Just Enough, 2022 Rhode Island School of Design
Just Enough, Amelia Greteman
As a child, I never answered the question “What do you want to be when you grow up?” with “a furniture designer.” Even though both of my parents are artists, making things never seemed like a job; it just seemed like something we all loved to do. Some of my best memories are of working in the studio alongside them - painting, smearing, building, and destroying, but always vigilantly coloring within the lines.
This thesis investigates my past and current relationship to making and the urge I have to simplify and reduce. It takes place in the form of furniture and ...
A Wavering Line, 2022 Rhode Island School of Design
A Wavering Line, Ginger Gordon
Someone once told me it only takes a difference of ten degrees in temperature to change the entire course of the day.
I work with objects in collaboration with space, focusing on the intangible meeting point between visibility and invisibility.
Propelled by coincidence and temporal shifts, the transitory, the fragmented, and the found are all welcome, as are the methodologies of the Surrealists and Cubists. Born from a combination of fortuity and planning, curated fragment collages coalesce to represent acts of chance in three dimensions. Balanced forms weave and sway as small portholes direct a view. Form follows chance.
The Sky Is Falling, 2022 Rhode Island School of Design
The Sky Is Falling, Alexis Tingey
The ceiling would fall apart in my childhood home, it was an old house. Occasionally a piece of ceiling would clomp down on my head. In these moments, I would pause, and close my eyes until an image of some fabulous, beautiful interior came into my mind, and then I would open my eyes and continue. Sometimes to escape a falling ceiling, I would find respite in my first ideal sitting spot, a post on our back fence; I would sit with the sky and think. Looking back, I believe these are the moments where I caught glimpses of the ...
In This Form, Together, 2022 Rhode Island School of Design
In This Form, Together, Elana Shvalbe
Most of my memories consist of lively dinner parties. Hands moving in every direction when the food is brought out. The piano bench for the kids to sit on, the fold out table necessary to fit everyone around the meal, and always endless stacks of plates. These experiences and traditions were curated by my heritage and have a strong presence in the work I design. I intend to understand and create interlocking relationships of care, where ritual and romance lead the way to form a community; designing and making furniture and objects that reassert hospitality within the home.
Hospitality is ...
Miles And Miles And Miles, 2022 Rhode Island School of Design
Miles And Miles And Miles, Shannon Rose Jones
miles and miles and miles is a body of work that draws design inspiration from the Driftless Area of Wisconsin, a region unflattened by ice during the last ice age. The works are site specific extrapolations that have been abstracted in order to trigger a process of memory recollection in the viewer. Selections of atmospheric prose, furniture objects, illustrations, and imagery are presented as snapshots of a place in an attempt to memorialize and make tangible ephemeral memories collected by the maker traveling in this vast landscape. Attention is given to the distillation of form in order to contemplate its ...
Slow Puzzle, 2022 Rhode Island School of Design
Slow Puzzle, Tzyy Yi Young
One may argue that we all observe. It is this finely tuned capacity that allows designers to read context and to identify patterns. Since I was a child, I’ve been a carefully tuned explorer of the world, observing the world around me. Yet as a designer, I take this observational impulse to another level by recording my observations and then translating these impressions into form. What is seen, felt, and gathered is then edited, nuanced, and reformed. This act of translation becomes a slow puzzle as I look for cues, acknowledge every facet, and conceive of forms in such ...
Mood Follows Matter, 2022 Rhode Island School of Design
Mood Follows Matter, Maxwell Tyalor-Milner
Function is an invisible thing - what disappears when an object is used? Ornament has long been considered an obstacle, a roadblock to forgetting. Capitalist logics of speed, efficiency, and distraction militate against a material culture that might require patient observation, against acquiring the skill to make thoughtful objects or the knowledge to read and appreciate them. The result is the impenetrable trash mishmash spectacle of virtual flea markets like Amazon and Alibaba, of trackable yet traceless objects whose visual identity is algorithmically generated - commodity mystification as pure capitalist abstraction.
While I bow to the quixotic nature of yearning to overthrow ...
Notes To Myself, 2022 Rhode Island School of Design
Notes To Myself, Anna Dawson
Immersed in the sun’s light, my body feels saturated, during a long day at the beach. When it begins to cool down and the day inverts into night, I watch the sun set on the ocean horizon. Bart Lootsma, the Dutch architectural theorist describes this experience of light as an immersion and inversion. Intangible, yet something to look at and something to submerge in.
This thesis is a personal journey, and an open exploration of the aesthetic and experience of furniture objects in everyday living. It is a collection of thought processes, observations, and speculations. Sometimes it’s just ...
Superficial: An Exploration Of Decoration, Fashion, Taste, Camp, And Trends, 2022 Washington University in St. Louis
Superficial: An Exploration Of Decoration, Fashion, Taste, Camp, And Trends, Jillian Ohl
MFA in Illustration & Visual Culture
Since the rise of consumer culture in the late 19th century, Americans have had a complicated relationship with decorative objects, the idea of taste, and the cycle of trends within our classist society. This essay examines some of the decorative objects in my childhood home such as patterned wallpaper and an antique chair as well as a contemporary brand name mascara. While these objects do not have major functional properties, their decoration and superficiality bring me joy. To better understand my appreciation of decoration and aesthetics, I assess how an object or fashion is considered in good or bad taste ...
It's All Fun And—: A Rhetorical Analysis Of Space In The Pandemic., 2022 University of Louisville
It's All Fun And—: A Rhetorical Analysis Of Space In The Pandemic., Erica Von Proctor Lewis
Electronic Theses and Dissertations
This exhibition and document explore spatial rhetoric during the pandemic, utilizing materiality and relational aesthetics to reflect on the different ways in which the public and private are made distinct from one another. In doing so, Lewis addresses new cultural navigations of shared spaces, both digital and corporeal, public and private. In addition, the artist also examines the faulty social and institutional systems that the pandemic brought to light, such as socioeconomic dynamics and voter suppression, while utilizing Kenneth Burke’s concept of the terministic screen. Games are a central theme throughout the exhibition, as they are often coded as ...
Dregs / Lessons From The Things Around Us, 2022 Virginia Commonwealth University
Dregs / Lessons From The Things Around Us, Juan-Manuel Pinzon
Theses and Dissertations
The writing in Lessons From the Things Around Us is in support of the work in my MFA thesis show, dregs. I detail the progression of my making and thinking over the last two years. I expand on the material and personal relationships that have manifested themselves in the work and influenced my approach to the things that surround me. Finally, I point to a more expansive definition of Craft, rooted in its material sensibilities, and the possibilities already present in the field that this definition creates.
Defiantly Childlike: Using Aesthetic Resistance To Heal, 2022 Virginia Commonwealth University
Defiantly Childlike: Using Aesthetic Resistance To Heal, Sarah K. Reagan
Theses and Dissertations
This thesis examines an alternative processing mechanism surrounding the act of healing after traumatic experiences in life. Using a methodology of iterative patterning and tool-pathing, a collection of inflatable garments and wooden mannequins analyzes defense mechanisms learned in early childhood development. This work highlights an essential body of recent scholarship that takes cuteification seriously to restore a childlike approach to mastering fear. This paper will review the definitions of cuteness and childlike humor and then describe how visual culture has implemented these components to subvert established power.
Misled Youth, 2022 Virginia Commonwealth University
Misled Youth, Mark Tan
Theses and Dissertations
I’m a first-generation Canadian who was born and raised in Toronto, Ontario by Asian immigrants. I have migrated to the United States and lived here for 7 years. Through my work, I express the emotional value of preconceived notions, disconnectedness, and longing in search of finding place and acceptance within a community. Drawing from memory, personal narrative, emotion, and perception, I manipulate data into lines, forms, and materials through a subjective human experience from the lens of a non-citizen. By projecting the migration movement of my family lineage from China and the Philippines to Canada as well as my ...
An Evolving Process: Patterns And Objects, 2021 Rhode Island School of Design
An Evolving Process: Patterns And Objects, Shreya Tuli
This thesis investigates my life experiences,inspired by the surroundings in New England and India.
My process is characterized by a multidisciplinary approach. I integrate diverse media moving fluidly between two dimensional and three dimensional work, creating multiple layers of pattern and objects.
This Trash Is Someone Else's Problem, 2021 Rhode Island School of Design
This Trash Is Someone Else's Problem, Lauren Goodman
This Trash is Someone Else’s Problem reimagines object design practices through a decolonial lens that embraces responsive approaches to the local environment and the communities that steward it. It advocates for design justice and social equality. The physical work was developed from discarded scraps of industrial waste harvested from the Providence area, such as wire fencing, oil drums, rebar and steel tubing. It was created without the use of expensive tools, machinery and materials in favour of a less extractive approach to design. In conjunction with the studio work is a series of community gatherings focused on low-fi ceramic ...
Loose Threads / Hilos Sueltos, 2021 Rhode Island School of Design
Loose Threads / Hilos Sueltos, Estefanía De Ros
In this body of work, I’ve collaborated with four artisans from my home country, Guatemala: Apolonio Vicente, Vinicio Vicente, Mario Poz and Manuel Otsojay. They all use traditional craft methods with natural materials: wicker, wool, and cotton. I interweave, overlap, and knot mementos from my childhood with current ideas and dialogues that contain loose threads to the work. All of the layers merge in fluid forms with texture and movement. The curtains let light in, the rug sets warmth, and the “cayuco” invites you to slow down.
I aim to push back against the devaluing of craft traditions, especially ...
Dress Your Chair, 2021 Rhode Island School of Design
Dress Your Chair, Yumeng Gai
Upholstery is the dress for furniture. As apparel for humans, upholstery has the power to shape the identity of furniture. By changing different upholsteries, furniture will have fresh identities that bring vitality to both the furniture itself and the surrounding environment. And during the process of changing “cloth” for furniture, people will build a deeper relationship with the furniture they already have.
Polyrhythms, 2021 Rhode Island School of Design
Polyrhythms, Kevin Costante
This work strives to integrate seemingly ‘distant’ practices into a concept by emphasizing their differences. A syncopation between a maker and designer, a planner and improviser. A search for commonalities in the middle of what otherwise creates conflict. I cultivate a space to play alongside my inherent formalities by incorporating color and movement. I find rhythm persists uninterrupted through the discrepancies of my process and inspirations. I want to see it in the outcomes of my work.
How can I be compatible with this world of rudiments and structure and also comply with my reliance on ‘chance’?
Taking Care, 2021 Rhode Island School of Design
Taking Care, John Dixon
We’ve come to live our lives on a quest for what we deem as efficiency, but has our view on the matter been focused on the wrong measures? Taking Care investigates efficiency utilizing a variety of different comparative measures through the creation of 8 chairs. When our emphasis on certain variables is shifted, is mass production the most efficient means of making? What about one-off production utilizing local materials? Does industry’s approach to ergonomics focus on efficiencies benefitting the employer while sacrificing those of the employee? Working from a Wendell Berry quote contrasting care to efficiency as a ...
What Do I See Between 2 To 8 O'Clock, 2021 Rhode Island School of Design
What Do I See Between 2 To 8 O'Clock, Youtian Duan
We record our daily life, our daily emotions. But maybe we lie to ourselves. Or our expression is a kind of hope: what we want to look like or want others to think we are like. Unfortunately, it’s usually not our natural appearance, not the honest thoughts in our hearts. Maybe we don’t understand ourselves.
I like to record my dreams. In the dream world, sometimes I relax, sometimes nervous, and unconsciously wander around. That is the real me. In my unconscious dream state, I identify myself, know myself, again and again. I can live in peace with ...