• MFA in Fine Arts

  • Andrea Gonzalez
    Byron Peters
    Jacob Wick
    Jaimie Healy
    Jordan Reznick
    Jsun Charles-Jeremiah Parizo
    Julia Robertson
    Julie Feldman
    Kenny Kong
    Nan Peletz
    Sadie Harmon
    Sara Sellitto
    Seth Gutierrez
    Tiffany Canter
    Tim Power
    Zoe McCloskey

  • Carmen Lang - CCA Graduate Thesis Events

    Carmen Lang

    Contented Mutt
    El sueño de Miguel
    Overly Attached
    Sweet Love
    Followers
    Straddled
    Fence
    Roots
    Trio
    Column

    Contented Mutt

    9w x 4h x 4d in.

    Stoneware ceramics, glazes / 2012

    El sueño de Miguel

    8w x 16h x 8d in.

    Stoneware ceramics, glazes / 2011

    Overly Attached

    7w x 7h x 5d in.

    Stoneware ceramics, rubber bands / 2012

    Sweet Love

    10w x 5h x 7d in.

    Stoneware ceramics, sprinkles / 2012

    Followers

    6w x 10h x 6d in.

    Stoneware ceramics, glazes / 2012

    Straddled

    3w x 5h x 2d ft.

    Paper maché / 2012

    Fence

    6w x 4h x 3d ft aprox.

    Paper maché / 2012

    Roots

    4w x 3h x 3d ft.

    Paper maché / 2012

    Trio

    2w x 3h x 2d ft.

    Paper maché / 2013

    Column

    3w x 8h x 3d ft.

    Paper maché / 2013

    Contented Mutt thumbnail
    El sueño de Miguel thumbnail
    Overly Attached thumbnail
    Sweet Love thumbnail
    Followers thumbnail
    Straddled thumbnail
    Fence thumbnail
    Roots thumbnail
    Trio thumbnail
    Column thumbnail

    carmenlang.m@gmail.com

    www.reddelbarro.org/profile/CarmenLang

    Artist Statement

    Before I tried paper mache I had been making ceramic figurines for a long time. By learning how to handle new materials, I see how there are parallels between my own bodily experience and craft. The time and attention the materials require is the metaphor for the time and attention I can give my body to build a life. While the sculptures are being crafted, the decisions taken have a permanent effect on me too. I am invested in tactile procedures. Each leg is modeled independently, so each one has its own individual characteristics.

    The legs are separated from the rest of the body. The edge of these shapes is not the end of it. It is there to describe a point of departure, what continues beyond that limit connecting and relating to a body that exists only in the imagination. The separation of the leg from its natural position creates confusion, and I use ambiguity as a tool to fortify a personal exploration into abstraction.

    The legs can touch each other skin on skin to become an orgy, or they can touch like meat on meat and become a burial pile. They can be sincere and also hypocritical, they come out of unpredictable places and defy logic. The impulse that moves them appears to be blind but with a destination, they move through the walls as if there was no horizon. Without walking they are moving in the direction to find other legs to touch. When they meet, the portion of thigh skin that meets act like hands that want to recognize themselves by feeling the other.