{"id":2046,"date":"2018-02-02T18:32:40","date_gmt":"2018-02-02T23:32:40","guid":{"rendered":"http:\/\/julianasilva.co\/?p=2046"},"modified":"2019-11-22T21:08:17","modified_gmt":"2019-11-23T02:08:17","slug":"living-organisms-for-living-spaces-shifting-the-function-of-the-material-by-juliana-silva-2018","status":"publish","type":"post","link":"https:\/\/julianasilva.co\/?p=2046","title":{"rendered":"Living Organisms for Living Spaces: Shifting the function of the material by Juliana Silva 2018"},"content":{"rendered":"\n<p class=\"has-normal-font-size wp-block-paragraph\"><a href=\"https:\/\/digitalcommons.unl.edu\/cgi\/viewcontent.cgi?article=2112&amp;context=tsaconf\">https:\/\/digitalcommons.unl.edu\/cgi\/viewcontent.cgi?article=2112&amp;context=tsaconf<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Living Organisms for Living Spaces: Shifting the function of material<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\">Juliana Silva Diaz<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Abstract<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">This document explains the creative and analytical processes behind the project Living Organisms for Living Spaces. This art project examines the conceptual considerations around material by analyzing \u2018objects\u2019 \u2013 specifically fabric and textile ornaments \u2013&nbsp;from Colombia\u2019s material culture.&nbsp;&nbsp;The project explores&nbsp;the symbolic meaning of these objects that have both a Catholic and colonial legacy in society.&nbsp;&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-style-large is-layout-flow wp-block-quote-is-layout-flow\"><p>\u201cTo seek the symbolic potentialities of cloth in its material properties is, however, but a preliminary step, and only partially compelling.&nbsp;&nbsp;Equally important are the human actions that make cloth politically and socially salient.\u201d<\/p><cite>Jane Schneider and Annette B. Weiner<br><em>Cloth and Human Experience\ufeff<\/em><br><\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<ul class=\"wp-block-gallery aligncenter columns-1 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><a href=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/20190119_160323-copy-1024x768.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/20190119_160323-copy-1024x768.jpg\" alt=\"\" data-id=\"2057\" data-link=\"http:\/\/julianasilva.co\/?attachment_id=2057\" class=\"wp-image-2057\" srcset=\"https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/20190119_160323-copy-1024x768.jpg 1024w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/20190119_160323-copy-300x225.jpg 300w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/20190119_160323-copy-768x576.jpg 768w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/20190119_160323-copy.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption><em>Illustration 1: Home altar, art collection of Dominique Rodriguez Dalvard. From author\u2019s collection.&nbsp;&nbsp;\ufeff<\/em><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">The concept of \u2018material\u2019, as we understand it in the modern age stems from its proximity to the concept of \u2018matter\u2019.&nbsp;&nbsp;However, its philosophical meaning dates back to ancient times and is actually connected to the concept of \u2018form\u2019, as explained by professor and art historian, Monika Wagner.&nbsp;&nbsp;In addition, she says that in everyday applications, material&nbsp;is regarded as commonplace and is not highly valued.&nbsp;&nbsp;\u201cIn general, material, unlike matter, refers only to natural and artificial substances intended for further treatment [\u2026]&nbsp;&nbsp;In a narrower sense, material is the stuff which provides the parent substances for artistic creation.\u201d<a href=\"applewebdata:\/\/6DE22D67-DD95-4EC9-BD38-93CF18D87154#_ftn1\"><sup>[1]<\/sup><\/a>&nbsp;&nbsp;Thus, \u2018material\u2019 is usually understood simply as a means that exists to service form. Therefore, Wagner suggests that the understanding of \u2018material\u2019 as an \u2018aesthetic category\u2019 in itself is recent.&nbsp;&nbsp;In this sense, by using unconventional materials, contemporary artists have changed the very idea of material. These materials are charged with meaning and this meaning begins to play a valuable role in the work.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">This document explains the creative and analytical processes through which the project&nbsp;<em>Living Organisms for Living Spaces<\/em>&nbsp;was realized.&nbsp;&nbsp;This art project examines the conceptual considerations around material by analyzing \u2018objects\u2019 \u2013 specifically fabric and textile ornaments \u2013&nbsp;from Colombia\u2019s material culture.&nbsp;&nbsp;Colombia is a country built on Catholic beliefs, thus the project explores&nbsp;the symbolic meaning of these objects that have both a Catholic and colonial legacy in society.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">There are two concepts that underline this body of work: \u2018Materiality\u2019 and \u2018The Uncanny\u2019.&nbsp;&nbsp;In describing the art pieces, I intertwine the unfolded material reflection and the appropriation of the uncanny. This strategy transforms objects into something new, disrupting their prior meanings and functions.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">The material approach begins with the vision of art historian, Edward Sullivan.&nbsp;&nbsp;His methodology is to investigate \u2018objects\u2019 \u201cand use them as a starting point to discuss social, political, religious, and theoretical readings of their meanings\u201d<a href=\"applewebdata:\/\/6DE22D67-DD95-4EC9-BD38-93CF18D87154#_ftn2\"><sup>[2]<\/sup><\/a>.&nbsp;&nbsp;I appropriate this methodology for the visual arts.&nbsp;&nbsp;Textiles and ornaments all come under the umbrella of \u2018objects\u2019 and they are also my materials.&nbsp;&nbsp;In addition to understanding material culture on a symbolic level \u2013&nbsp;where materiality offers a metaphor to unveil cultural transmissions, values, and beliefs \u2013 I am also attracted to textiles because of their intrinsic transformation qualities.&nbsp;&nbsp;Fabrics always have the potential to become something else.&nbsp;&nbsp;They are flat but can acquire multiple forms.&nbsp;&nbsp;They are also functional and serve many functions such clothing or household decoration, from curtains to tablecloths, blankets or upholstery.&nbsp;&nbsp;Primarily, fabrics are used for covering and protecting objects or the body.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">On the other hand, I am captivated by religious imagery, which is very common, perhaps even ubiquitous, in decorating Colombian homes (See Illustration 1).&nbsp;&nbsp;I decide to explore Colombia\u2019s Catholic background through an examination of materials such as velvet, gold threads, tassels, and lace.&nbsp;&nbsp;In doing so, I seek to delve into the subtle codes that are used to endorse power.&nbsp;&nbsp;The concept of the \u2018The Uncanny\u2019 is also a way of disrupting these codes of power.&nbsp;&nbsp;Umberto Eco\u2019s book,&nbsp;<em>On Ugliness,&nbsp;<\/em>devotes a whole chapter to this theme, examining the ideas of Ernst&nbsp;Jentsch, and his essay,&nbsp;<em>On the Psychology of the Uncanny<\/em>.&nbsp;&nbsp;Eco says that&nbsp;Jentsch&nbsp;defined it as \u201csomething&nbsp;<em>unusual<\/em>, which causes \u2018intellectual uncertainty\u2019 and which we can\u2019t \u2018figure out\u2019\u201d<a href=\"applewebdata:\/\/6DE22D67-DD95-4EC9-BD38-93CF18D87154#_ftn3\"><sup>[3]<\/sup><\/a>.&nbsp;&nbsp;Following that line of thought, the uncanny embodies both the familiar and unfamiliar.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">By intertwining ideas of materiality into those of the uncanny, my artwork interrogates the transformation of fabrics throughout history, questioning legacies by shifting the function of the material.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Materiality is the entry point of my work.&nbsp;&nbsp;There is a fascination with the tactility of materials and the way in which one experiences that tactility visually as well as physically.&nbsp;&nbsp;This is particularly true for textiles and, in addition to their symbolic meanings, is another reason why I find them captivating.&nbsp;&nbsp;In my work, I deliberately use materials designed to serve a functional purpose in daily life.&nbsp;&nbsp;Each time I approach a textile in my practice I start to ask questions such as: Where is that fabric made?&nbsp;&nbsp;What is made for?&nbsp;&nbsp;Who wears it?&nbsp;&nbsp;Which fiber was used to make it?&nbsp;&nbsp;Why is it this color?&nbsp;&nbsp;In which context is it used? (See Illustration 2.) My research into these questions shows that the fabrics are a testimony to social transformation.&nbsp;&nbsp;It means that by analyzing humans\u2019 interaction with textiles I am able to unravel the idiosyncrasies of a society.<\/p>\n\n\n\n<ul class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><a href=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Lace-popular-culture-Blanco-1024x268.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"268\" src=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Lace-popular-culture-Blanco-1024x268.jpg\" alt=\"\" data-id=\"2060\" data-link=\"http:\/\/julianasilva.co\/?attachment_id=2060\" class=\"wp-image-2060\" srcset=\"https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Lace-popular-culture-Blanco-1024x268.jpg 1024w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Lace-popular-culture-Blanco-300x78.jpg 300w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Lace-popular-culture-Blanco-768x201.jpg 768w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Lace-popular-culture-Blanco.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption><em>Illustration 2: Buenaventura\u2019s market, Colombia. From author\u2019s collection.\ufeff<\/em><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Immersed in my research, I pay attention to velvet in reds, purples and greens.&nbsp;&nbsp;These colors remind me of the dresses on wooden statues of the Virgin Mary; of today\u2019s upholstery in working-class homes; and of evening gowns popular among girls in Colombia (Illustration 3).&nbsp;&nbsp;I observe that the velvet has the same connotation in each of these incarnations: to cover an object or body and provide it with an aura of power and exclusivity.&nbsp;&nbsp;The aspirational or exclusive aspect catches my attention. Mass production means that today the cost of velvet is lower and so it has lost some of its exclusivity. Where then does this symbolic meaning of exclusivity come from?&nbsp;&nbsp;Historically, velvet\u2019s high cost made it accessible only to nobility and the ecclesiastical community<a href=\"applewebdata:\/\/6DE22D67-DD95-4EC9-BD38-93CF18D87154#_ftn4\"><sup>[4]<\/sup><\/a>.&nbsp;&nbsp;If velvet once signified royal and religious power \u2013 and still has some residual meaning \u2013 increasingly it has come to signify the loss of exclusivity due to the simplification of production.<\/p>\n\n\n\n<ul class=\"wp-block-gallery aligncenter columns-1 is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><a href=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/DSC_0472.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"941\" height=\"813\" src=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/DSC_0472.jpg\" alt=\"\" data-id=\"2073\" data-link=\"http:\/\/julianasilva.co\/?attachment_id=2073\" class=\"wp-image-2073\" srcset=\"https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/DSC_0472.jpg 941w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/DSC_0472-300x259.jpg 300w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/DSC_0472-768x664.jpg 768w\" sizes=\"auto, (max-width: 941px) 100vw, 941px\" \/><\/a><figcaption><em>Illustration 3: Our Lady of Carmen, Primatial Cathedral of Bogota. From author\u2019s collection.\ufeff<\/em><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Sullivan examines the material culture in Latin American society during the Colonial era to understand its circumstances and aspirations.&nbsp;&nbsp;Specifically, he analyzes paintings from this period that represent everyday objects and commodities \u2013 including textiles and ornaments.&nbsp;&nbsp;Among the artifacts that Sullivan looks at, I am particularly struck by the Andean paintings that depict wooden statues of the Virgin Mary and her dresses.&nbsp;&nbsp;One example is&nbsp;<em>The Virgin Mary of the Cerro Rico of Potosi<\/em>, (Unknown artist, oil on canvas, Bolivia, 18<sup>th<\/sup>&nbsp;century).&nbsp;&nbsp;The image combines a representation of the Cerro Rico in Potosi, Bolivia with the face of the Virgin Mary while the dress hides the mountain (Cerro Rico) that the native people used to worship.&nbsp;&nbsp;The Virgin\u2019s red dress seems to be velvet and the skirt depicts both clothing and mountain at the same time.&nbsp;&nbsp;Another example is&nbsp;<em>Our Lady of the Rosary of Pomata<\/em>, (Unknown artist, Cuzco, Oil on Canvas, 18<sup>th<\/sup>Century),<em>&nbsp;<\/em>which is rich in patterning and ornamentation&nbsp;(See Illustration 4).<\/p>\n\n\n\n<ul class=\"wp-block-gallery aligncenter columns-1 is-cropped wp-block-gallery-4 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><a href=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Our-Lady-of-the-Rosary.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"766\" height=\"1000\" src=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Our-Lady-of-the-Rosary.jpg\" alt=\"\" data-id=\"2074\" data-link=\"http:\/\/julianasilva.co\/?attachment_id=2074\" class=\"wp-image-2074\" srcset=\"https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Our-Lady-of-the-Rosary.jpg 766w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Our-Lady-of-the-Rosary-230x300.jpg 230w\" sizes=\"auto, (max-width: 766px) 100vw, 766px\" \/><\/a><figcaption><em>Illustration 4: Our Lady of the Rosary of Pomata, art collection of Colonial Museum, Bogota. From author\u2019s collection.\ufeff<\/em><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">These depictions remind me of the religious iconography that surrounded me in my childhood, such as depictions of Jesus in the Passion Narratives. I have memories of anthropomorphic figures carved in wood and covered with gold; of people carrying statues of the Virgin Mary adorned not only with clothing made from velvet and threads of gold, but also with human hair and glass eyes to enhance their physicality; of processions of penitents wearing purple robes and conical purple hats that covered their faces; and of the white and black veils worn by women at church services. These and other symbolic representations embedded in the culture were on full display, especially during the ritual processions at Easter (See Illustration 5).<\/p>\n\n\n\n<ul class=\"wp-block-gallery aligncenter columns-1 is-cropped wp-block-gallery-5 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><a href=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Semana_Santa_en_Popay\u00e1n_13903409316-1024x768.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Semana_Santa_en_Popay\u00e1n_13903409316-1024x768.jpg\" alt=\"\" data-id=\"2072\" data-link=\"http:\/\/julianasilva.co\/?attachment_id=2072\" class=\"wp-image-2072\" srcset=\"https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Semana_Santa_en_Popay\u00e1n_13903409316-1024x768.jpg 1024w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Semana_Santa_en_Popay\u00e1n_13903409316-300x225.jpg 300w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Semana_Santa_en_Popay\u00e1n_13903409316-768x576.jpg 768w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Semana_Santa_en_Popay\u00e1n_13903409316.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption><em>Illustration 5: Saint Ecce Homo during The Holy Week Procession, Popayan, Colombia. From Policia Nacional de Colombia\u2019s collection.\ufeff<\/em><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">These memories turn into curiosity and a fascination with fabric that drives my artistic investigations.&nbsp;&nbsp;For example, I focus my attention on velvet because of its colonial legacy.&nbsp;&nbsp;Its introduction in Latin America began with the exposure of indigenous people to Catholicism.&nbsp;&nbsp;The Catholic Church was one of the most important consumers of sumptuary objects, and velvet was highly sought after.&nbsp;&nbsp;Velvet\u2019s complex production process made it expensive and only affordable for the elites.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">The work&nbsp;<em>Specimens<\/em>&nbsp;(See Illustration 6) emerged from this research into fabric.&nbsp;This is a series of photographs of hand-made \u2018stuffed\u2019 objects, covered with polyester velvet and drapery mesh.&nbsp;&nbsp;I made velvet spheres, wrapped in a grid of green mesh.&nbsp;&nbsp;Gold threads grow from some of the spheres giving the appearance of hair follicles.&nbsp;&nbsp;In&nbsp;<em>Specimens<\/em>, I seek to disrupt the connotation and function of the fabrics.&nbsp;&nbsp;Most of my materials selection examines the old symbols of power and wealth inherited from the Catholic institution that permeated the domestic atmosphere. I pay particular attention to materials that infiltrate domestic situations because I consider that the domesticity trivializes them.&nbsp;&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-gallery aligncenter columns-1 is-cropped wp-block-gallery-6 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><a href=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2017\/04\/Specimens-7web-1024x1024.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2017\/04\/Specimens-7web-1024x1024.jpg\" alt=\"\" data-id=\"1119\" data-link=\"http:\/\/julianasilva.co\/?attachment_id=1119\" class=\"wp-image-1119\" srcset=\"https:\/\/julianasilva.co\/wp-content\/uploads\/2017\/04\/Specimens-7web-1024x1024.jpg 1024w, https:\/\/julianasilva.co\/wp-content\/uploads\/2017\/04\/Specimens-7web-150x150.jpg 150w, https:\/\/julianasilva.co\/wp-content\/uploads\/2017\/04\/Specimens-7web-300x300.jpg 300w, https:\/\/julianasilva.co\/wp-content\/uploads\/2017\/04\/Specimens-7web-768x768.jpg 768w, https:\/\/julianasilva.co\/wp-content\/uploads\/2017\/04\/Specimens-7web.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption><em>Illustration 6:&nbsp;Specimens, inkjet on matte Photo Rag paper, 32\u201dx32\u201d,201.&nbsp;From author\u2019s collection.\ufeff<\/em><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">In search of disruption, I find the concept of \u2018The Uncanny\u2019, an idea that I appropriate to develop my work.&nbsp;I am intrigued by Eco\u2019s exploration of objects that trigger a sense of so-called intellectual uncertainty \u2013 \u201csomething that isn\u2019t going the way that it should.\u201d&nbsp;Rather than rejecting the uncanny, I seek to develop a level of curiosity about it.&nbsp;&nbsp;The ambiguity of familiarity and unfamiliarity simultaneously produces discomfort \u2013 because that object does not fit into a recognizable category.&nbsp;&nbsp;I am interested in the liminal places, on the borders where it is hard to categorize, name and order (See Illustration 7).&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-gallery aligncenter columns-1 is-cropped wp-block-gallery-7 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><a href=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Fungi_Genl-Deta-Web-1024x791.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"791\" src=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Fungi_Genl-Deta-Web-1024x791.jpg\" alt=\"\" data-id=\"2069\" data-link=\"http:\/\/julianasilva.co\/?attachment_id=2069\" class=\"wp-image-2069\" srcset=\"https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Fungi_Genl-Deta-Web-1024x791.jpg 1024w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Fungi_Genl-Deta-Web-300x232.jpg 300w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Fungi_Genl-Deta-Web-768x593.jpg 768w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Fungi_Genl-Deta-Web.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption><em>Illustration 7:&nbsp;Illustration 8.&nbsp;Fungi<\/em>,<em>&nbsp;drapery lace, golden taffeta, dimensions variable, 2017.&nbsp;From author\u2019s collection.\ufeff<\/em><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">This idea of \u2018The Uncanny\u2019 is more evident in the work&nbsp;<em>Anomalies<\/em>&nbsp;(See Illustration 8).&nbsp;&nbsp;<em>Anomalies<\/em>&nbsp;is a set of two boxes wrapped with drapery lace positioned on the wall.&nbsp;&nbsp;The boxes contain objects made from both fabrics and garments.&nbsp;&nbsp;The first contains objects made out of red velvet and gold threads which hang out of the box; the second contains pieces made from green tassels that are pulled through the mesh of the lace.&nbsp;&nbsp;In both boxes the objects suggest that they want to grow and exceed the limits of their containers, which also deforms the containers themselves.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">My intention was to create pieces that generate a certain familiarity: while the final form causes confusion, the treatment of the materials still allows the viewer to recognize them.&nbsp;&nbsp;The lace was placed deliberately to challenge the view of what is inside.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Gestures applied to the pieces, such as the tumors that deform the boxes or the material that is pulled out through the mesh, became actions that alter perceptions.&nbsp;&nbsp;These gestures are an invitation to re-evaluate cultural borders and re-think our bodies in terms of what is included and what is excluded.&nbsp;&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-gallery aligncenter columns-1 is-cropped wp-block-gallery-8 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><a href=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Anomalies_x2web-1024x757.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"757\" src=\"http:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Anomalies_x2web-1024x757.jpg\" alt=\"\" data-id=\"2070\" data-link=\"http:\/\/julianasilva.co\/?attachment_id=2070\" class=\"wp-image-2070\" srcset=\"https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Anomalies_x2web-1024x757.jpg 1024w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Anomalies_x2web-300x222.jpg 300w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Anomalies_x2web-768x568.jpg 768w, https:\/\/julianasilva.co\/wp-content\/uploads\/2019\/11\/Anomalies_x2web.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption><em>Illustration 8:&nbsp;Anomalies,<\/em>&nbsp;drapery lace, fringe, wood structure, 21\u201dx17\u201dx8\u201d, 2017.&nbsp;<em>From&nbsp;author\u2019s collection.\ufeff<\/em><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">The way the materials are purposefully transformed reveals subtle acts of domination, resistance, and ultimately negotiation, all of which are underlined in culture.&nbsp;&nbsp;I decided to give voice to the materials, they are artifacts that become witnesses, and they are present in our daily lives and in our domesticity.&nbsp;&nbsp;Materials are observers of the exchange between subjects and objects; they allow me to speak about what is unnoticed because they are deeply rooted, silent, and potent.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">The&nbsp;<em>Living Organisms for Living Spaces&nbsp;<\/em>project is a commentary about containment, domination, and domestication.&nbsp;&nbsp;The creatures inside the boxes are expanding beyond the limits of the containers that house them.&nbsp;&nbsp;There is a subtle violence between the content and the container: forces are colliding and merging.&nbsp;&nbsp;The lace that establishes the limits is both stretching and resisting \u2013 the pieces inside are coming out and pushing the border of the container.&nbsp;&nbsp;<em>Living Organisms for Living Spaces<\/em>&nbsp;gives us a taste of abnormality in the safe surrounding of our own living rooms.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong>Notes<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><sup>[1]<\/sup>&nbsp;Wagner, Monika.&nbsp;&nbsp;\u201cMaterial.\u201d Lange-Berndt, Petra.&nbsp;&nbsp;<em>Materiality<\/em>.&nbsp;<em>26<\/em><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><sup>2<\/sup>&nbsp;Sullivan, Edward J.&nbsp;&nbsp;<em>The Language of Objects in the Art of the Americas<\/em>.&nbsp;XVI<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><sup>3<\/sup>&nbsp;Eco,&nbsp;Umberto.&nbsp;<em>On Ugliness<\/em>.&nbsp;311<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><sup>4<\/sup>&nbsp;Peck, Amelia.&nbsp;<em>Interwoven Globe: The Worldwide Textile Trade, 1500-1800<\/em>.&nbsp;&nbsp;2013.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong>Bibliography<\/strong><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Eco, Umberto. &#8220;Lowbrow Highbrow, Highbrow Lowbrow.&#8221; Ed. Carol Anne Runyon Mahsun.&nbsp;<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><em>Pop Art: The Critical Dialogue<\/em>. Ann Arbor, Mich.: UMI Research Pr., 1989. 221-31. Print.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">&#8212;, Umberto.&nbsp;<em>On Ugliness<\/em>. New York: Rizzoli, 2011. Print.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Lange-Berndt, Petra.&nbsp;<em>Materiality<\/em>. London: Whitechapel Gallery, 2015. Print.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Le\u00f3n De La Barra, Pablo.&nbsp;&#8220;Under De Same Sun: Art from Latin American Today.&#8221; (n.d.): n. Web. 28 Apr. 2016<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Peck, Amelia.&nbsp;<em>Interwoven Globe: The Worldwide Textile Trade, 1500-1800<\/em>. n.p.: New York: Metropolitan Museum of Art, [2013], 2013.&nbsp;<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Sullivan, Edward J.&nbsp;<em>The Language of Objects in the Art of the Americas<\/em>. New Haven: Yale UP, 2007. Print.<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\">Wagner, Monika. \u201cMaterial.\u201d&nbsp;Lange-Berndt, Petra.&nbsp;<em>Materiality<\/em>. London: Whitechapel Gallery, 2015. Print.<br><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><a href=\"applewebdata:\/\/6DE22D67-DD95-4EC9-BD38-93CF18D87154#_ftnref1\"><sup>[1]<\/sup><\/a>&nbsp;Wagner, Monika.&nbsp;&nbsp;\u201cMaterial.\u201d Lange-Berndt, Petra.&nbsp;&nbsp;<em>Materiality<\/em>.&nbsp;&nbsp;London: Whitechapel Gallery, 2015.&nbsp;&nbsp;Print,&nbsp;<em>26<\/em><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><a href=\"applewebdata:\/\/6DE22D67-DD95-4EC9-BD38-93CF18D87154#_ftnref2\"><sup>[2]<\/sup><\/a>&nbsp;Sullivan, Edward J.&nbsp;&nbsp;<em>The Language of Objects in the Art of the Americas<\/em>.&nbsp;&nbsp;New Haven: Yale UP, 2007.&nbsp;&nbsp;Print.&nbsp;XVI<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><a href=\"applewebdata:\/\/6DE22D67-DD95-4EC9-BD38-93CF18D87154#_ftnref3\"><sup>[3]<\/sup><\/a>&nbsp;Eco,&nbsp;Umberto.&nbsp;<em>On Ugliness<\/em>. New York: Rizzoli, 2011. Print.&nbsp;311<\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><a href=\"applewebdata:\/\/6DE22D67-DD95-4EC9-BD38-93CF18D87154#_ftnref4\"><sup>[4]<\/sup><\/a>&nbsp;Peck, Amelia.&nbsp;<em>Interwoven Globe: The Worldwide Textile Trade, 1500-1800<\/em>.&nbsp;&nbsp;n.p.: New York: Metropolitan Museum of Art,&nbsp;&nbsp;2013.&nbsp;&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>https:\/\/digitalcommons.unl.edu\/cgi\/viewcontent.cgi?article=2112&amp;context=tsaconf Living Organisms for Living Spaces: Shifting the function of material Juliana Silva Diaz Abstract&#8230;<\/p>\n","protected":false},"author":2,"featured_media":2048,"comment_status":"closed","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[55],"tags":[65,35],"class_list":["post-2046","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-writing","tag-essays-escritos","tag-articulo"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2.1 - aioseo.com -->\n\t<meta name=\"description\" content=\"https:\/\/digitalcommons.unl.edu\/cgi\/viewcontent.cgi?article=2112&amp;context=tsaconf Living Organisms for Living Spaces: Shifting the function of material Juliana Silva Diaz Abstract This document explains the creative and analytical processes behind the project Living Organisms for Living Spaces. 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