THOUGHTS & WHAT NOTS
The Art of Why
Sometimes I like to ask myself “Why are you a sculptor?” “Why do you make art?” or “Why are designing spaces so important to your initiatives?” These are important questions for me to stay on course for my mission. I have to constantly remind myself and explore my WHY. I am 5’5” and weigh about 105 pounds. Physically I look like the furthest thing from a “sculptor”, which even today is a genre of art dominated by men. People typically assume I make DIY projects (because I have tattoos and am a millennial), or have multiple strong gentlemen at by beck and call (because there is no way my small frame is bending metal and hauling lumber). Neither of these things are true. I’m not saying I do everything on my own all the time. I have people I trust that support the technical goals of each experience I create.
2017
From an academic stand point, my practice is based in basic carpentry, painting and printmaking, in the sense of how I manipulate my materials. This is where things can get interesting, my experiences are based on interior design, architecture and how space is utilized. When these practice and experiences collide the result is sculptural installations.
Installation art has become more accessible within the art world. Utilizing found object or mass produced materials arranged in unused spaces and galleries, and interacting with the viewer are the telltale signs you are in an installation or a happening. I handle raw materials the same way a painter handles paint on whatever surface they choose. My surface is the design of 3 dimensional space. How I adorn walls, suspend my objects, and influence the space for the viewer’s reaction creates my impact to the culture of art. The reaction is not one I can control, and that is a beautiful feeling.
So why am I a sculptor?
3 dimensional objects whether they are about form, function, or purely for aesthetics are the things we interact with daily. Life is 3 dimensional. Life is utilitarian. Sculpture can be presented on different planes of existence. This is the first part of my WHY.
Why do I make art?
Art takes innovation to create something that is more than ordinary. Expressions of the extraordinary. It’s about taking ideas, shapes, colors, textures, materials, and pushing them from what and how they are typically used for and manipulating them to be extraordinary. Art is the language I speak pushing myself to move through expressive gestures presented in physical space.
Why is space important?
I’m obsessed with physical space. I always have been. I’m intrigued by how people interact with space, the things they do and don’t notice. How each person has a different experience. When you walk into someone’s house or into a retail store and you can literally see the personality radiating through each simple moment, object, color, and texture. It’s the physical design story that gives a sense of connection.
Before Agua de Coco at Aventura Mall, February 2020
After Kalma build out at Aventura Mall, March 2020
The answer to my why questions are true to my personal beliefs and lifestyle. I need to move through the expressive gesture of fabricating something that has appeared in my mind due to a vision. That vision can best be described as inspiration. Inspiration comes in different forms. Conversation, physical experience, and the past, just a name a few. Creating physical installations pushes people to move through personal expressive gestures guiding their intuition and as a result having a feeling in which I have directed them.
My 4 P's: Product
Most of the time when I think of a product I think of a physical item that is pre-made and then sold. For me that is not always the case. My work seesaws between service and products. My product is always art, no matter what way you push it. When I first started writing about “My 4 P’s” in mid-2018 I was convinced that my product was ONLY an outline of services. I have come to find out through a series of consulting experiences and commissioned projects that I do both. I have some services and the end result is a product of art. The best example I have and one that speaks to my mission is when I create window and interior displays, and also merchandise a store.
Between planning and finding a process for each service and production of a product there is a lot of work that has to be done in order to create the actual product or successfully execute a service. My 3rd P, product, is the get your hands dirty part of the business. Without a product all you have is inspiration, an idea, and creativity. What you don’t have is the technical expression and reality of something useful for others. In other words, you don’t really have shit.
What I mean by this is that anyone, everyone has ideas, can be creative and have inspiration. The imagination to do or create something. It’s not until you are willing and able to roll up your sleeves and actually produce or in services terms, work with another person and be the solution to a problem that you have actually moved from the planning and process side of things into a product that reaches people.
For me, and I’m sure you are getting the gist of things, I like to talk about myself and my experiences here. I have projects where planning and process is a product that I get paid to do before an installation happens. When I am approached with a truly fantastic project that needs a lot of work up front in order to create the best possible product I start with the planning and process as a product to ensure that I am able to fulfill the needs of the client. Once that planning has been approved I move into the product phase. I begin production, getting my hands dirty, and creating things that no one but me can create because through the planning and processing phases I have put myself into the project. The ideas are authentically mine and no matter where I have pulled inspiration from, the production is my hands, thus making it unique.
At the beginning of 2020 I really got honest with myself when it came to what I do and how I do it. I have fumbled around knowing that I make art, in so way different ways. From retail displays and merchandising to brand development, logos, content curation for social media, and being an consultant for businesses and project management. Trying to put a label on each project so that you, the people, can understand my services and products has been a challenge. At the end of the day, it’s all a form of creativity and art.
Meta Apparition: Miami Art Week 2017
I was really excited and nervous on September 27th. I almost didn’t go to the opening at Primary Projects in the Design District because I was by myself. But there was a plan in place, an intention. I would go and introduce myself to Typoe, artist and owner, whom I had been Facebook messaging with the month before. I had to show up even if it was just for myself. Primary Projects is such a beautiful space and the show “Impressions of a Landscape” by Magnus Sodamin was a site to see. While I was there I wandered around awkwardly, staring at the paintings on the walls. I turned the corner and saw Carlos Betancourt's “Times of Illuminations: For the Sake of Beauty” and I lit up. The funny part was that the assemblage wasn’t even plugged in. That was my moment where I felt as though the gallery was empty. It was just me and the monumental rectangle covered with Christmas stars. Massed in the center, sprinkling out to the edges, I felt like a little girl on Christmas morning and I knew I could survive the rest of the evening. I made my way outside and saw a tall bearded man adorned with tattoos, in an unrefined way I introduced myself with “Hi! I’m here by myself, my name’s Ariana, who are you?” He kindly exchanged salutations and talked with me for a bit, introducing me to the people he knew outside.
Carlos Betancourt "Times of Illumination: For the Sake of Beauty"
Through the window I saw Typoe walking and for the first time all night he was not surrounded by 5 people. This was my moment, I walked back into the gallery, and up to him. He greeted me as if we had been friends for years, so kind and welcoming. We engaged in light conversation and then a gentlemen wearing a button up and slacks came up to say hello. Our exchange set in motion an opportunity I didn’t know was possible when I moved here 5 months ago. This is the moment that positively changed the course of what I would be doing for Miami Art Week. I met Kevin, Projects Director for Shulman+Associates. Our brief conversation, standing in the packed gallery, resulted in an email 2 days later. Subject line “Outdoor Installation”. I was planning on emailing him the following Tuesday. I’ve learned that building relationships with people is like dating. Be aggressive, but don’t look desperate, engage in like-minded conversation, but speak your truth. This has been part of my business model. I was surprised and intrigued by the message including one creative direction “furniture/shelter like”, and I knew we were a good fit.
After our first in person meeting, and 1 page project overview submission, I got the call. This was now our project. I began my planning, and result was a 14 page powerpoint presentation of the interactive indoor/outdoor sculptural art installation. The colors are bold and vibrant. The shapes are graphic. The surface treatments organic. All 10 ambitious sculptures were well received by the Shulman Team. Pre-production began at the end of October. My timeline was 5 weeks with 1 week of details. I began dying watercolor paper, material testing, designing each piece thoughtfully, knowing that it will represent myself as well as Shulman + Associates during the most important time of year for artists and designers here in Miami. 3 trapezoidal cabanas outside with 5 plinths, a coffee table, and a suspended ‘chandelier’ inside the reception area. I was told “furniture/ shelter like” and this is where my creative brain went.
Two weeks into production, I assessed my timeline, and realized in order to get everything done before December 4th, I was going to need to bring in some help. The suspended ‘chandelier’ is composed of 2000 discs made from aluminum mesh screening, watercolor paper, and metal foil. The circle punch I got worked great for the paper and metal foil but when I tried the mesh I broke 3 punchers. I knew that these were going to have to be cut by hand. One Facebook event, 32 ounces of Cold Brew coffee from Box, 3 hours and 40 minutes and 4 friends later all 1150 mesh circles were completed. I continued to assess, adjust, and stay on schedule. Week 3 came and so did the rain. I needed to work outside to dye the curtains I tailored for the cabanas. 20 feet of canvas for each cabana. I found a window in the weather app that showed me clear skies through the night. I promptly picked up 9 bags of 10lb ice, set up the structure, and the curtains soaked the dye as I slept. Week 4 I started working on the plinths, I had some plywood donated to me, which was saving my budget. As I began working with the material, following my original plan, something felt off. I was not connecting to the shapes, or the heavy material. I couldn’t use it. I needed to adjust, be flexible, and revisit my drawings. I thought to myself “If I could change this and do anything what would you do?”. The sketch that came out of that put me in a position that made me uncomfortable. But I knew it was the right thing…remember this is the most important week for artists and designer for the whole year in Miami. I took the day to find a solution. The next day I started again on the plinths, creating all 5 in under 12 hours. These felt right. These came together as if the universe was guiding me. They make me happy. Over the last week I have been in detail mode. Refining installation processes, color story, weather proofing, and assembling as much as I can. Yesterday I took the whole day off, I spent time with my roommate developing this weeks media marketing strategy, drinking coffee, and watching mid-90s rom-coms. Tomorrow we install.
The exhibition is titled “Meta Apparition”. When I was developing this installation I knew it was going to be playful, spiritual, and metamorphic. I experienced all three of these things while I was producing the work, and my overall intention is for the viewer to also experience and celebrate these ideas. Meta pertains to a story, conversation or character. It describes a consciously and playful self-referential story. Apparition is the supernatural element, as if these objects have appeared from the natural, to be remarkable. This is my truth.
This will be my first solo exhibition…and you’re invited…
