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Florida Gulf Coast University
10501 FGCU Blvd, South
Fort Myers, FL 33965-6565
(239) 590-1000 or (800) 590-3428



Senior Project APRIL 2017

As a species, humankind has fallen into a routine of depleting natural resources without a sign of gratitude in return. So many of us have become disconnected from our primal relationship with the natural environment, and we can begin to rebuild that relationship by looking to plants. The seed pod of any plant contains the entire contents of a growing being. In the natural environment, there are specific forms that can be related to mathematics as well as to cosmological religions and beliefs. Referencing one symbol fr
om sacred geometry in my work, the dyad shape is created by the intersection of two circles. When observing seeds, leaves and flower patterns in nature, everything contains this form. Plants are integral in more than reconnection, they are our primary food source and the representation of the health of our planet. In a reconnected world, nature is not a place to be afraid of, but to enjoy when you are balanced and grounded.

Many of my early experiences with nature resulted in unhappy endings. By obsessing over the aspects that could harm me, the outdoors became an uncomfortable place. I am working to ground myself to the primal, natural world and to my own spirituality, and I chose to focus this body of work on creating an environment to foster a positive reconnective experience. Nature reveals the most minute details in patterns, colors, lines, and shapes when we are able to consciously observe them. I have found my own personal inspiration in seeds, trees, plants, and the dyad form, and these fascinations are reflected in my art work. Through this installation of ceramics and collagraph prints, I play with the connection of form and environment to create a pathway to reflect on the positive beauty that nature holds.

The ceramic seed pod sculptures in this installation were constructed with wheel thrown forms further developed with handbuilt additions. To create the organic appearance, the forms were altered prior to the pieces reaching the leatherhard drying stage. Fired in an electric kiln to cone 05, or 1888 degrees Fahrenheit, these low fire white clay pods were treated to a series of ceramic glaze, underglaze, stain, and slip applications. For the collagraph prints, I constructed printing plates with matboard, texturing the surface by applying a variety of materials (sand, burlap, twine, fishing line, etc.) to the matboard with gesso. The visual texture of the materials were emphasized by combining intaglio and relief printmaking techniques when inking the plates. Using soy based, non-toxic Akua Intaglio Inks, the print series focuses on manipulating the material to produce vibrant colors and textures. Through this work, I am inviting the viewer to explore their own nature reconnection experience.