This show culminates the InterArts class at the New England Conservatory. It is an amalgam of different disciplines and art forms, whose boundaries we have blurred and twisted into one experimental multimedia whole: one Terabac, the incoherent twin of Cabaret.
II. Kinetic sculpture & "Moving on" by Victoria Pan "Mrs Duster" by Erin Branscome (Liana)
III. Object Improv continues: " Shy Umbrella" by Kyumin Park Music by Leonard Fu "What Color is the Marmelade?" by Eli Cohen & "My Yellow Octopus" by Chuze San
"Pet-Rushka" by Shek Wan Li and Yen-Chun Wang & " Tap!" by Jonathan Salman and Jiang Yiliang Excerpt from "Swan Lake" performed by Victoria Pan
IV. Petrushka Processed excerpt from Igor Stravinsky’s “Petrushka” ballet
III. Object Improv continues: "Teapot" by Sophia Szokolay "Jealous Scarf" by Leonard Fu Music by Kyumin Park
Drum section: ELi Cohen , Lautaro Mantilla Tapping, voicing by the class Movement, puppets and sound by the InterArts class Directed by Katya Popova Produced by Katya Popova and Lautaro Mantilla Light by Peter Lanza
Exhibit Videos by Samantha Watts & Kimberly Anne Stattman. Documentation of the process: sketches, props made by the class during the semester.
Thank you Olivia Porada, Bob Winters, Lisa Nigris and Audio Visual Department for their help and support!
Angry loving plastic
Sketches for the show
Sketches for the show
“Petrushka” project Puppets made by students
“Petrushka” Paper table puppets by students
Petrushka, table-top puppets
Brown Hall Mechanics
BROWN HALL MECHANICS is a performance and installation, showcasing the work done by the students of New England Conservatory, as part of the Sculpture Studio class.
In the best traditions of 20th century sound art, it engages sound with space and space with sound, while celebrating both.
1. Falling Objects
2. 4 Corner Group
5. Loving Couple
6. Machine Chorus
7. Noise Wall
“Totem”, center insulation foam, acrylic
“Metal Forest”, stage area sound samples, metal structures, video, fishing line, shadows
“Minimal Structures”, cardboard, acrylic and fishing line
PERFORMANCE & INSTALLATIONS BY:
JINGZE GAO (SARAH)
YISHAN HONG LIWEI HUANG
JING PENG LORENZO ROBB
DANIEL BITRAN SONIA SZOKOLAY
DIRECTED BY: Katya Popova
Special thanks to Lisa Nigris & Audio Visual, Bob Winters & the Stage Crew , John Mallia, Olivia Porada & Liberal Arts Department.
Video by Luca Ferrara All Max MSP programming and electronic sound by Taichiro Ei
The form was mutating over time revealing human form or geometric shape of the chair. The surface of the cloth showed the most essential about both: people and chairs.
Work by Luca Ferrara This video was part of "Metal forest" installation
Experimental instruments by Daniel Bertrand
Machine Chorus group
Daniel Bertrand and Taichiro Ei
Part of "Minimal structures" installation
Insulation foam, acrylic
Composed of art work by:
TAICHIRO EI , LUCA FERRARA, JINGZE GAO (SARAH) , XU GUO , RUBIN HOHLBEIN, YISHAN HONG LIWEI HUANG, YUTANG HUANG, CAROLINE KUHN, BAICHAO LAN, JOSHUA MASTEL, JING PENG, LORENZO ROBB, JOSHUA RYU, MAGALI TOY, OZNUR TULUOGLU, WEILU ZHANG, DANIEL BITRAN SONIA SZOKOLAY, ELISE LEAVY, ADAM TUCH
insulation foam, acrylic
"Treble clef", part of “Minimal Structures” installation cardboard, metal wire
Rehearsal for Brown Hall Mechanics
Masks from "Machine chorus", Plaster gauze, water, papier-mache
Mask drying, detail
Two carvings from "Totem" installation Insulation foam
A class on "Gesture", combining movement and visual as part of "Let's Take Class Week" at the Studio 550, Cambridge, MA.
"Small gestures can have a big impact." - Julianna Margulies
This class fosters the dialogue between visual art and movement, taking “Gesture” as the most basic expressive and minimal element relevant to both mediums.
For dancers/movement artists this class is a way to get introduced to visual expression through movement. For visual artists this class would create an opportunity to learn about movement, and how it can affect the drawing practice.
The class explores the interaction of "visual" and "movement" concepts: the ideas of pure movement and its components (like space, time, body); LMA theme opposites: “function-expression” and “effort qualities”; visual techniques: speed gesture sketching, working from memory, movement analysis through drawing, blind drawing techniques.
Small gif/poster promoting the class
New England Conservatory
In the Spring of 2015 I was offered to teach three Visual Arts courses at the New England Conservatory: Sculpture, InterArts and Visual Arts Studio. After a while, I reworked the curriculum to reflect my own understanding of the subjects.
These studios offer a good introduction to Visual Arts basics, combining theory and practice with experimental interdisciplinary approach.
See links to syllabuses below for more detailed information about the content of the course work as well as some assignment descriptions and images of classroom work.
Create an oversize sculpture of a stone. Use paint to create an illusion of its color and texture. Think how your sculpture would complement all the stones done in the class. Imagine the stone suspended in the air, as though it is weightless.
Interpretation of Alexander Scriabin’s “Prometheus: The Poem of Fire”
Create a diorama based on Alexander Scriabin’s “Prometheus: The Poem of Fire”.
Think of the diorama’s miniature space as a reflection on spacial qualities of the music.
How does the space you are constructing make you feel? What do you want someone to experience while looking through it? What devices can you invent to suggest the scale? What would in your opinion make this space immersive? How the materials and forms you are creating relate to Scriabin’s piece?
Materials:card board box; mixed media; acrylic
Create a series of 2D compositions reflecting on the idea of “growth” and “spring”, using colored pieces of felt and the interior of Jordan hallway.
Think of growth as a process, which you can reflect upon. How to show the movement using different color interaction and rhythmical patterns? How the context: architecture of Jordan Hall can influence your design?
Materials:felt, hallways of Jordan Hall
This assignment is on spacial awareness, but also on reinterpreting familiar space with new meaning using your body as a visual element, which can change this meaning by attaching itself to the environment (in this case NEC hallway). See short video documentation.
INTERACTION of COLOR After Josef Albers
This class is based on Josef Albers color theory class at the Bauhaus. Most of the exercises are derived from his famous book “Interaction of Color”.
Please create a series of simple color exercises using Color aid palette, a special collection of 314 hues, based on Josef Albers teaching.
For 1 color to appear as 2 (looking like the reversed grounds)
For 3 colors look like 4 (subtraction of color)
Color deception (after-image, simultaneous contrast)
Break in five groups, for each group to create one composition, using juxtaposing diagonal motions towards and from the center of the page. Think about color function, value gradation and simultaneous contrast as your tools.
Materials:grey paper, Color Aid chips, acrylic paint, brushes, paper.
LINOCUT Inspired by the work of Katsushika Hokusai
Create an image using Linocut technique. Think of different themes, inspired by the exhibition at the MFA of Katsushika Hokusai work.
Make a preliminary sketch/design in your small sketchbooks using only lines or textural planes to convey a sense of depth of the field (figurative or abstract!).
Reapply your drawing onto the Linoleum block. Explore different tools to experiment with marks and character of the line before cutting into the final design.
How to juxtapose thick and thins of the line to express the illusion of 3D space and form? What are different effects you like, which you notice in the process of printing the image?
Materials:linoleum blocks, Stonehenge printmaking paper, water soluble printing ink.
MONOPRINT Drawing on the glass
Create an image using Monoprint technique.
Roll any color onto the surface of the glass, then scratch the drawing. Mix and experiment with three primary colors: blue, red and yellow. Invent new ways to make the marks.
Once you made a few prints, limit your palette to just one color and a stencil. Create a sense of motion or static in your compositions.
What do you notice about the process? What feels unique to monoprint technique? How glass surface can engage the colors in a different way than just paper?
Materials:glass, Stonehenge printmaking paper, water soluble oil ink.
Classes on drawing and painting "en plain air" at Arnold Arboretum. Summer 2015, Jamaica Plain, Boston.
Wake Up the Earth
"Labyrinth" — workshop / installation during the spring festival "Wake Up the Earth". In the course of the day, children painted labyrinth, which transformed from being white to multicolored surface, which symbolized the birth of the spring.
Jamaica Plain, Boston, Spring 2014
Materials: tyvek, trees, tempera.
Make an imprint in your City!
During one day workshop/installation at Maud Morgan Arts visitors were encouraged to make an imprint using hand made stencils, their hands, or letter forms on the map of the city of Cambridge drawn by the artist.
Maud Morgan Arts, Cambridge, 2014
Materials: printmaking tools, water based printmaking inks, stencils on paper.