Browsing by Author "Winship, Andrew"

Now showing 1 - 10 of 14
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    Bienvenidos A Indianapolis
    (2011) Gutierrez, Rogelio; Winship, Andrew
    My story begins in Jalisco, Mexico where Rogelio and Maria Del Carmen were born and would eventually fall in love. Rogelio is from a small town called Santillan, Jalisco. He is one of twelve brothers and sisters that were raised on his father’s farm. Farm life would prove to be difficult; it involved harvesting seasonal produce like corn and sugar cane, and required the herding of sheep, goats, and cows. They had no choice, if they did not work, they did not eat. One can imagine with such demanding responsibilities as a child, very little room was left for education and the opportunity for a brighter tomorrow. Rogelio was always ambitious and believed he would one day leave the farm for good, out of all of his brothers and sisters, he received the highest education by completing the ninth grade, but his father demanded him to quit in order to meet his obligations to both the farm and his family
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    Casting (off) Reality
    (2019) Craig, Sydney W.; Winship, Andrew; Holzman, Laura; Potter, William
    My artwork examines the realm of the subconscious through constructed symbols, such as puppets, shadows, and theatrical allusions; through the visual and contextual language of these symbols, I question the lines drawn between fiction and reality. My work explores the construction of personal realities, and I propose that perceived realities are reflections of the often denied subconscious, which is a critical component of reality. In the following sections, I examine Paul Klee's influence on my artwork as I discuss his use of puppets and metaphor. I also explore my use of puppet and shadow symbols as they relate to psychoanalysis as I question the distinctions made between reality and fantasy, which parallels consciousness and subconsciousness.
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    A Cataclysmorphic Prophecy
    (2021-05) Moore, Alex; Potter, William; Riede, Danielle; Winship, Andrew
    Our bodies and minds are incessantly morphing, driven by environmental stimuli. You could reduce the entire experience of being alive to simply being fluid and responsive. In considering the significance of this morphability, we should also consider the significance of “place”. This relationship with place is rooted in ecology, the branch of biology which deals with living things and their relationships with their physical surroundings. In my body of work I examine my own relationship with place, its effects on my identity, and my ability to morph.
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    drift
    (2016) Wittman, Priya; Winship, Andrew
    Through making, observing and responding to my art I maintain a constant cycle of question development and exploration of the infinite answers to these questions. The most important questions concern human existence: Where does a person begin, and where do they end? When do I occur, and when do I stop occurring? What makes existence meaningful or meaningless? The processes of making, observing, and thinking about art provide me with a flexible framework in which I can conduct investigations into these questions.
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    Entering the Door
    (2018) Simon, Johnson; Riede, Danielle; Jacobson, Marc; Winship, Andrew
    How do physical limitations affect the mind, and how can you overcome them? Imagine one day you wake up bound by physical limitations. What can you do? My research helps someone realize that having limitations isn’t the end of the world.I myself have restrictions, yet I am defying the odds.My art became integral to helping me overcome limitations; because of this, my thesis research educates others on the reality of living with limitations by helping them connect with their own struggles.
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    Fighting Powers
    (2021) Dobouni, Leena; Winship, Andrew
    Fighting Powers analyzes Leena Dobouni’s body of installation artwork as it relates to concepts of socio-political imbalance between the Middle East and Western powers. The West’s systemic degradation of the Middle East is examined through the theories of the post-colonial / imperial gaze, psychological myopia and social dominance theory. The thesis poses that historical events during the early 20th century set the stage for the current rapport that the West has with the Middle East. T. E. Lawrence, Mark Sykes and Francois Georges-Picot are three main players in the instigation of the inequitable relations between the West and the Middle East. Investigation of these ideas and events support the presented viewpoint that socio-structural marginalization of the “other” in Western communities is irrefutable and that the idea of the “lesser” is born out of “othering." Dobouni’s unique experiences as a Muslim of mixed Iraqi-American heritage in the Western and imperial gaze has allowed her to observe distinct narratives of political tension between the two sides of her upbringing.
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    Installation as a Sensory Vessel
    (2017) Sciore-Jones, Elizabeth J.; Winship, Andrew
    The tectonic plates of earth are in constant movement, floating on magma. The earth cracks and presses, creating mountain ranges and valleys. Water rushes in filling the crevasses, changing jagged bedrock into smooth curves, turning the seabed into a dry salt covered desert. The shift of the earth can be felt and the object-hood of a mountain range cannot be denied. Our origins are buried deep in the earth, creating a relationship between the self and the flesh of existence. The sensing matter of humanity is apodictic; confirmation is received from the nervous system as it interacts with primal environments, symbols, textures, and sounds. This information is processed phenomenologically, shaping how we think, communicate, and develop. As our contemporary minds grow further away from our intuition, we must look to the roots of our origin stories and how they merge withour modern sense of the sublime. I connect our contemporary phenomenological awareness to the primal origins of Earth, and humanity by utilizing video mapping, sound, sculptural paper-making and installation. Through this connection, I create sensory experiences to increase the viewer's awareness to their physical body and its causation.
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    Let's Plan Our Escape
    (2010-05) Mason, Jill Marie; Winship, Andrew; McDaniel, Craig; Jamie, Pawlus
    I have one sister, Jenny, and most of our childhood was spent living in the country. With few other peers nearby to play with, we were best friends. Over time, we grew to be a very imaginative duo. I have many memories of playing pretend. It started early on. My earliest recollection of this activity is a happy one that is most likely triggered by a photograph of Jenny and myself. We are standing in front of the fireplace. Jennyʼs arm is around my shoulder and mine is around her back. We are both smiling. The photograph provides a three quarter view. We are each wearing a ruffled bonnet. Under Jennyʼs is a red yarn wig. The bonnets are tightly tied around our chins. Our faces are decorated with exaggerated freckles in a classic three points in a triangle fashion. We are wearing red, long sleeved frocks overlaid with white jumpers that have green diamond appliqués around the waist. Underneath these rompers we are sporting white knickers. Some may think that we are supposed to be Raggedy Ann, but those in the know (people, especially women, born in the mid 70s to early 80s) would recognize the garb as belonging to Strawberry Shortcake. Our mom fashioned these costumes for us on her sewing machine. She always nurtured and fostered our desire to pretend to be other characters or people and the creativity that came out of it.
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    Liminal States
    (2011-05) Warner, Melanie Christine; Winship, Andrew
    My life is influenced by decisions that I have made. They are informed by my past and cultivate my future. I inquisitively dig through past experiences to comprehend my choices in life. Whether they are painful, mundane, or pleasurable they facilitate a change, a metamorphosis. And so, change is nestled within my decisions and within the present, in between my past and my future. Whether decisions are guided by intuition, animal instinct, the subconscious, or the conscious, they manipulate who I was and whom I will be. With my art, I search to understand where learned behavior, thought processes, and repeated patterns of decision making may occur. This investigation is not always easy or clear due to the emotional impact change can induce.
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    Longing For More Time
    (2014) Stoffer, Bridgit; Winship, Andrew
    My drawings and installations intertwine creating visual poems that allow my audience to view my inner world through shared experience and invites them to consider moments of honest vulnerability exposed in the quiet subtlety of what they witness. My narrative is always the starting point while I reflect upon and deepen an understanding of: the impact and resilience on seen and unseen realties, trying to rebuild out of brokenness, and our longing to preserve something lost. My work explores how one negative act can provoke determination and resolve. Through process and material exploration I’ve created ways that allow my art, much like an individual, to find a way to not simply endure, but navigate a path to thrive in the grim environments I create. Time is my true medium as I consider: temporality, lifespan, evolution and preservation. I use material and process to establish a passage of time so that I may reveal the way we hold on to things that are falling apart around us. I'm interested in making ephemeral objects that encapsulate a moment, holding it in place to somehow preserve something that would otherwise be lost even though they should not and cannot last. I expose this loss and our need to preserve what we can while holding on to the preciousness of the time we have that isn’t yet gone.