Eample Submission - Kait Roads

Intro

The story for my installation is the exaltation of kelp forests and the promotion of kelp ecology. We have 22 varieties of kelp in the Salish Sea, the only spot in the world that has more is Japan, kelp sequesters carbon, creates oxygen, and is an ecosystem regulator. I propose to celebrate what kelp does for the environment by creating an installation that allows the viewer to experience kelp in its natural habitat/ a theater set that mimics the experience of being in a kelp forest.

Intro

The story for my installation is the exaltation of kelp forests and the promotion of kelp ecology. We have 22 varieties of kelp in the Salish Sea, the only spot in the world that has more is Japan, kelp sequesters carbon, creates oxygen, and is an ecosystem regulator. I propose to celebrate what kelp does for the environment by creating an installation that allows the viewer to experience kelp in its natural habitat/ a theater set that mimics the experience of being in a kelp forest.

Intro

The story for my installation is the exaltation of kelp forests and the promotion of kelp ecology. We have 22 varieties of kelp in the Salish Sea, the only spot in the world that has more is Japan, kelp sequesters carbon, creates oxygen, and is an ecosystem regulator. I propose to celebrate what kelp does for the environment by creating an installation that allows the viewer to experience kelp in its natural habitat/ a theater set that mimics the experience of being in a kelp forest.

VIsion

I would install one large form in the center of the Gallery, or multiple forms on the walls of the gallery that are inspired by this bifurcating maquette I made at a residency last summer in France. (Image 12). It is not a literal representation of any kelp or seaweed so it can represent all types of algae, sort of a proto kelp. This/these sculptures would be made out of transparent green glass tubes suspended with rope. They would need to be attached to the ceiling or to a structure built out from the walls. The perimeter of the Gallery/the walls will be covered by Mylar to create a semi reflective feeling of expansiveness in the space. I feel unsure as to the possibility of securing a sculpture to the middle of the ceiling in method gallery’s space, so if the sculptures need to hang off of the walls/something that I build off of the walls to support the weight of the glass, I feel that is still possible to create an immersive feeling by installing multiple half kelps hanging near the reflective mylar walls. Four tiny speakers around the room softly play publicly generated stories of kelp, the sound moving in and out in a mimic of waves on the shore. These visual and audio elements would transform the gallery and create the illusion of being underwater.

VIsion

I would install one large form in the center of the Gallery, or multiple forms on the walls of the gallery that are inspired by this bifurcating maquette I made at a residency last summer in France. (Image 12). It is not a literal representation of any kelp or seaweed so it can represent all types of algae, sort of a proto kelp. This/these sculptures would be made out of transparent green glass tubes suspended with rope. They would need to be attached to the ceiling or to a structure built out from the walls. The perimeter of the Gallery/the walls will be covered by Mylar to create a semi reflective feeling of expansiveness in the space. I feel unsure as to the possibility of securing a sculpture to the middle of the ceiling in method gallery’s space, so if the sculptures need to hang off of the walls/something that I build off of the walls to support the weight of the glass, I feel that is still possible to create an immersive feeling by installing multiple half kelps hanging near the reflective mylar walls. Four tiny speakers around the room softly play publicly generated stories of kelp, the sound moving in and out in a mimic of waves on the shore. These visual and audio elements would transform the gallery and create the illusion of being underwater.

VIsion

I would install one large form in the center of the Gallery, or multiple forms on the walls of the gallery that are inspired by this bifurcating maquette I made at a residency last summer in France. (Image 12). It is not a literal representation of any kelp or seaweed so it can represent all types of algae, sort of a proto kelp. This/these sculptures would be made out of transparent green glass tubes suspended with rope. They would need to be attached to the ceiling or to a structure built out from the walls. The perimeter of the Gallery/the walls will be covered by Mylar to create a semi reflective feeling of expansiveness in the space. I feel unsure as to the possibility of securing a sculpture to the middle of the ceiling in method gallery’s space, so if the sculptures need to hang off of the walls/something that I build off of the walls to support the weight of the glass, I feel that is still possible to create an immersive feeling by installing multiple half kelps hanging near the reflective mylar walls. Four tiny speakers around the room softly play publicly generated stories of kelp, the sound moving in and out in a mimic of waves on the shore. These visual and audio elements would transform the gallery and create the illusion of being underwater.

description

Towards the entrance on the wall, there will be a show statement (I will also be creating a webpage to support the show, so I will also have a QR code that links to more in-depth information on kelp), as well as a wall-mounted artwork, a bifurcation construction (like Image 12) that will be arranged on the wall in the configuration of a pair of lungs to create empathy for kelp/seaweed by correlating it to the human body. The large sculpture/s in the Gallery proper also create an opportunity for the viewer to experience kelp by visiting the realm kelp lives. The mylar on the walls includes the participants in the sculpture by being able to observe their reflection moving amongst the reflection of the sculpture, creating connection and empathy. In the windows I would suspend constructions of transparent green bifurcation studies in plastic/silk cloth, lacy and light weight, they would not obscure the view into the gallery, but rather to entice the passerby to look into the windows.

description

Towards the entrance on the wall, there will be a show statement (I will also be creating a webpage to support the show, so I will also have a QR code that links to more in-depth information on kelp), as well as a wall-mounted artwork, a bifurcation construction (like Image 12) that will be arranged on the wall in the configuration of a pair of lungs to create empathy for kelp/seaweed by correlating it to the human body. The large sculpture/s in the Gallery proper also create an opportunity for the viewer to experience kelp by visiting the realm kelp lives. The mylar on the walls includes the participants in the sculpture by being able to observe their reflection moving amongst the reflection of the sculpture, creating connection and empathy. In the windows I would suspend constructions of transparent green bifurcation studies in plastic/silk cloth, lacy and light weight, they would not obscure the view into the gallery, but rather to entice the passerby to look into the windows.

description

Towards the entrance on the wall, there will be a show statement (I will also be creating a webpage to support the show, so I will also have a QR code that links to more in-depth information on kelp), as well as a wall-mounted artwork, a bifurcation construction (like Image 12) that will be arranged on the wall in the configuration of a pair of lungs to create empathy for kelp/seaweed by correlating it to the human body. The large sculpture/s in the Gallery proper also create an opportunity for the viewer to experience kelp by visiting the realm kelp lives. The mylar on the walls includes the participants in the sculpture by being able to observe their reflection moving amongst the reflection of the sculpture, creating connection and empathy. In the windows I would suspend constructions of transparent green bifurcation studies in plastic/silk cloth, lacy and light weight, they would not obscure the view into the gallery, but rather to entice the passerby to look into the windows.

With these proposed sculptures I would like to include public participation. I plan to record stories of kelp from volunteer participants and to obtain one to three written words about the positive environmental impact of kelp/seaweed. These words would be engraved on the green glass tubes, so that as the sculpture takes it’s branching form, it also becomes a poem (in celebration of Kelp/seaweed). In my plan, the way that I would receive the words would be to have the participants write directly onto thin plastic/cloth that I can use to create the bifurcation studies in the windows.

I am applying for a residency in Bergin, Norway (sister city to Seattle) to create the glass, publicly generate input and have a small exposition there to try out enlarging the small bifurcating sculpture two and four times the size that it is now (8 inches) and figuring out some engineering problems. I would include the work I make from this residency into the work in masa gallery, so it would be sort of an international bridge between the people of Norway and the people of Seattle. I’m in the process of applying for local grants to create the work for this proposed show in Method Gallery, and to support a public event to raise awareness of Kelp/ have an art making opportunity/a take home for the participants and gather words and recordings for my installation. I’m exploring how to integrate my passion for ocean ecology with creating art. I like having the public participate and make artwork as it can be a vehicle for creating empathy for the environment.

With these proposed sculptures I would like to include public participation. I plan to record stories of kelp from volunteer participants and to obtain one to three written words about the positive environmental impact of kelp/seaweed. These words would be engraved on the green glass tubes, so that as the sculpture takes it’s branching form, it also becomes a poem (in celebration of Kelp/seaweed). In my plan, the way that I would receive the words would be to have the participants write directly onto thin plastic/cloth that I can use to create the bifurcation studies in the windows.

I am applying for a residency in Bergin, Norway (sister city to Seattle) to create the glass, publicly generate input and have a small exposition there to try out enlarging the small bifurcating sculpture two and four times the size that it is now (8 inches) and figuring out some engineering problems. I would include the work I make from this residency into the work in masa gallery, so it would be sort of an international bridge between the people of Norway and the people of Seattle. I’m in the process of applying for local grants to create the work for this proposed show in Method Gallery, and to support a public event to raise awareness of Kelp/ have an art making opportunity/a take home for the participants and gather words and recordings for my installation. I’m exploring how to integrate my passion for ocean ecology with creating art. I like having the public participate and make artwork as it can be a vehicle for creating empathy for the environment.

With these proposed sculptures I would like to include public participation. I plan to record stories of kelp from volunteer participants and to obtain one to three written words about the positive environmental impact of kelp/seaweed. These words would be engraved on the green glass tubes, so that as the sculpture takes it’s branching form, it also becomes a poem (in celebration of Kelp/seaweed). In my plan, the way that I would receive the words would be to have the participants write directly onto thin plastic/cloth that I can use to create the bifurcation studies in the windows.

I am applying for a residency in Bergin, Norway (sister city to Seattle) to create the glass, publicly generate input and have a small exposition there to try out enlarging the small bifurcating sculpture two and four times the size that it is now (8 inches) and figuring out some engineering problems. I would include the work I make from this residency into the work in masa gallery, so it would be sort of an international bridge between the people of Norway and the people of Seattle. I’m in the process of applying for local grants to create the work for this proposed show in Method Gallery, and to support a public event to raise awareness of Kelp/ have an art making opportunity/a take home for the participants and gather words and recordings for my installation. I’m exploring how to integrate my passion for ocean ecology with creating art. I like having the public participate and make artwork as it can be a vehicle for creating empathy for the environment.

Kait Rhoads

Intro

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VIsion

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Kait
Rhoads