KELLY STICKROD
INVESTIGATION OF PHYSICAL CONNECTIONS AND BARRIERS BETWEEN SOCIAL CLASSES. SOHO, NEW YORK CITY.
DWELL
DOCUMENTING THE SUBTLE NUANCES FOUND IN EROSION OF LANDSCAPE AND MATERIAL. PROSPECT PARK, IOWA.
ERODE
STUDIES OF THE HUMAN CONDITION AND ITS IMPORTANCE TO ARCHITECTURAL AND CULTURAL GROWTH.
EXPOSE
“In order to be successful in any industry, one must have purpose and be more than creative, one must be daring. In architecture a common concept is exposure and the binary relationship of public and private spaces, but to achieve true exposure there should be no such thing as privacy at all. Exposure: that is what the glass box represents, and that is what has allowed Gaga to become so successful. In front of the camera, Lady Gaga claims to be as transparent as glass. She is so successful in the music industry, not because she is abstract or different, but because she is deep and is creative enough to channel controversial subjects in an artistic way, giving her credibility. The work she does, the music she creates, would never be successful if it were meaningless or singularly interesting because she is strange. Voicing her thoughts about topics such as abortion, safe sex, and equal rights, she sheds light on the subjects, exposing them to her audience in the hopes that she may promote tolerance. Though Lady Gaga claims to be most herself and honest when a camera is near, she still falls into these strange social norms that are laid out; she still wears clothes and she does not live in a pure box of glass. The function of a pure glass box in reference to architecture should exceed beyond the technological advances found in computers and materials themselves, it should represent the purity of the human race. If an architect were to design a pure glass box, it would then become necessary to have the occupants strip their clothes upon entering. Anatomically speaking, every male and female are basically the same. Every human expels natural waste from the body and most adults participate in sexual activities yet both of these primal functions are considered dirty or private so the spaces in which they take place are enclosed by walls. If sex is a beautiful connection between two humans like we are taught as children, one would assume that is something to be proud of, something to speak openly about. The question then becomes, why does society demand silence and shame in regards to something so instinctual, primal, and beautiful? In order to truly understand a concept or master an idea risks need to be taken and failures need to be made. The chances of the public responding well to naked people occupying a glass box are slim, but if no designer is willing to take the risk, the potential for the reduction of societal traps is diminished and the mastery of the notion of exposure is a failure. It seems to make more sense then to take the risk because the potential benefit clearly outweighs the possible repercussions.� EXCERPT FROM AN ESSAY TITLED GAGA
RELEASING PARTIAL CONTROL OF THE CREATIVE PROCESS TO DISCOVER UNDOCUMENTED BEAUTY IN NATURE.
WITNESS
STOLEN
INVESTIGATIONS OF SELF REFLECTION EXPLORING THE BEAUTY IN DARK EMOTIONS.
FEEL
MATERIALS: EGGS, WOOD PLANK, 12” X 3” X 3”. PROGRAMS: SKETCHUP, VRAY, ILLUSTRATOR, HAND DRAFTING. HOUSING PROJECT PARTNER: JOSEPH HERSHEWAY. ARCH 302, SPRING 2011.
DWELL
MODEL AND DRAWING MATERIALS: STYROFOAM, CHARCOAL, CARDBOARD, PAPER, 11” X 17”. BOX MATERIALS: BASSWOOD AND CHARCOAL, 4” X 4” X 4”. ARCH 301, FALL 2010.
ERODE
CAMOUFLAGE PHOTOGRAPH: 24” X 36”, SPRING 2013. DECONSTRUCTING HOME MATERIALS: PLASTIC VACUUM FORM AND ACETONE TRANSFER, 18” X 18”, FALL 2012.
EXPOSE
ICE PAINT MATERIALS: BRISTOL, WATER, INDIA INK, 8.5” X 11”. JAN2014. REFLECT MATERIALS: PAPER 8.5” X 11”, CHARCOAL, MIRROR 15” X 20”. INSTALLATION MATERIALS: PAPER, HUMAN HAIR, TISSUES, GRASS, LEAVES, WATER, SCREEN, WOOD 2 X 4, 3’ X 5’8”, SPRING 2013.
REFERENCE PHOTO: DICTATIONMONKEY VIA FLICKR.COM DRAWING MATERIALS: HEMP, STRING, RIBBON, METAL CAGE, 23” X 39”, FALL 2012. JEALOUSY MATERIALS: STEEL, SPRAY PAINT, LIPSTICK, 3.5” X 3” X 3”, SPRING 2014.
WITNESS FEEL
PROJECT DETAILS