Sunday, May 5, 2013

Plastering the Subways



In this video I perform my protection situation that I've been working on in the past weeks, using the subway hero story (http://hilllparsons2013.blogspot.com/2013/04/subway-hero.html) as inspiration, at the 14th street and 7th avenue MTA 1,2,3 subway station. 
In the video I can be seen untaping the box, this is because I pre-made the box and loosely held it together using the tape. Then I begin using vaseline to lubricate the plan of the box. I started out using a palette knife, but soon realized that using my hand was faster. By this time, I had accumulated a crowd on the subway platform. A man saw that I was using my hands and gave me a towel, explaining that he didn't need it back because he had accidentally taken it from his place of employment.
Next I began to tape the box closed using duct tape. I struggled to get the tape off the roll due to the vaseline, so the towel came in handy.
Afterwards, I mixed the plaster that I was going to use to cast the box, using a simple 2:1 ratio of plaster and water. 
Then, I stood with the box and crushed it in a motion that is similar to someone protecting an object. This was the most important part of my performance so far, the crushing of the box represented the act of protecting another person. I then began to cast the crumpled box. I poured the plaster in the box and attempted to complete a "slush" cast of the box. (See "Slush" http://en.wikipedia.org/wiki/Permanent_mold_casting#Slush) After the plaster was placed and the mess was made, now became the time to wait. Waiting for the plaster to set was representative of the anticipation one feels while protecting another during a hectic situation. The unknown outcome of the protection attempt, and not knowing whether or not everything was going to be okay, not knowing if either person will survive. 
After waiting a time, using the arrivals of the 1 train as a checking timer, I untaped the box again and revealed the unsuccessful cast. The failed attempt represents the sometimes failed attempt of protection, the loss of life, literal or otherwise. The cast could've been successful, and the meaning would have been the opposite. But, the unpredictability of the outcome was a large part of my situation. The outcomes of life are unpredictable. In the case of Mr. Autrey and Mr. Hollopeter the outcome was positive, but in the case of Ki-Suck Han (http://www.huffingtonpost.com/2012/12/04/ki-suck-han-dead-man-fatally-struck-train-nypd_n_2236791.html)it was fatal.

Tuesday, April 23, 2013

Reaction: Ai Weiwei: Never Sorry


This documentary followed the life of the artist Ai Weiwei from 2008 to 2011. The opening of the film showed Ai Weiwei’s studio, “258 Fake.” The name of the studio caught me off guard, and foreshadowed the views of Weiwei. 
There were over 40 cats at the studio. Weiwei mentions that one of the cats can open doors; and although the other cats watch, they don’t try to open doors. Weiwei also notes how unlike people, cats never close doors behind them. Weiwei’s cat observations made me think deeper about change in China. There may be one person calling for change, while the rest of the population just watches and does nothing. The closing of the door caused me to think about how people are trained. Why do we close doors? Is it because we’ve always been told to do so, while cats on the other hand have no such boundaries?
I was deeply touched by the footage that showed the aftermath of the earthquake that hit Sichuan in 2008. Government school buildings collapsed during the earthquake due to poor construction. Watching mothers crying for their children was absolutely heart wrenching; and to think that the Chinese government refused to release any information about those children was unbelievable. 
Ai Weiwei set out to collect all the names of the lost children, which totaled more than 5,000 found, with the help of volunteers and the families of the dead. An interviewee pointed out that even though the names were found, they had been reduced to small letters and birthdays on many pages in Weiwei’s office. To commemorate the earthquake, Weiwei did several things to keep the memory of the children alive during the film. Reaching out on Twitter, he asked followers to choose a name on the list and say it aloud. Weiwei compiled the recordings and released them to the public. In Munich, Weiwei created a large facade for a museum made of backpacks with a sentence pertaining to the life of a young girl lost in the earthquake. The sentenced moved me. Ai Weiwei interviewed the girl’s mother and the mother stated that her daughter had been happy and full of life for the seven years that she had been alive. To me that sentence showed the innocence of youth. The loss of so many young people was a pure tragedy. 
While trying to testify at a trial for a fellow activist, Weiwei is detained and beaten by police. Weiwei’s crew filmed the entire thing, and it was shocking to watch. Weiwei asked why he was hit, and officers respond that he had done the damage to himself. Weiwei went through all the legal avenues that China allowed to try to sue the police department, but he is ignored and bullied. Weiwei received a notice for the demolish of his new studio, citing illegal placement. Weiwei was even detained in an undisclosed location for 81 days for alleged tax invasion.
Throughout all of this Weiwei remained strong. He pursued change even when it was obvious that no change would come. He believes in a better government for China, and through his art he is fighting to make that happen.

Wednesday, April 17, 2013

Protection in Progress









More at the Brooklyn Museum

















At the Brooklyn Museum


 Death Cart 1890-1910

The work is a small, carved wooden skeleton of the angel of death, Dona Sebastiana, that is covered with gesso. She holds a bow and arrow and sits upon a two wheeled cart. The artist was an unknown member of the Los Hermanos Penitentes Society in what is now New Mexico. The sculpture is a smaller version of the death carts pulled by penitent brothers during Holy Week. During this time, public processions reenacted the sorrow and suffering of Christ’s last days with the brothers practicing self-flagellation with whips and dragging large, heavy crosses and death carts. The depiction of the angel of death, Dona Sebastiana in this piece reminds the viewer of human morality and the importance of praying for a “good” death through prayer and virtuous deeds. Though it is not large, the work is striking. The fine details of the hair and skeleton make the sculpture seem almost real.

Gli (Wall), 2010

This sculpture is incredibly large, made of aluminum and copper wire constructed by the by the Ghanian sculptor El Anatsui. El Anatsui became interested in the notions of walls after visiting cities (Jerusalem, Berlin, and Notsie) that have been by walls as religious, political, and social constructs. The word, gli, can mean “wall,” “disrupt,” or “story” in the Ewe language, El Anatsui’s native tongue. Anatsui believes that walls are meant to block views, but instead they only block the view of the eye, not the imagination; and walls reveal more than they hide. Gli allows its viewers to take a close look at the process of creativity and the hard work of the imagination. The sculpture is impressive with its wire workings and beautiful weaving. The incorporation of usually material taken for granted, such as aluminum, and a material seen as valuable, copper, deepens the meaning of the imaginative walls for me.








Tuesday, April 9, 2013

The Rotting Pom



Yarn and Plastic Bags

This is my piece created using the myth of Persephone and the eating of the fateful pomegranate as a base. The "pom" is hand crocheted, an inspiration from the Greek myth of the Fates controlling life using thread and scissors. The softness of the yarn is meant to be reminiscent of the softness of rotting fruit. The color is a direct response to the color of rotting fruit. The use of plastic bags is a reference to death. Plastic is hardly biodegradable, and after something dies (animals, people, food) it is wrapped in plastic and shoved away.  

Monday, April 8, 2013

Subway Hero StoryBoard


Subway Hero

The New York Times 

January 3, 2007

Man Is Rescued by Stranger on Subway Tracks

It was every subway rider’s nightmare, times two.
Who has ridden along New York’s 656 miles of subway lines and not wondered: “What if I fell to the tracks as a train came in? What would I do?”
And who has not thought: “What if someone else fell? Would I jump to the rescue?”
Wesley Autrey, a 50-year-old construction worker and Navy veteran, faced both those questions in a flashing instant yesterday, and got his answers almost as quickly.
Mr. Autrey was waiting for the downtown local at 137th Street and Broadway in Manhattan around 12:45 p.m. He was taking his two daughters, Syshe, 4, and Shuqui, 6, home before work.
Nearby, a man collapsed, his body convulsing. Mr. Autrey and two women rushed to help, he said. The man, Cameron Hollopeter, 20, managed to get up, but then stumbled to the platform edge and fell to the tracks, between the two rails.
The headlights of the No. 1 train appeared. “I had to make a split decision,” Mr. Autrey said.
So he made one, and leapt.
Mr. Autrey lay on Mr. Hollopeter, his heart pounding, pressing him down in a space roughly a foot deep. The train’s brakes screeched, but it could not stop in time.
Five cars rolled overhead before the train stopped, the cars passing inches from his head, smudging his blue knit cap with grease. Mr. Autrey heard onlookers’ screams. “We’re O.K. down here,” he yelled, “but I’ve got two daughters up there. Let them know their father’s O.K.” He heard cries of wonder, and applause.
Power was cut, and workers got them out. Mr. Hollopeter, a student at the New York Film Academy, was taken to St. Luke’s-Roosevelt Hospital Center. He had only bumps and bruises, said his grandfather, Jeff Friedman. The police said it appeared that Mr. Hollopeter had suffered a seizure.
Mr. Autrey refused medical help, because, he said, nothing was wrong. He did visit Mr. Hollopeter in the hospital before heading to his night shift. “I don’t feel like I did something spectacular; I just saw someone who needed help,” Mr. Autrey said. “I did what I felt was right.”

 

Wednesday, March 13, 2013

Cold Porcelain

http://www.mashiacrafts.com/1/post/2012/07/workshop-wednesday-how-to-make-cold-porcelain.html

Wednesday, March 6, 2013

Pomegranates: Work in Progress!


I decided to personify my myth using the shell of a pomegranate. The outside will be a vision of life. I'm unsure of how to portray that as of now...maybe with color, or the naturalistic appearance of a healthy pomegranate. The vessel will open and the inside will be a rotted mess.






Tuesday, March 5, 2013

Mood Board

This is my mood board inspired by the Persephone myth and the resulting changes in season.

Sunday, March 3, 2013

The Myth of Persephone


Thanks to Wikipedia:

Abduction myth


Sarcophagus with the abduction ofPersephone. Walters Art Museum.BaltimoreMaryland
Persephone used to live far away from the other deities, a goddess within Nature herself before the days of planting seeds and nurturing plants. In the Olympian telling, the gods Hermes and Apollo had wooed Persephone; but Demeter rejected all their gifts and hid her daughter away from the company of the Olympian deities.[69] The story of her abduction by Hades against her will, is traditionally referred to as the Rape of Persephone. It is mentioned briefly in Hesiod's Theogony,[70] and told in considerable detail in the Homeric Hymn to DemeterZeus, it is said, permitted Hades who was in love with the beautiful Persephone, to carry her off, as her mother Demeter, was not likely to allow her daughter to go down to Hades. Persephone was gathering flowers with the Oceanids along with Artemis and Athena—the Homeric Hymn says—in a field whenHades came to abduct her, bursting through a cleft in the earth.[71] Demeter, when she found her daughter had disappeared, searched for her all over the earth with torches. In most versions she forbids the earth to produce, or she neglects the earth and in the depth of her despair she causes nothing to grow. Helios, the sun, who sees everything, eventually told Demeter what had happened and at length she discovered the place of her abode. Finally, Zeus, pressed by the cries of the hungry people and by the other deities who also heard their anguish, forced Hades to return Persephone.[72]

Oil painting of Hades abducting Persephone. Oil on wood with gilt background. 18th century. Property of Missing Link Antiques.

Hades abducting Persephone, wall painting in the small royal tomb at Vergina.Macedonia, Greece
Hades indeed complied with the request, but first he tricked her, giving her some pomegranate seeds to eat. Persephone was released by Hermes, who had been sent to retrieve her, but because she had tasted food in the underworld, she was obliged to spend a third of each year (the winter months) there, and the remaining part of the year with the gods above.[73] With the later writers Ovid and Hyginus, Persephone's time in the underworld becomes half the year.[74]
Various local traditions place Persephone's abduction in a different location. The Sicilians, among whom her worship was probably introduced by the Corinthian and Megarian colonists, believed that Hades found her in the meadows near Enna, and that a well arose on the spot where he descended with her into the lower world. The Cretans thought that their own island had been the scene of the rape, and the Eleusinians mentioned the Nysian plain in Boeotia, and said that Persephone had descended with Hades into the lower world at the entrance of the western Oceanus. Later accounts place the rape in Attica, near Athens, or near Eleusis.[72]

The return of Persephone, by Frederic Leighton (1891)
The Homeric hymn mentions the Nysion (or Mysion), probably a mythical place which didn’t exist on the map. The locations of this mythical place may simply be conventions to show that a magically distant chthonic land of myth was intended in the remote past.[20] Before Persephone was abducted by Hades, the shepherd Eumolpus and the swineherd Eubuleus, saw a girl being carried of into the earth which had violently opened up, in a black chariot, driven by an invisible driver. Eubuleus was feeding his pigs at the opening to the underworld when Persephone was abducted by Plouton. His swine were swallowed by the earth along with her, and the myth is an etiology for the relation of pigs with the ancient rites in Thesmophoria,[75] and in Eleusis.
In the hymn, Persephone returns and she is reunited with her mother near Eleusis. Demeter as she has been promised established her mysteries (orgies) when the Eleusinians built for her a temple near the spring of Callichorus. These were awful mysteries, which were not allowed to be uttered. The uninitiated would spent a miserable existence in the gloomy space of Hades, after death. [76]
In some versions, Ascalaphus informed the other deities that Persephone had eaten the pomegranate seeds. When Demeter and her daughter were reunited, the Earth flourished with vegetation and color, but for some months each year, when Persephone returned to the underworld, the earth once again became a barren realm. This is an origin story to explain the seasons.
In an earlier version, Hecate rescued Persephone. On an Attic red-figured bell krater of ca 440 BC in the Metropolitan Museum of Art, Persephone is rising as if up stairs from a cleft in the earth, while Hermes stands aside; Hecate, holding two torches, looks back as she leads her to the enthroned Demeter.[77]
The tenth-century Byzantine encyclopedia Suda introduces a goddess of a blessed afterlife assured to Orphic mystery initiates. This Macaria is asserted to be the daughter of Hades, but no mother is mentioned.[78]

[edit]Pluto-Interpretation of the myth


Pinax of Persephone and Hades from Locri. Reggio Calabria, National Museum of Magna Graecia.
In the myth Pluto abducts Persephone to be his wife and the queen of his realm.[79] Pluto (Πλούτων, Ploutōn) was a name for the ruler of the underworld; the god was also known as Hades, a name for the underworld itself. The name Pluton was conflated with that of Ploutos (Πλούτος Ploutos, "wealth"), a god of wealth, because mineral wealth was found underground, and because Pluto as a chthonic god ruled the deep earth that contained the seeds necessary for a bountiful harvest.[79] Plouton is lord of the dead, but as Persephone's husband he has serious claims to the powers of fertility.[80]
In the Theogony of HesiodDemeter was united with the hero Iasion in Crete and she bore Ploutos.[70] This union seems to be a reference to a hieros gamos (ritual copulation) to ensure the earth's fertility.[80] This ritual copulation appears in Minoan Crete, in many Near Eastern agricultural societies, and also in theAnthesteria.[81]
Nilsson believes that the original cult of Ploutos (or Pluto) in Eleusis was similar with the Minoan cult of the "divine child", who died in order to be reborn. The child was abandoned by his mother and then it was brought up by the powers of nature. Similar myths appear in the cults of Hyakinthos (Amyklai), Erichthonios (Athens), and later in the cult of Dionysos.[82]
The Greek version of the abduction myth is related to corn – important and rare in the Greek environment – and the return (ascent) of Persephone was celebrated at the autumn sowing. Pluto (Ploutos) represents the wealth of the corn that was stored in underground silos or ceramic jars (pithoi), during summer months. Similar subterranean pithoi were used in ancient times for burials and Pluto is fused with Hades, the King of the realm of the dead. During summer months, the Greek Corn-Maiden (Kore) is lying in the corn of the underground silos, in the realm of Hades and she is fused with Persephone, the Queen of the underworld. At the beginning of the autumn, when the seeds of the old crop are laid on the fields, she ascends and is reunited with her mother Demeter, for at that time the old crop and the new meet each other. For the initiated, this union was the symbol of the eternity of human life that flows from the generations which spring from each other.[83][84]

[edit]The Arcadian myths


From L-R, Artemis, Demeter, Veil of Despoina, Anytus, Tritoness from the throne of Despoina at LycosuraNational Archaeological Museum of Athens
The primitive myths of isolated Arcadia seem to be related to the first Greek-speaking people who came from the north-east during the bronze ageDespoina, (the mistress) the goddess of the Arcadian mysteries, is the daughter of Demeter and Poseidon Hippios (horse), who represents the river spirit of the underworld that appears as a horse as often happens in northern-European folklore. He pursues the mare-Demeter and from the union she bears the horse Arion and a daughter who originally had the form or the shape of a mare. The two goddesses were not clearly separated and they were closely connected with the springs and the animals. They were related with the god of rivers and springs; Poseidon and especially with Artemis, the Mistress of the Animals who was the first nymph.[2] According to the Greek tradition a hunt-goddess preceded the harvest goddess.[85] In Arcadia, Demeter and Persephone were often called Despoinai (Δέσποιναι, "the mistresses") in historical times. They are the two Great Goddesses of the Arcadian cults, and evidently they come from a more primitive religion.[20] The Greek godPoseidon probably substituted the companion (Paredros, Πάρεδρος) of the Minoan Great goddess[86] in the Arcadian mysteries.