Student Work

Spatial Art II (concepts)
Spatial Art II (concepts)

Wax-sealed letters about intimacy were surreptitiously inserted into the pockets of used clothes at a thrift store

Spatial Art II (concepts)
Spatial Art II (concepts)

The idea of 'hope' embedded in bright yellow circles, unexpectedly popped up in public places

Spatial Art III (instructions)
Spatial Art III (instructions)

Body armor made to protect oneself when confronting the victimizing memories of a personal trauma (later turned into an instruction for others to make their own body armors)

Spatial Art II (body & identity)
Spatial Art II (body & identity)

Wearable piece made out of stockings, accompanied by a performance of asking people to fill up the stockings with sand, razor blades, and broken glass shards, representing the weight of gendered expectations

Spatial Art II (body & identity)
Spatial Art II (body & identity)

Traumatic memories both revealed and concealed through redacted text and diary pages burnt inside ceramic pieces (people were invited to walk on the ceramic pieces to see the text at the end of the corridor, thereby crushing the pieces in the process)

Material & Process (hidden material)
Material & Process (hidden material)

Modified underwear and other everyday objects creating a scene of domestic violence

Material & Process (transformation)
Material & Process (transformation)

Oral stories of LGBTQ people's experience with Christianity turned into an audio-visual piece

Material & Process (transformation)
Material & Process (transformation)

Student's own US military uniforms repurposed to make Perahan Tunban (a male clothing worn by men in north western Pakistan and eastern Afghanistan)

Spatial Art III (body & identity)
Spatial Art III (body & identity)

Dinner table with a female torso as the main dish, problematizing the prevalent objectification and sexual consumption of female bodies

Spatial Art II (body & identity)
Spatial Art II (body & identity)

Playful parody of Sandro Botticelli's The Birth of Venus as the student's self-portrait

Spatial Art I (ripples in space)
Spatial Art I (ripples in space)

A forgotten 19C cemetery for African Americans in Kokomo is suddenly accentuated by a long line of laundry with their names fluttering in the wind

Material & Process (hidden material)
Material & Process (hidden material)

Common Indiana "weeds" invited to a flower bed made out of repurposed fence wood

Spatial Art I (ripples in space)
Spatial Art I (ripples in space)

Single-channel video of a pond repeatedly disturbed and then returning undisturbed

Foundations (sound instrument)
Foundations (sound instrument)

Sound instrument composed of natural materials (when water is poured from the top, the cascading structure with gravel creates sounds like a quiet brook)

Spatial Art I (ripples in space)
Spatial Art I (ripples in space)

Office building corridor intervened by a sudden appearance of vines

Spatial Art I (verb)
Spatial Art I (verb)

Based on the verb, to burn, a plate of various ingredients exposed to different stages of burning invites participants to explore their smell, touch, and taste

Spatial Art (time)
Spatial Art (time)

Participants are invited to wear mittens and constraining belts, while performing menial tasks surrounded by various timers producing an anxiety-provoking soundscape

Spatial Art (verb)
Spatial Art (verb)

Focusing on the verb, to cut, the student created a temporary blockage in a hallway where participants are invited to cut their way through the unexpected boundary

Foundations (paper shadows)
Foundations (paper shadows)

Three-dimensional modeling exercise of replicating natural objects using only paper and glue

Foundations (body metaphors)
Foundations (body metaphors)

Students' own bodies expressed in diverse metaphors