This reimagining can be applied to the themes of femininity by challenging viewers to ask themselves if a "tree" can look like this, what can femininity look like?
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This piece as a whole challenges our own perceptions of natural landscapes by reimagining them with objects that aren't meant to be used in the outdoors (felt and tulle).
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Step 3 is the context. Hernando connects her work to Latin culture by using Latin textile traditions. She also connects her use of tulle, which is typically for tutus and dresses, to the natural world by creating a tree-like form.
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...Meanwhile, the top of the piece feels airy and light by using tulle, suggesting a greater theme of how femininity requires both strength and softness.
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Step 2 is the interpretation. Williams encourages looking at what the work does to the viewer rather than using language that lacks substance. The lower half of Hernando's piece feels stiff and strong which evokes a sense of heaviness...
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The tulle appears to spill from this elevated height, contrasting her waterfall piece which spills on the floor. Additionally, Hernando's process of repetitive stitching along the sides helps the reader understand the stamina behind the work (Williams).
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Williams suggests looking for the "how" for step 1. In Hernando's piece, the tulle is layered in a way that creates volume yet it feels and looks weightless
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After reading "How to Write About Contemporary Art" by Gilda Williams, I learned about her "three jobs" of art writing. 1. what is it? 2. what might it mean? 3. what is it in relation to the world?
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There are also three of these structures in the space, what significance does this have? I feel like 1 would be most powerful and thought provoking, but 3 begins to feel like a forest.
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I continue to wonder what the symbolism is (if there is any) in dying the bottoms of these structures navy blue?
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Thus, the book isn't exactly correct in saying "put it down if you dont like contemporary [or modern art]" (pg. 9), as one can grow to appreciate and find value in it. The book is a more pessimistic view on art and peoples value in it that I dont find appealing. #ConArtInSitu
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I dislike modern art, but being in this class and evaluating, reflecting, and looking more introspectively at the art (specifically the Allies in the MCA) I have a new appreciation for it, and love it a little bit more than what I came into the class with. #ConArtInSitu
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after reading "How to write about cont art" I agreed and disagreed with some moments of the book. The author mentions that if you dislike contemporary art, put the book down (pg. 9). I disagree. You can learn to love different pieces of art, and this book might help on that journey. #ConArtInSitu
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Collins’ use of erasure and an intense interaction with the art work is rugged and imperfect, yet clearly intentional. I like that it feels a little outside the lines because it makes it feel more tangible. That I too can reflect on my own "humanness" and my moral struggles are okay. #ConArtInSitu
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I like the attention to detail in this poem and your noticing of it! Many people just glance at art pieces and dont take time to admire and look at all the aspects of it. Im glad you noticed this text as it brings the art piece to live more and feeds into your interpretation! #ConArtInSitu
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I felt as though I was transported into a different reality, it was really trippy once you sat there and just listened. I like that they put this art here to be interactive. #ConArtInSitu
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“That star is mine. That one is yours. You even count the stars.” This may have been my favorite line from the book of comments. It’s one of those things where you can see the exact image they’re describing because you’ve been there. I love stargazing. Super cute, made me smile.
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17. I believe the "situ" of Splendor of Memory is shaped by its placement in a quiet, expansive gallery that encourages slow viewing. The soft lighting, large scale, medium of the work, and nearby artworks all create an immersive environment centered on memory and reflection. #ConArtInSitu
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16. When I viewed Splendor of Memory during my first visit, I said I would want to live with it in my environment, since it felt calming. While I still agree, I now believe this feeling comes from a sense of slow contemplation that allows you to take in the full presence of the plants. #ConArtInSitu
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15. One primary reason Canvas I stands out is through its use of leading lines, depicted as small pink dots that naturally guided my eye, as a viewer, to the flower on the canvas. I also found the white dots on the flower itself interesting, as they create an almost glossy effect. #ConArtInSitu
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14. Among the six cotton canvases that make up Splendor of Memory, the one that personally stands out to me the most is the first. Canvas I depicts a bright, detailed orange flower, with a variety of differently sized dots in the background surrounding it. #ConArtInSitu
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Even when you focus on one screen from the piece, there’s an echo from the other. You can’t be simply defined by one aspect of your life. We’re all too complex. There’s echos of everything we once were, and are now, in everything we do. We’re shaped by everything we encounter and feel.
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13. This interplay between artwork and setting allows bright colors to stand out naturally without feeling overwhelming, creating an almost glow in the dark effect. This also connects to Hernando's other works, like Waterfall, which uses vivid pink to fill the room it's displayed in. #ConArtInSitu
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Reading the comments in the book was interesting, and I hadn’t done it last time I was there. So many people felt nostalgia for a place they had never actually been. They held so much longing for the feeling associated with a song that tied them to a place in time. #Irelate
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12. The relationship between the work and its surroundings is key, as I find that the space itself helps highlight the piece. The large windows surrounding Splendor of Memory are softened by white curtains, while gentle overhead lighting keeps the environment calm and balanced. #ConArtInSitu
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This whole room is also drowned in nostalgia, which is a feeling I can never escape when I’m traveling by plane. I think that’s part of why this piece really resonates with me.
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When you partially identify with two different things but can’t fully be one or the other, you learn to find comfort in the space in between (the airline chair). It’s individual to you, but you are surrounded by so many who occupy a similar sense of uncertain belonging
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When I realized the chair and karaoke pieces were separate, I found that they mesh better as one. The way I see it, sitting in the airline seat represent a comfort and familiar feeling where you are quite literally “torn” between two distinct identities.
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