Citation
Wish Not, Want Not

Material Information

Title:
Wish Not, Want Not
Creator:
Sauer, Elizabeth M
Affiliation:
Art -- Art and Art History
Place of Publication:
[Gainesville, Fla.]
Publisher:
College of the Arts; University of Florida
Publication Date:
Language:
English

Thesis/Dissertation Information

Degree:
Master's ( Master of Fine Arts (M))
Degree Grantor:
University of Florida
Degree Disciplines:
Art
Committee Chair:
Smith, Nan S
Committee Members:
Arbuckle, Linda Jane
Mueller, Robert Charles

Subjects

Subjects / Keywords:
Arts ( jstor )
Birthdays ( jstor )
Chimpanzees ( jstor )
Desire ( jstor )
Humans ( jstor )
Modern art ( jstor )
Popular culture ( jstor )
Rituals ( jstor )
Viewers ( jstor )
Wishes ( jstor )
Genre:
Project in Lieu of Thesis

Notes

Abstract:
Wish Not, Want Not, invites the viewer to reflect upon the power of desire through a dark yet playful cast of unlikely characters. The project explores the legitimacy and potential manipulation of wish-making and examines life as driven by desire. Examples are explored through topics of wish-making traditions, influences from pop culture, and expanding technology. Inspirations for this work include elements of Aesop’s Fables, pop culture, and observed changes in human behavior. We exist within a culture that perpetuates insatiability. Wish Not, Want Not exaggerates desire through the portrayal of desperation and insatiable longing played out by a group of chimpanzees at a fake birthday party. The chimpanzees serve as surrogates for human emotion and behavior, like many animals have in traditional fables and folklore. Clay sculpture is centralized within a large-scale mixed media installation to set the stage for considering wish-making. Wish Not, Want Not, questions finding and sustaining satisfaction in life, or if being satisfied is a matter of acceptance and reconditioning.
General Note:
Ceramics terminal project
Statement of Responsibility:
by Elizabeth Sauer

Record Information

Source Institution:
University of Florida
Holding Location:
University of Florida
Rights Management:
Copyright Elizabeth Sauer. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.

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WISH NOT, WANT NOT By ELIZABETH SAUER SUPERVISORY COMMITTEE: NAN SMITH , CHAIR LINDA ARBUCKLE , MEMBER ROBERT MUELLER , MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF FLORIDA 20 1 5

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© Elizabeth Sauer

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3 TABLE OF CONTENTS Project Summary .................. ......................... ................. . ..................... ............................. 4 Wish Culture ............................................................................ ........................ .................. 5 The Rules of Wishing Wishing in Pop Culture 10 Technology The iPhone 11 12 I Wish I Had 14 Depicting Human Behavior through Storytelling . 15 . 17 A Philosophy o n Making and Artful Living 21 23 List 27 ............................................................... ..............................28

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4 Summary of Project in Lieu of Thesis Presented to the Graduate Schoo l of the University of Florida i n Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts WISH NOT, WANT NOT By Elizabeth Sauer May 2014 Chair: Nan Smith Major: Art Project Summary Wish Not, Want Not , invites the viewer to reflect upon the power of desire through a dark yet playful cast of unlikely characters. The project explores the legitimacy and potential manipulation of wish making and examines life as driven by desire. Examples are explored through topics of wish making traditions, influences from pop culture, and expanding technology. Inspirations for this work include elements of A able s , pop culture, and observed changes in human behavior. We exist within a culture t hat perpetuates insatiability. Wish Not, Want Not e xaggerates desire through the portrayal of desperation and insatiable longing played out by a group of chimpanzees at a fa ke birthday party. The chimpanzees serve as surrogates for human emotion and behavior, like many animals have in traditional fables and folklore. Clay sculpture is centralized within a large scale mixed media installation to set the stag e for considering w ish making. Wish Not, Want Not , questions finding and sustaining satisfaction in life, or if being satisfied is a matter of acceptance and re conditioning.

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5 PROJECT REPORT Wish Culture Though many of their origins have been lost, rituals for wish making have been practiced for centuries . To mak yearning, and to make this desire known. A wish is an act of hope reflecting faith in the fuels these acts of wishing . D e sire is an inevitable, in escapable characterist ic of the human condition. Wish fulfilling rituals may involve time, specific objects, particular rules of possession, or the presence of another person to witness the act. The belief in keeping lucky pennies, breaking wishbones, and blowing out birthday candles are a few examples of wish practices still continued today. These acts of faith allow for us to believe we have the power to manipulate the future outcome of our desires. and specific ations practiced today are more like engrained routines, expected to be followed. These acts of faith allow us to believe we have the power to manipulate the fut ure outcome of our desires. These wishing rituals may be acts of futility; an attempt to satisf y something about ourselves we believe we are lacking . Or they may be acts of hope for change, having the potential to redirect our futures through psychological impact with positive or negative thinking. The Rules of Wishing During the celebration of Than ksgiving it is common that o nce a wishbone is dry, it is given to two people who pull it apart until it breaks, each person making a wish while doing so.

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6 The person who gets the longer half of the bone will have his or her wish come true. If the wishbone b reaks evenly, both parties get their respective wish . In some families it is said that the wish will only come true if it is not revealed to anyone. If you find a penny, make a wish on it. If you spend it, the wish penny, place the penny where someone else can find it. If the person who finds the penny also believes in their wishing power , your wish is more likely to come true. book, The Wishing Han dbook: More Than 500 Ways to Make Your Wishes Come True 1 , states that in Michigan it is customary that if you see a man with a beard while you are walking with someone, the first if you wish to have a baby you should sit in that same chair where a pregnant woman was seated and make that wish . The counter wa rning to this superstition states not to sit in a chair recently vacated by a pregnant woman if you do not wish to become pregnant. (Delmar , 1999) The birthday cake has been an integral part of birthday celebrations in Western cultures since the middle of the 19 th century and serves as a well known wishing ritual object . Tr aditionally , the birthday celebrant makes a private wish which is said to be realized if all the candles are extinguished in a single breath and if the wish is kept secret. After researching wishing rituals , it seems that m anipulating the rules can be done to further benefit the wish maker. These deviations could be as simple as blowing out your 1 See Delamar (1999), for wishing ritual details.

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7 birthday candle s and relighti ng them for a second time , or indefinitely for more wishes. In 2010, artist Yoko Ono created a wi shing tree as part of her Imagine Peace 2 project that was installed at the Museum of Modern Art in New York City. The visitors were provided paper on which to write down a wish. Their wish was then tied to the tree. The work builds on the Japanese traditio n of tying prayers to trees as well as returning the paper back to its source as an offering. Later in the season , a sign was posted beside the tree by this tree. Your wishes may damage the tree, which is very vulnerable during spring budding. Feel free to whisper he museum took the liberty of manipulating the original wishing ritual set in place. In considering the manipulation of wish making rules, it becomes questionable whether or not this change in ishes, assuming that wishes come true. Wishing in Pop Culture Ono uniquely bridges the gap between traditional wish making and that of pop culture. One image often referred to in pop culture is the superstition of hoping for wishes to be granted when seein g the first night star . This image was first recorded in the late nineteenth 2 Figure 1

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8 century through a well Star light, star bright, the first star I see tonight; I wish I may, I wish I might, have the wish I wish tonight 3 e often humbly used to jest at far larger social or p olitical happening s of the times. Knowledge of specific details of origin of most of these rhyme s have been unfortunately lost in history. For example , Ring Around The Rosie tells a whimsical tale through song about dying from the bubon ic plague. exemplify this. When you w ish Upo n a Star 4 , is another example of the perpetuation of wish culture. The sings, art desires will come to (Harline, 1940). KISS bassist Gene Simmons re recorded the song in 1978 and he stated words were true. Anybody can have what they want, the world and life can give its rewar ds to Simmons opinion is bold , yet I find the seemingly optimistic affirmation of having faith in this idea commendable . In 1997 Liar Liar 5 child named character, Fletcher, not to be able to lie f or 24 hours. Through the power of cinema this wis h comes true. Fletcher battles with the challenges of being a law yer who is now unable to tell lies. he needs to alter his behavior and change 3 English language nursery rhyme from the 19 th century. 4 Pinocchio . 5

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9 his ways f or good . In 1988, To m Hanks starred in the movie Big 6 who makes a wish on Zoltar , an arcade fortune teller machine, . He is aged to adulthood overnight, only to realize in the end he wishes he could take it all back and return to the life he had. These are classic presentations of wish making that have graced the American cinema. These examples add to our cultural experience familiarizing us with fantasies and feelings of a desire for more. As Shel Silverstein illustr ates this concept Lester : By the goblin who lives in the banyan tree, And with his wish he wished for two more wishes So now instead of just one wish, he cleverly had three. And with each one of these He si mply wished for three more wishes, Which gave him three old wishes, plus nine new. And with each of these twelve He slyly wished for three more wishes. Which added up to forty six or is it fifty two? Well anyway, he used each wish To wish for wishes Five billion, seven million, eighteen thousand thirty four. And then he spread them on the ground And skipped and sang, and then sat down And wished for more. While other people smiled and cried And loved and reached and touched and felt. Lester sat amid his wealth Stacked mountain high like stacks of gold. Sat and counted and grew old. And then one Thursday night they found him Dead with his wishes piled around him. And they counted the lot and found th at not A single one was missing. All shiny and new here, take a few 6 comedy directed by Penny Marshall, starring Tom Hanks.

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10 And think of Lester as you do. In a world of apples and kisses and shoes He wasted his wishes on wishing 7 . As creatures of a social and material life we desire certain levels of admiration and justification from those around us for the things we do and have. According to Joel Kupperman , Professo r of Philosophy and author of, Six Myths a bout the Good Life: Thinking a bout What Has Value 8 , these ideas are handed down to us. We seek acceptance through social feedback and this information informs our desires. This concept has forever been a part of the survival of man . T he strongest and most admired have risen above their peers to survive and to procreate, forming the world we live in now. In terms of desire , some wish for love, some wish for success built on money, others for an escape , the list goes on and on . We are caught in a cycle of feeling the itch for more and are drawn to validate ou r feelings . W e are conditioned to believe there is al ways something better out there and that the answer to conquering the pursuit of happiness lies in gaining access to what has yet to be reached. However, once our object of desire is a ttained , its desira bility has a tendency to diminish . We inevitably begin to feel dissatisfied again and to overcome this feeling we develop a new desire which we work to fulfill. We believe that this time it will be different and that lasting fulfillment is guaranteed. Thro ugh the growth of capitalis m paired with westernized perceptions of success and happiness , w e are 7 Shel Silverstein, published in Where the Sidewalk Ends in 1974. 8 Six Myths about the Good Life: Thinking about What Has Value , for an examination of social value and desires.

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11 conditioned with insatiable desire governed by an unattainable idealistic fantasies states Frank Herbert , author of The Dune Storybook 9 . Technology and Immediacy Advancement s in technology have altered our ability to be satisfied. The internet is never fast enough. Dead stopped traffic is enraging because we have places to be and let us not forget the horror of accidently leaving our cell phone at home for the day. We have come to know a level of immedi acy digitally and in turn now expect immediacy from all aspects of life. If one does not know the answer to a question, Google is in our pockets and a click away to offer us an answer . Phone calls have become more socially obsolete as texting allows for on e to communicate with another person while still maintaining the ability to multitask and not be slowed down. Facebook and Instagram are platforms for others to live our lives with us in real time , with moments of our lives uploaded in a matter of seconds, momentarily satisfying our need for social valida tion. Patience levels have w eakened which makes our fe elings of desire more intense and overwhelming, especially if the object of our desire is not immediately ours. The iPhone Effect The average American today exists within a cultu re that perpetuates desire. Contemporary desire lie s at the heart of consumerism. There is a never ending need for more paired with nearly instant accessibility. There is a looming sense of need for this ideal thing we never seem to have and an allure of possible future satisfaction if we get it. If I just had a little more money, if I only had that car, if I lost weigh t , if I changed t hen I would be 9 1965 science fiction novel by Frank Herbert

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12 happy. We are told there is always something better than wh at we have and that we need to have it. Author of, On Desire: Why We Want What We Want 10 , William Irvine , quotes the noted 17 th century French author Francois de La Rochefoucauld , We go to far less trouble about making ourselves happy than about appearing A hone upgrades exemplifies this cycle. Each time a new iP hone is in the works to be released, people prepare to pitch tents outside of stores and stay up all night in anticipation of attaining this newly desired object . Their current iP hone is suddenly dissatisfying . The shinier, bigger, f aster model is sought out by wide eyed consumers. We are conditioned for a life lived to desire. Overcoming Desire through Religious Guidance To combat feelings of dissat isfaction and being overrun with desire, some religious sects have offered guidance in finding a remedy. desire is a m ore notable look at how to accommodate inevitable existence in our live s. He liberated himself from a lu sh palace life in search of enlightenment. He deprived himself of pleasures and desires to desire is to be resisted and eventually abandoned and the reason we should ove rcome our desires is not because they are morally evil but because we will suffer until we overcome Professor William Irvine references ideas by Buddhist scholar , Bhikkhu Bodhi 11 in the book , On D esire: Why We Want What We Want. Bodhi states about desire s: 10 object of desire. 11 American Theravada Buddhist m onk, editor, and author of several publications pertaining to Buddhist tradition.

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13 We are to change our perspective on them so that they no longer bind us. When we understand the nature of desire, when we investigate it closely with keen attention, desire falls away by itself, without need for struggle. Attachments are shed lik e the leaves of a tree, naturally and spontaneously . Imagining, judging, and wishing give rise to desire. However, according to Buddhism, if your goal is to free yourself from desire, the techniques will not work if you are already intensely desiri ng not to desire. In the words of an unknown Zen Master g enlightenment is an accident. For most people, now represents an infinitesimal slice in the infinity of time. To an enlightened person, now -the current moment -is all we can know or experience. We are stuck in the present moment, in an eternal now. The past and future are known only my inference. Because the enlightened person has the ability to stay in the moment, he can experience beauty and wonder during ev en the most common experience s . The unenlightene d person cannot 12 . (Irvine, 2005) Christianity also recognizes the role desire p lays in human affairs. The Old Testament begins with a tale of desire and consequence featuring Adam and Eve, the serpent , and the apple. Within Christianity, the goal with desire s is to overcome those considered to be sinful, typically starting with the a ct of prayer and a plan to live as Christ did. However, it is revealed belief in Heaven, is influenced similarly with the belief in reincarnati on which in turn means that 12 Anonymous Zen Maste r quoted by William Irvine in, On D esire: Why We Want What We Want .

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14 made to harness desire, som e more successfully than others. W itho ut a doubt, no matter where a person place s their faith, the nature of human existence is to be insatiable and therefore has come to require an attempt at harnessing. I Wish I Ha d The exhibition, Wish Not, Want Not, questions the possibility of maintaining complete satisfaction in life ; also if acceptance of your existence can result by reconditioning your beliefs; that who you are and what you have in life is all that you want and need. T he search for this satisfaction is a shared human struggle . Books have been written and articles c ontinue to flood the internet with advice on this matter d rink more water, stretch, take yourself on a trip. An article by author Bronnie Ware , s People Make on Their Deathbed, recently when viral on the internet. Faced with their mortality acceptance that I speculate we need to cultivate sooner than later became the last phase experienced by those in this article. I wish I had the courage to have expressed myself more freely, I wish I allowed myself to be happier , were a few of the listed regrets 13 . The regrets surfaced and an acceptance that the past cannot be changed was then acknowledged. I believe we restrict ourselves from these things because we fall victim to our need for social admiration and validation. We fear the choices we are making may not be the right ones, the next step of our lives. We see k out reass urance from others. Due to these restrictions, s ome people only come to reveal their true wishes once time has run out. character Leste r Burnham in the 1999 film 13 Article authored by Bronnie Ware lists these regrets documented from the bedsides of the dying.

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15 American Beauty , which speaks to missed opportunities of gratitude for what we possess in the here and now . I had always heard your entire life flashes in front of your eyes the second before you die. First of all, that one second isn't a second at all. It stretches on f orever, like an ocean of time. For me, it was lying on my back at Boy Scout Camp, watching falling stars. And yellow leaves from the maple trees that lined our street. Or my grandmother's hands, and the way her skin seemed like paper. And the first time I saw my cousin Tony's brand new Firebird. And Janie, and Janie. And Carolyn. I guess I could be pretty pissed off about what happened to me, but it's hard to stay mad when there's so much beauty in the world. Sometimes I feel like I'm seeing it all at once, and it's too much. My heart fills up like a balloon that's about to burst. And then I remember to relax, and stop trying to hold on to it, and then it flows through me like rain, and I can't feel anything but gratitude for every single moment of my stupid little life. You have no idea what I'm talking about, I'm sure. But don't worry. You will someday. 14 Depicting Human Behavior through Storytelling The work for the exhibition Wish Not, Want Not, portray s ideas about the topic of desire based on the research and influences that have been discussed. The exhibition use s constructed visual forms to make these ideas come alive , specifically through the use of animal characters. The portrayal of a narrative thr ough the use of animals as the surrogates for human emotion and behavior creates a division from most ties to political, racial, or social baggage a viewer brings with them to the work. The animal surrogate allows the focus to be the 14 American Beauty regret and appreciating the little moments in life we easily let go unnoticed.

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16 conceptual content of the work. Imagine a cat in a bow tie being approached by an a dult, then being approached by a child. Now imagine a man like Channing Tatum from the 2012 film Magic Mike 15 , in a bow tie being approached by those same audiences. The perceptions from both age groups to Channing Tatum would be all over the map as compared to a more universal respon se to the cat . Animals create a sense of empathy within a human viewer, causing closeness and intimacy. Th ey are silent; they cannot communicate using our language an d thus become susceptible to being assigned emotions and needs based on human perception. For these reasons they are capable of reaching an audience of all ages. Animals as surrogates dehumanize content in a positive way, removing it from the human sphere, leaving room for reflection beyond the visual . 16 are a successful example of this . The use of the animal characters make for an entertaining story for any age while carrying a deeper, occasionally darker message . The animal can evoke thought about moral issues and human behavior. Ceramic sculptor, Beth Cavener 17 often uses the hare as a surrogate . She uses this animal to talk about evocative and controversial human consequences of fear, apathy, and perceived purity and moral innocence of the 15 Magic Mike , 2012 film starring Channing Tatum, directed by Steven Soderbergh. 16 are a collection of fables written by a slave between the years 620 and 560 BCE in ancient Greece. 17 Contemporary American studio artist and ceramic sculptor.

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17 animal image and imbued it with Contemporary artist Maurizio Cattelan 18 resin sculpture of an elephant also comes to mind. The piece depicts a full scale elephant wearing what appears to be a Ku Klux Klan Not Afraid to Love 19 . The elephant is a signature sculpture by Cattelan which pushes heavy political and cultural issues with a strain of dark humor. Wish Not, Want Not Wish Not, Want Not explores the manipulation and legitimacy of wish making and examines life as driven by desire. It pushes the exaggeration of desperation and insatiable longing. The gallery space hosts a cast of animal characters that carry a message about insatiable desire specifically concentrating on the wishing ritual of making a birthday Through a fable like construct, I capitalize on the empathetic huma n response to animal characters a n d pair that with a deeper, somber message. The use of whimsy draws the viewer into the scene to later observe that something is 18 Contemporar y Italian artist known for his satire and dark political humor. 19 Elephant sculpture by Maurizio Cattelan (2000) Figure 2 Figure 3

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18 not quite right. Aesthetic inspiration for this installation stemmed from researching theater stage set design, flipping through editorial spreads of high fashion, and imagining what it would be like to physically step into the pages of a storybook. Con ceptually, elements of ables , pop culture references, and observed changes in human beh avior ha ve come to inspire further analysis of desire . The scene is an in the round installation, much like that of a stage for a play that you are allowed to enter. The viewer walks throu gh a portal of over sized burnt out birthday candles leaning against the wall and strewn on the floor. The space is entered like a story when reading a book; forgetting the outside world. Once through the portal the viewer is confronted by the whimsical environment and a c olorful cast of characters. The main characters are three life scale ceramic chimpanzees engaged in a birthday ceremony. However, the birthday celebration is a complete f ake a set up. The cake and party guests appear to be hand crafted by the chimpanzees out of scraps of fabric . Figure 4 Figure 5

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19 attend the celebration in matching party hats sitting at attention facing the birthday celebrant, evoking a by the book setting for a traditional celebratory birthday ritual. the chimpanzees live in and have created for themselves. The setting is something not quite real; a product of being disengaged from reality due to being overcome by desire. The choice to use clay as a central medium for what represents the real in this environment, for me, refers to the tradition of figure sculpture being a vehicle for storytelling and for them to be representations of a larger narrative, focusing on a climactic moment, made in the round, like 3 D portraiture and statuary has done throughout history. Each chimpanzee portrays their own desires and feelings towards making wishes . Driven by longing and dissatisfaction, the chimpanzees create the illusion of a ritual for the sake of facilitating the act of wish making, in hopes of fooling the source that grants wish es. One chimpanzee sits candles , fists holding burnt out candles. A mountain of discarded candles surround him on the table and appear at his fee t. This character portrays desires that have lead him to desperation, delusion, and ultimately to despair. Candle after candle is placed in the cake, wished upon, blown out, and thrown aside to make way for more. He continues to wish for something, Figure 6

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20 despite the fact that no change is coming from his efforts, he continues on wishing, unwilling to change his behavior. The second chimpanzee sitting at the table holds a single cand le, lost in contemplation , considering the importance of what it is he desires and wishes for. He sits in front of a pile of unused candles on their way to extinguishment by his delusional companio n. A bench has been turned ov er and under the table with scraps of fabric and blown out candles is where the third chimpanzee can be found. He has become bored with the party and has begun to play with the discarded candles on the floor , sticking them between his toes. D iseng aged from wishing, he signifies an achievable l evel of momentary satisfaction. He appears happy with what he has without the need to make wishes for more . Wish Not, Want Not serves as a playful examination of a darker, insatiable human reality. During the exhibition visitors are invited to receive a party hat of their own before entering the celebratory space. They have the opportunity to become a part of the installation. Th is involvement Figure 7 Figure 8

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21 intends to transport the viewer into an otherworldly realm . Desire is inescapable. As discussed through topics of wish making practices, the role technology plays with our desires, and references to pop culture, Wish Not, Want Not, tells of a tale influenced by these through whimsy and playful narrative. The exhibition offers a space for personal reflection on the power of desire and its level of involvement in our lives. A Philosophy on Making and Artful Living The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something . 20 20 Kurt Vonnegut, A Man Without A Country, (2005).

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22 The task at hand is to 21 21

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23 22 23 Technical Appendix The works wi thin Wish Not, Want Not, were created using a variety of mediums and processes . C lay sculpture, minor carpentry, installation design , and sewn fabric sculpture 22 Author and artist from Ann Arbor, Michigan. 23 Project started in 2006 by artist Jonathan Wright. Figure 9

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24 became major components . Each part of the installation required its own special plan ning and problem solving to become a reality. In preparation for organizing and creating a large scale, sit e specific installation it was crucial to create a resource binder. This binder can to include inspirational images , examples of favored textures, vogue editorial spreads, animal drawings , theater set designs, paint swatches, and measureme nts. Preceding the binder came a furnished from poster board and wood in accordance with gallery measurements . This served as a representation of the future outcome of the finished installation. T hree chimpanzees are the central focus with in the installation . They were sculpted from Highwater Clay 24 red earthenwa re low fire clay body. Each clay sculpture was hand built with a combination of coil building and slab cutting techniques depending on the position of the figure and its anatomy. The chimpanzees were fired in an electric car kiln to cone 04 at approximately 1870 degrees Fahrenheit. The firings were lo ng and conservative to ensure the safety of the work throughout the firing process. Cold surfacing techniques were used to finish the sculptures with a combination of spray paint, acrylic paints, and epoxy. 24 Clay distributor located in Clearwater, Florida. Figure 10

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25 M inor carpentry projects like the floor pane ls an d center dining table at which the chimpanzees host their birthday party were another component of the installation . The center table and benches were built from pine lumber and with surfacing inspired by aged barn wood to evoke a sense of passing time. They were surfaced with a wood stain and brightly colored exterior house paint that was later sanded . The f loor panels were surfaced in a similar fashion to mimic rusti c paneled wood floors. They function as a transit ory layer into a new space to be entered , divorced from the white wall and cement floored gallery space. The birthday party guests standing along the perimeter of the installation include a lion, a bear, and an elk. Each were created by first establishing an accurate armature from sheets of chicken wire and wood for support . Secondly , scraps of fabric of different shades and textures were sewn together with a sewing machin e into larger segments . These larger pieces were layered over the chicken wire armatures and sewn together to crea te the skin of the animals. They were given simple, stoic expressions , to create a sense of static attendance. The animals wear matching floral birthday hats for uniformity and visual inclusion into the celebration taking place. It was my intention for these guests to appear disorderly as if fashioned by the hands of the chimpanzees. Other miscellaneous installation components needed to be considered to fashion a full encompassing environment space. The walls were painted to reference a simple landscape at a distance to serve as a barrier to contain the viewer within the installation. At the edge of the Figure 11

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26 floor panels in the corner of the installation stands a tree. The tree was created with sheets of plywood cut into a vari ety of diameter ovular shapes ranging from small to large. These shapes were spaced apart with 2x2 lumber, creating a tall standing column. Next, chicken wire was shaped around the column to sculpt a tree like armature which was then covered with muslin fo r a softer surface. G iant over sized birthday candles create a p ortal to enter and exit the space , acting as a divider from the rest of the gallery. The candles are long industrial tubes for pouring co ncrete, wrapped in muslin and painted to look like larger versions of birthday candles found within the installation.

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27 List of Figures 1. Yoko Ono , 2010, Imagine Peace Project , Museum of Modern Art, New York City 2. by Maurizio Cattelan (2000) 3. View of installation from the outside, inclu ding candle portal 4. Party Guest #1 Fabric lion sculpture 5. Three chimpanzees at the central table 6. Chimpanzee #1 7. Chimpanzee #2 8. Chimpanzee #3 9. Urban Fairies Project, Johnathan Wright 2006 10. Chimpanzee #1 in process 11. Detail of table top

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28 Biographical Sketch Elizabeth Sauer was born and raised in Saginaw, Michigan. She received her Bachelors of Fine Art from Western Michigan University in 2012. Alongside her academic career, Elizabeth has been involved in many forms of visual arts. She has performed at Renaiss ance festivals, professionally Irish step danced with a Celtic band, salsa dances, and plays a variety of musical instruments. Her studio work involves interdisciplinary sculpture and installation with an emphasis in clay. She was invited to be a guest art ist and lecturer at Western Michigan University in the Fall of 2014. Elizabeth teaches salsa dancing at a local day. She received her Master of Fine A rts in Ceramics from the University of Florida in the Spring of 2015.

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29 References American Beauty. Dir. Sam Mendes. Perf. Kevin Spacey. Dreamworks, 1999. Big . Dir. Penny Marshall. Perf. Tom Hanks. Twentieth Century Fox Film Corporation, 1988. Cattelan, Mauriztio. Not Afraid to Love . Digital image. Art We Love: Fine Art, Finally Collectible . 2000. Web. Daily, Don, comp. The Classic Treasury of Aesop's Fables . Philadelphia, PA: Running, 1999. Print. Delamar, Gloria T. The Wishing Handbook: More than 500 W ays to Make Your Wishes Come True . Phil adelphia, PA: Running, 1999. P. 20 23, 36 , 43 . Print. Edwards, Cliff. When You Wish Upon A Star . Leigh Harline. Victor Records. The Walt Disney Company, 1940. CD. Herbert, Frank. Dune . Philadelphia: Chilton, 1965. Pri nt. Irvine, William Braxton. "Other People." On Desire: Why We Want What We Want . Oxford: Oxford UP, 2006. P. 39, 186, 191. Print. Kupperman, Joel. "Myth Two The Desirable Life Equals the One That Is Most Happy." Six Myths about the Good Life: Thinking ab out What Has Value . Indianapolis: Hackett Pub., 2006. P. Ix , 22 44. Print. Liar Liar . Dir. Tom Shadyac. Perf. Jim Carrey. 1997. "Louis C. K. Hates Cellphones." Interview by Conan O'Brien. YouTube . Team CoCo, 20 Sept. 2013. Web. < https://www.youtube.com/watch?v=5HbYScltf1c>. Magic Mike . Dir. Steven Soderbergh. Perf. Channing Tatum. Lucky Red, 2012. Ono, Yoko. Wish Tree . Museum of Modern Art, New York City . Imagine Peace, 2010. Web. Fructose Magazine Vol. 16: 39. Silverstein, Shel. ""Lester"" Where The Sidewalk Ends . Harper and Row, 1974. Print.

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30 Terada, Anne. Wish Tree for MoMa . Digital image. Inside/Out . A MoMa/MoMa PS1 Blog, 2010. Web. Vonnegut, Kurt, and Dan iel Simon. A Man without a Country . New York: Seven Stories, 2005. P. 24. Print. Ware, Bronnie. "Top 5 Regrets of The Dying." Web log post. Huff Post . The BLOG, 21 Jan. 2012. Web. Wright, Jonathan. Urban Fairies Project . Digital image. Ann Arbor, Michigan . Urban Fairies Operations, 2006. Web.