In The Land of Slumber

Statement:

With "In The Land of Slumber" I am aiming to manifest the realm of the domestic (or at least an area of it), sentimentally, as a landscape. The patterned bedsheets and pillow shams become mountainous ranges and doilies become their snow topped peaks. Tablecloths and other domestic fabrics become the rolling foothills, weaving rivers, and marshy grasslands and plains. The floral patterns of the fabric become literal representations of plant life. Faux flowers, objects meant to exist solely in the domestic environment, surround the island and become wild trees as tall as the eye can see. The colors are warm and alluring, the cloth billowy and soft; all meant to lure the viewer and invite them to get lost in this new world of the once familiar.

It seems that, for me, the conceptual aspects of a three dimensional piece are secondary to the material and the forms themselves, whereas it's certainly the other way around when I work in two dimensions. The paper/video/computer becomes a means to a greater end in two dimensions. I think that it's simply because you have to be completely conscious and aware of the materials and the reasoning behind using them when you create a three dimensional/sculptural work. You just can't place materials and media on the back burner, if anything they almost always take precedent over conceptuality. I guess all of this goes without saying, but it really does explain my reluctance to make 3-d work over 2-d work. I feel less in control of the work, not to say that I don't have any or that I have to be didactic to be content, but it does hinder me. But I also understand that I'm still rather naive/green with this area of art (more so than others). The relationship between materials and concept is one that I certainly want to continue to explore.