Krysten Cunningham works in physics laboratory but does other tasks. For example, Giattino reports her saying that “For instance I am working on a video project called ‘3 to 4’ that uses color as way to expand out notions of dimension”. The lecturer’s work passes on desired messages through figurative artistic work captured in sculptural and craftwork. Krysten laments, “I use weaving in a way that ignores the warp and weft.
So if you think about my weaving as text, the words have left the page” (Giattino 2). A woven article needs to be seen as a whole not in terms of warps and wefts.
However, the krysten’s work does not directly unveil the intended themes. For instance the colors selected, in lurking way, address the societal problems of racial discrimination and prejudices. She says “The Quercitron sculpture is named for its color” (Giattino 2).
She believes that the differences existing amongst individuals is a matter of how we visualize and interpret issues occurring in our environment. Furthermore, through her sculptural work, krysten emphasizes on the need for change of perceptions to enhance a harmonious understanding of all people differences and ways of life. To her this is manageable through multi-dimensional space visualizations.
She inquires, “When you suggest an alternative to the pedagogy, using authoritative tone with blatantly subjective information, what happens to the viewer? How do they process the information when the signals are crossed…?” (Giattino 2)` Our mind deceives us by giving wrong interpretations of issues just as a sculpture could be given different forms and colors to portray different messages.
She could not recognize her sculpture remembrance to the hypercube but on viewing hypercube video, she was able to see it.
Her work is draws interest especially on learning that what is importance is availing comparative information to people to make them fully appreciate themselves and the society they live in: something she amicably does through her sculptural and craft work. Pictures are worth million words!
Mary Weatherford lives and work in Los Angeles as an artist. Apart from her job, she participates in painting and group and or individual artistic painting works exhibitions. She effectively voices her concerns through paintings.
Rachael Kushner laments that “her canvases have changed by fascinating degrees over her long career: from the feminist-tinged minimal targets she was painting when she started up; to spare washes of color” (Robert Para 2) indicating that she handles many painting tasks. Her artistic work can be described as long-term critical marks of recognition that have not yet but are waiting to take their rightful places in museums.
Despite Mary Weatherford’s position that “all that comprises a good deal depend on one’s price range” (Robert Para 1), her paintings are wonderful investments. By careful selection and blending of colors, Mary Weatherford is able to make her paintings reflective of her metal affiliations about the society.
She drives the theme of deeply ingrained unity home. According to her artistry, folks seem to be united from distances but on taking closer look, it is not the case. For example, the painting at sisters and cottage home show exemplify this theme as knight reports that the “…the autumnal beauty of the image melds with a fecund profusion of linear marks to curve out remarkably deep layers of space” (Robert Para 4).
I get particularly interested in that “Her works suggest that a painting represents the exquisite irregularities of material reality at its own peril” (Robert Para 4) comparable to differences amongst folks in the society. Through additional inclusions to the paintings, she attempts to document history.
Take for instance, the ‘light hearted’ painting featuring four Los Angeles artists: Coughlan, Reeder, Root, and Weatherfold. She glued sponges, starfish and seashells onto tan, blue and purple pools indicative of seashell collecting times. This is quite a unique way of historical narrations using precise a language.
Giattino Gabrielle. Krysten Interviewed by Gabrielle Giattino, 2009. Web. 2 July 2011. http://www.dispatchbureau.com/images/dispatch_bulletins/Dispatch2_KC.pdf
Robert, Mahoney. New Yolk in Review. Arts Magazine, 1990. Web. 2 July 2011. http://www.brennangriffin.com/artists/press/42