simply is the best fragrance to start any occasion One time I was on a date with this girl named... Brandy. She was a perfect ten. I took her to this bench after dinner one night. It was the perfect place... the perfect atmosphere. Hardly anyone was around. The local hobos had already settled into their nightly constitutions. It was a cool evening... the kind that allows a young man to place his arm around a girl without appearing to be forward. As I got closer to Brandy the smell of her hair breached my nostrils, (takes deep breath) Garnier Fructis. We sat on this bench and watched the sunset to the sound of horse drawn carriages lazily trotting along the streets. An ever so gentle breeze caressed her hair away from her beautiful face. Hmmmm... strawberries. It was so perfect... the cool breeze, the sunset, the horse drawn carriage - the aroma of romance was in the air. I was about to make my move. I leaned into her anticipating the sweet taste of her lips. Then she opened her mouth and said, “what’s that smell?” I replied by saying in the most attractive voice I could muster “It’s horse piss baby,” then I licked her ear. (pantomimes) Girls usually like that, but not Brandy. No, Brandy pushed me off of the bench and into the street where I landed in a puddle, a puddle of piss. There is nothing that could possibly set the mood better on a date, better than the lovely fragrance of horse piss as it wafts up your nostrils and penetrates your senses. Nothing quite helps get a guy on base than the bitter biting odor of horse excretions.

Brand No, nothing quit beats the smell of horse piss... except maybe lying in it.

One Time I was on a date with this Then I Licked Her ear Horse Piss. God how I love the sme girl named.... Brandy piss. It simply is the best fragrance exept maybe lying in it. 21

Beast With Two Backs I remember when she first walked up to me, even then she had me under her power. She was pretty, even when she dressed like a slut. I know I used to use her but she used me to. You know they say it takes two to tango, well boy could we tango. We made a pretty good “beast with two backs” as the bard says. I don’t regret marrying her; I guess I even loved her, well as much as I could. For a while everything was agreeable. We played the game of satisfaction – I got what I wanted and she got what she wanted... no matter what the cost. And then she got bored of our usual game and started playing another one and I wasn’t invited. She always attracted attention but I began to see that she was very much in control of it. At first I just made comments, but they went unheeded. I mean... I WAS her husband. She had no place to act like such a slut, slut, a slut I guess that is all she ever really was to me. I should have walked away and left her, but I couldn’t. No, I wouldn’t. She was mine. So, I decided what needed to be done. One night after I took her to dinner, we took a stroll through the park. We came to the very bench where we first met. She looked good, like when I first saw her. I hesitated. With hands like silk she slit my throat and watched the blood drain on the pavement. Even so, I don’t regret marrying her. No, I just regret that she made the first move.

“ Beast with two backs”

I should have walked away and left her, but I couldn’t. I remember when she first I just regret that she made the me, even thenfirst move.

walked up to she had me underhave her power. I should walked away 22

and left her but I couldn’t.

Say My Name A: say my name. B: I can’t. A: why? did you forget? B: no. A: say my name. B: I won’t. A: why? B: this is silly. A: no its not, say my name. B: (says nothing) A: look into my eyes. B: (does so briefly) it’s too hard A: look into my eye. B: (hold gaze) A: what do you see. B: (breaks away) nothing. A: nothing? B: it’s getting late. A: say my name. B: why? A: it feels right when you say it. B: i’m cold. A: let me hold you. B: look into my eyes. A: say my name. B: (says actors name)

Masked

Saving Face Since I was a senior in high school, I have used masks as an extension of myself as a performer and fine artist. The masks I create exist solely to further my exploration as a physical performer. With time however, I have discovered masks to be more than a mere prop, but rather a physical form of art. Masks inspire the movement of the body and help the actor portray the character and emotions within the details of the mask. They are not designed as wall ornamentation, but rather to allow a performer to bring them to life.. The masks that I have created vary in style and tone, but all share a common element â&#x20AC;&#x201C;the limitless movements of the human body. Shown are masks that are inspired by the style of Greek tragedy and commedia dellâ&#x20AC;&#x2122;arte style masks.

Function

DISCOVER THE POSSIBILITIES

CRAFT ACTS reasons

to go to

ART

School

BREAKING THE BLOCK

BLOW HARD Artist spotlight

DALE CHILHULY

FINDING THE LIGHT: Making it in

Theater

Vol 1 April

Pricing YOUR work

CO Re Pro de NT s sig On e & EN n to Pas yo TS ur s ur : b ion ild ArtBis li e ing ret a fe: st : Bo Me Cit o Br Blokinc idg gk yf ko dit : t o a es Ohve r y f th : Im eBr lo ou e M 7 tion ng o TR po cocmk Y IT rta sinArt nth B 2 nt gArAtis r !is of dtv 1 ts 13 ea To ols Me eBrlo 9 17 kin of nt sitcyk F g o i th e T 3 rs 2 25 nd th in ra 3 9 e g 45 de 39Cra Bl th o

f ck e lig ow t Ac sht Pr Ha ts- G -m ice rd e ak yo Ar ttin in ur tis g g t s hir wo i t po ed in rk tlig th ea ht te :D r ale Ch ih ul y

LETTER FROM THE EDITOR When one is working on a project there are many steps that one must go through. From finding inspiration, hammering out ones ideas, to putting on the finishing touches. FINDING FORM is dedicated to helping one find inspiration, creativity, and beauty in places that may come by surprise. Much like one has to find the form in a block of clay artist must find truth and understanding in ones ideas and work. Take a chance and try to find form in and beauty in something that starts shapeless and uninspired.

EDITOR BIO

Keith is a Senior at Flagler College in St. Augustine Florida and has a love for all things creative. He aspires to change the world one day at a time by believing in the possibilities of others. His Aspirations in life include working for a major creative corporation like Walt Disney World or Cirque Du Soleil. He also aspires to attend grad school in Theater and open his own Theatre Company.

DI SC O

VE R

TH E

IB IL IT IE S

Vo l1

ril

ARTIST SPOTLIGHT Contortionist of CIRQUE DU SOLEIL’S

QUIDAM

Logos

Finding Form

When creating a logo, it is important to

A fictional magazine inspired by the ability to

understand the balance between legibility and

find beauty in the impossible. The magazine

message. I have created a number of logos for

was filled with inspiring articles that showcase

clients and I find it imperative to understand the

abilities for the artist to grow and conquer

clients needs and desires. Most logos need to

blocks. The mass head was specially designed

rely heavily on typography as well visual ele-

for the fictional publication. The line work is

ments. Finding the balance between these two

inspired by Si Scott’s typographic sensibility.

is invaluable.

The designs in the magazine were cohesive and relied heavily on the mass head for inspiration.

Across: Finding Form Cover Above: “Table of Contents” and “whats next” Below: Mass Head

Doo Wop The band “Post Modern Jukebox” is a cover band that restyles popular music into different eras. The band is well-known on YouTube and currently lacks an original design. I created a new logo and lyric book to go with the design. The group is interested in creating a definitive strong logo that defies a single genre of music, but also has a nostalgic feel. The band also needs an iTunes cover for their single “Rude,” which will fit the style of the single. The name of the design booklet will be “Doo Wop,” because the five songs are all done in musical styling that are popular in the 1950’s, including Doo Wop and Sock Hop swing. The songs include hit singles by the likes of Katy Perry, Miley Cyrus, Pitbull, Kesha and Magic! The songs chosen are “Timber,” “Birthday,” “We Can’t Stop,” “Rude,” “Beauty and a Beat.”

Neon and Jazz The logo design is meant to bring about a nostalgic feel. The types chosen were meant to resemble both neon light signs that were popular in the jazz era, as well as the thick lettering found in New York City streets during prohibition. Since the groups musical styles is wellversed, the logo needed to feel nostalgic while still remaining versatile for their other hits. This logo is able to fit styles of the 1920 “flapper” era to the 1950’s doo wop.

Bop Doo Wop

Rud�

Left: Itunes Art Right: Mass Head Across: Process Book Cover

The design booklets concept is inspired by the band’s mission statement and how they work with fresh material. The musical styling of the song is changed much like an individual is able to change their clothing. Despite the cosmetic change made to the song, the song is essentially the same. The booklet is inspired by the viewer opening a pattern booklet from a past era and viewing the patterns. Much like a pattern is fitted to the body, Post Modern Jukebox tailors the songs to fit the new time period. The water colors are also symbolic of the band’s process. Water color consists of many layers that are layered on top of one another, similar to how the band often finds dynamic new layers and meanings in the contemporary song lyrics. This is especially true when one considers how the lyrics are not changed but the phrasing in a song, like how in a water color the initial colors are present but are masked and shifted by the additional layers of color. Despite all the layers and changes that the band makes, the songs stay true to the original message.

Patterns

On the River

Signature and Cameos Tennessee on Hudson was an immersive production staged in NYC in March of 2017 and featured more than 30 actors whom take residency in “Elysian Field,” the seedy underworld inspired by Tennessee Williams tormented characters. The Logo and program design was inspired by New Orleans metal work, vintage cameo’s, and the signature of Williams. The designs main heart shape that was featured in the center of the design was specifically inspired by the “T” that Williams would sign. The Program featured an untraditional design that was created to evoke the spirit of New Orleans. The cast list was presented in a block format that was meant to emulate the layout of the center of New Orleans. The Production team was featured on a spread Inspired by Architectural blueprints of a Street car, furthering the connection between New Orleans architecture and Williams.

TENNESSEE ON HUDSON CREATORS

AVA LEE SCOTT/SALVATORE INZERILLO

PRODUCTION TEAM

PRODUCED BY

DIRECTOR SALVATORE INZERILLO AS. DIRECTOR CHOREO

ANDREA MURILLO

SOUND

BENNETT GOLDEN

ACTORS

THEATRE INC.

BIANCA PUORTO

LIGHTS

JOE D’EMILIO

STAGE MANAGER ZACH WENDELN LOGO & PROGRAM KEITH COMLEY Made possible by the generous support of:

Stephen Adly Guirgis

SKA 1/16

Other Designs

in a Above: “The Wild Party” Logo Below:”Tempest in a Teapot “ Logo Across Above: “Greek Festival” logo Below: “Angel Connection Healing” logo

Angel Connection Healing Arts

D O N N A L M T

B U I S T R M T 35

FLAGLER COLLEGE THEATRE ARTS DEPARTMENT PRESENTS:

WHITE AMERICA

By Martin B. Duberman

Published by Samuel French

March 12,13,14,15 7:30 p.m. March 16 2 p.m.

Directed by Jean Rahner

$10

Lewis Auditorium at Flagler College 14 Granada St. -St. Augustine, Florida Box Of�ice opens 3/10 (12-5 p.m.) 904-826-8600 www.�lagler.edu/theatre

March 12,13,14,15 at 7:30 p.m. March 16 at 2 p.m. $10 General Admission Lewis Auditorium at Flagler College 14 Granada St. St. Augustine, Florida

Box Of�ice opens 3/10 M-F 12-5 p.m. 904-826-8600 www.�lagler.edu/theatre

In White America The staged reading by Martin B. Duberman captures the civil rights movement up until the early 1960’s. The play is charged with emotional writings that capture the quintessence of the issues involved in civil rights. The play has not been performed a great number of times so no poster had been created for the work. Having no imagery established, the style was open for debate. I felt it was important to capture the facelessness of hate crimes

and the mob mentality of hate. The poster above was my first instinct on showing this, however the aspects of white supremacy and the KKK are minor in the show. The true tension lies on the inequality of rights and the voice of the individual. After speaking with the director, Jean Rahner, the left poster was selected because it captured the blind facelessness of mob mentality, but also showed the lack of equality without putting blame on one type of person Left: final “In White America Right: rough “In White America Across Above: Hotel Warden Below: Dancing at Lughnese

Posters

Hotel Warden

Welcom� T� ��

HOTEL WARDEN

Created as a fictional travel poster for the once popular Hotel Warden, now “Ripley’s! BELIEVE IT OR NOT!” The pictorial cubism was chosen to show the era of the hotel, as well as hint at the happenings at the hotel. Open in the early 1940’s, the building was owned by Margery Kennan Rawlings and Norton Baskin. It was a popular artist retreat until a fire on April 23, 1944. Ruth Pickerson and Betty Richardson died in the mysterious fire and are said to now haunt the building. The poster is meant to capture the rich history of the building and indicate that there is something a little more ominous occurring in the building.

Dancing at Lughnasa

Dancingat Lughnasa By Brian Friel Produced by special arrangement with Dramatist Play Service

February 21,22,28 & March 1 February 23 & March 2 15$

7:30 pm 2 pm

In Flagler’s production of this Irish play, the director’s main focus in the production was the relationship between the sisters. One moment in the script that the director found particularly moving was a section were all five sisters abandon their strict moral code and dance around the house. This scene was quickly chosen as an inspiration due to the movement and color able to be shown. The style of the piece was done as a water color and ink drawing to show the fragility of the play and also the softness of the piece since the play is a memory play.

Box Office Opens February 17 M-F (12-5pm) www.Flagler.edu/theatre 904-826-8600 Presented by Flagler College Department of Theater Arts: Lewis Auditorium at Flagler College 14 Granada St. Augustine

Creation

Building Momentum

Running Around The piece “Portrait in Motion” was created as an expression of my overcommitment in life. I feel many a times that I am too busy and never have a moment to breathe. The piece is also inspired by Andy Warhol’s “Triple Elvis” and Thomas Eakins photography, especially “Double Jump.” I wanted to create an image that captured motion. I added a gesture drawing of me running in between the photographed figures to comment on my lack of perfection as a human and to create a sense of falling apart. The piece is also an extension of my own short animation “Falling to Pieces.”

Left: Proccess pieces of “Portrait in motion Top: Detail of Process piece #1 Bottom: Detail of process piece #2 Previous spread Portrait In Motion Orange

Following Spread Detail of “STAY: A series of Portraits ”S” Detail of “STAY: A series of Portraits ”T” Detail of “STAY: A series of Portraits ”A“ Detail of “STAY: A series of Portraits ” Y”

Letting Go

Below : Full Serious “STAY: A series of Portraits”

Holding Tight “Stay: a Series of Portraits” was inspired by

typically love. The image was my exploration of

Victorian death portraits. In the late 1800’s and

wanting my passion in life to stay. I felt like the

early 1900’s there was a practice that when

parents in the photographs, desperately

someone would die, a portrait would be taken

clinging to a memory of joy and hope when

of them with their living family members. The

truthfully they are holding what is hurting them

haunting part of this macabre history is that the

most, the person who has recently passed. The

deceased would be propped up many times to

dead in the portrait turns into a signifier of my

look alive. The portraits turned into a

own passion - something I no longer felt yet

personal representation of my own passion

wanted desperately to cling to.

for life and theatre. I, for the first time, was not feeling inspired and motivated to do what I

Various Prints

Above Left: All You Need Is Love on Vinal Right : Detail of “Popular Music That Will Live Forever”

Below Left: Inner Conflict #6 Right: Inperfections #2 Across Motther

I Spy

Invasive Speices

This series of photo portraits portray myself mixed into a variety of different landscapes from around the Caribbean. Each photo is meant to be an exploration of both the human figure as well as ones role as an outsider in a community.

As an American I found that the more I

travel the more aware I become of my cultural leanings. I Identify strongly with the qualities of independence, self importance, and entitlement. These qualities are not culturally universal. They are a product of my upbringing in the United States. While traveling I have found that these traits are not necessarily viewed as desirable, and I found myself struggling to assimilate to my new environments.

The Pictures explore this feeling of

un-belonging. I hope to capture a sense of imbalance and confusion. In the compositions I attempted to blend into the surroundings and assimilate to the architecture and culture. However I do not truly belong in the setting, so once I am found I appear alien and unusual.

In a sense I am like a plant that is an I

nvasive species to a new area. Despite not belonging, I forge a way into my surroundings and am able to survive; yet truly do not belong in the area. With this series my figure is captured much like one of these plant species; unusual and strange once discovered. The physical presence captured is not meant to be there yet is able to coexist in the environment.

â&#x20AC;&#x153;Invasive Species: St. Thomasâ&#x20AC;?

“Invasive Species: Coasta Mia”

“Invasive Species: Cozamel”

“Invasive Species: Falmouth”

Teen Angst The original piece “Portrait in Blue” was taken as a study of light and contouring for a drawing class. I was struggling with shade values so I put a gel on the light to make the light have more relative tones that I could easily Identify. Part of this process included taking a photograph to capture the values and shapes created.

Rebirth After viewing the photograph, it became a reflection of my own transition from adolescent into adulthood. The pose and quality of the image are intentionally moody. The photo turned into a personal symbol of my own artistic growth. I, the figure, am captured in blue light while looking off into the distance. I am nude to the camera yet also clothed in darkness. The image lacks sincerity and has all the finesse of an Instagram filter. As the artist, this piece embodies my growth of teen angst and transition into an actual artist. I then took the image a year later and screen-printed it onto bars of Ivory soap to further comment on my own self-image. I view myself in many ways a perfectionist, neat freak, elitist, and a artist snob. By taking this of portrait that to me represents artistic adolescent and placing it on physical bars of soap allows me to make two major artistic statements. First and foremost it’s commenting on my need for cleanliness, neatness and also my lack of sincerity of emotions. I am literally placing my self on “Ivory” claiming my own purity. However I am also putting this sterol image on soap, a method one uses to clean oneself, have a rebirth of sorts. By placing the image on soap I am able to wash myself of these poor behaviors and start a new. In fact I have used the soap and completed the art piece by washing my previous image off on my own form. 48

Soap Selfies Behind: Portrait in Blue Right: Top to bottom Soap portait 1 on soap in wrapper Soap portait 2 on wrapper Soap portait 3 on soap

Above: Soap portait 3 on soap Left : “Portrait in Blue 2” Acrylic on Canvas

Sanity

In the piece â&#x20AC;&#x153;Tower,â&#x20AC;? I had two objectives - the most prevalent was to create a piece that would create a sense of tension and anxiety when viewing the piece. Being rather large at over 5-foot, the piece strikes most at eye level and invites the viewer to wander the blue prints printed on the piece. I want the viewer to get trapped by the intricate details of the blue prints and wander the forgotten hallways. The prints are from various metal hospitals and insane asylums from the 1940s-60s. The selection of the prints are meant to add to the anxiety of the piece; your eye wanders the hallways much like the patients that inhabited the foreboding buildings. As an artist, the piece is a reflection of my own anxiety of graduating and lacking a clear structure for the future. My entire life has been organized and planned and by graduating, I will no longer have the safety net of academia. I wanted to take something that gives me such comfort - blue prints and plans - and destroy there crisp lines and angles to reflect my own frustrations over the confusion of the future. 52

Tower Photos of “Tower” Sheet Metal and White Ink

Found Items

Seven

The following seven self portrait’s are

part of a series that explores personal weakness, relationship with sin, and how found objects carry weight. Each portrait was created under a very specific guide to help create a sense of rigor and purpose. All the portraits had to be created on a found object that was found on the street. All the self portraits must be created by hand in some way. Each portrait must be competed in 24 hours, 7 days in a row.

“Gluttony OR Curse of the one eyed Jack”

Day 1

Each portrait must explore a personal connection to each of the seven deadly sins.

Each Item and portrait are intimately

connected and explore gesture, my own image and how I view my own faults. The series was created to explore my personal connection to each of the seven deadly sins and explore how I feel I either embrace them or reject them. Several of the sins I connect to an ulterior feeling or trait in myself and I openly explore these relationships, despite no common established correlation. For instance I connect Wrath with body “Lust OR Hands to hold me”

Day 2

Image, and Lust with fear of being touched

The project started with a week of journ-

aling where each day a single sin was explored and I purposefully tried to exemplified in that day, as well as creating an understanding of the final composition. Once all 7 days of journaling were compete the painting began on the found objects. Each object carries personal meaning in some way when given context to the sin at question, and the portraits title was intended to clarify that relationship for the viewer. For Instance “Greed OR self-worth in copper “ is “Envy OR whats in the bag?”

Day 3

painted on two pennies found on the street and

is meant to bring focus to my relationship to self-worth and how I feel its connected to my financial stability . I also decided to use pennies appose to other coins because of their low worth and intended to bring focus on the contrast in painting content and original item. By painting eyes on the pennies I am trying to show the disparity between how I feel about self worth and money, with the intimacy of my eyes and the common saying that eyes are the “windows to the soul. “

“Greed OR Self worth in Copper”

Day 4

“Wrath OR Flat, Soft and Undesirable”

Day 5

“Sloth OR Safety in Complacency

Day 6

“Pride OR all thats left is Approproation”

Day 7

Gesture in Metal Photos of â&#x20AC;&#x153;Gesture in Metalâ&#x20AC;? Metal and Wood

Leap and Fall

In the piece “Gesture in Metal,” I was interested in capturing movement and fluid lines. People are always moving, both physically and emotionally. I wanted to try to capture movement in a sculpture for my metal arts class and I wanted it to be gestural, not defined features like in classical sculpture. Overall, I want the viewer to get the sense of movement when viewing it by being able to move around theobject and see how the lines interact with one another. The pose of the piece was inspired by the classic sculpture “Apollo and Daphne” by Bernini. The piece has such story telling through gesture and I wanted to try to capture that in a minimal way. The piece is not only playing with gesture but also describing my feelings about graduating from college. The gesture of the piece can be viewed one of two ways: either jumping and reaching, an upward movement of joy, or falling, collapsing as if being struck by a great blow from behind. I want the gesture of the sculpture to ride the line of either being uplifting in form or a release from gravity.