Stugard Family Plant Stand

1899 Bent Black Willow 31” x 16” x 16” Over the course of the 2017 spring semester, I worked on an exhibition and e-book for the Material Culture program in partnership with the Mount Horeb Historical Society. The Art Criticism and Critique course and class feedback shaped the way I thought about my assigned objects of study and corresponding e-book chapters.

https://wisc.pb.unizin.org/driftless/

Jaeyoung Bae’s work explores themes of injustice and feminism in South Korea. For her MFA Exhibition, Portraits of Conflict, she destroyed her own handmade books- using the components, the spines, paper, and covers to make a new body of work.

Material Matters

Commonwealth Gallery 5/1 – 5/12 2017 The arc appears in a variety of ways in the world. Sine waves, architectural elements, arch top doors, windows, bridges, aqueducts, arches, weaving, bowls, semi circles, geometry, parabola, bike racks, mathematical symbols, alphabets, horseshoes, paperclips, magnets, rainbows, logos, neck pillows, road signs, computing codes, and more. The ubiquitous nature of the arc offers a freedom of interpretation and an opportunity for poetic interpretation. My work and research explores line and iterations of a single form that transition between two- and three-dimensional states. From form to experience and back to form, this line is mutable, abstract, and speaks to a symbolic language of exploration and evaluation.

My name is Maurice Moore. I question what it means to draw. My drawing subject has evolved past the human form in many ways. When I draw, the tactile feeling, as well as the emotional feeling must both be present in my process. From the actual media in my hands as I pull it across a surface/air, to how it looks/smells/taste as the mark is being made, to the very sound of the media itself, and the vibrations: all of these things are part of the experience/performance. Upon opening myself up to these experiences, I unconsciously give myself permission to be vulnerable, violent, angry and even aggressive, to channel these energies and become a sort of living drawing both archival and non-archival. My new work could best be categorized in part as ephemeral art, but certain aspects of this performance piece also explore permanence as well. The tension between these two notions creates a space where the seemingly intangible parts of queer identity become corporal to some degree. Working in these parameters allows one to more fully examine the fluidity of identity.

Carlos Ortiz playing ‘El encargado’ in Eran tres y ahora son cuatro by Myrna Casas and staged by the Dept. of Spanish and Portuguese’s theatre group, Teatro Décimo Piso at UW-Madison. The event was the culmination for the Department’s annual graduate conference Kaleidoscope.