A Wind From Noplace: Using visual art as a lens for understanding humanity, emotion, and the changing earth through ecological intimacy
dc.contributor.author | Sheufelt, Kristina | |
dc.date.accessioned | 2023-09-08T16:39:22Z | |
dc.date.available | 2023-09-08T16:39:22Z | |
dc.date.issued | 2022 | |
dc.identifier.uri | https://hdl.handle.net/2027.42/177647 | en |
dc.description.abstract | Presented at the Stamps Gallery in Ann Arbor, Michigan in March 2022, A Wind From Noplace is an interdisciplinary body of visual artworks and creative research surrounding my attempts to understand human ecology through a personal lens. In the making of these works, I attempt to uncover and transcribe the psychophysiological roots of my intimacy with land, flora, and fauna. The installation includes two large kinetic landscape sculptures with corresponding videos and a third, smaller sculpture. Beside the largest of the sculptures, the wall text reads: What does it mean to hold memories of a changing landscape? Like lost loved ones, can we keep mountains and meadows with us after they are gone, or after we have gone from them? A Wind From Noplace uses physiological data to understand the land as an object of affection, a surrogate for emotional relationships with humans absent from our lives. With a collection of heartbeats and brainwaves, I attempt to reanimate the landscapes of my memory, blurring lines of species, geography, and self. In each kinetic sculpture, I capture several moments of my body’s responses to natural landscapes, translating the fluctuations in physiological activity into a visual language for interpreting emotion and sensation. These brief moments of bodily response to stimuli were captured over the summer in remote or isolated locations, after I completed a six-week trek through mountainous backcountry. I’ve spent the nine months since I came out of the backcountry trying to remember it, to hold onto what that immersion did for me, both in body and mind. In A Wind From Noplace, the viewer is both witness to those moments and participant in my attempts to reconfigure them. In this document, I will present the research and methodologies that produced this body of work, and which also provided the framework for many works of experimental creative nonfiction and a budding philosophy regarding human ecological engagements. | en_US |
dc.language.iso | en_US | en_US |
dc.subject | Ecology | en_US |
dc.subject | emotion | en_US |
dc.subject | humanity | en_US |
dc.subject | kinetic sculpture | en_US |
dc.title | A Wind From Noplace: Using visual art as a lens for understanding humanity, emotion, and the changing earth through ecological intimacy | en_US |
dc.type | Thesis | en_US |
dc.description.thesisdegreename | Master of Fine Arts (MFA) | en_US |
dc.description.thesisdegreediscipline | Art and Design | |
dc.description.thesisdegreediscipline | Art and Design | |
dc.description.thesisdegreegrantor | Art and Design, School of | |
dc.subject.hlbsecondlevel | Art and Design | |
dc.subject.hlbtoplevel | Arts | |
dc.contributor.affiliationumcampus | Ann Arbor | en_US |
dc.description.bitstreamurl | http://deepblue.lib.umich.edu/bitstream/2027.42/177647/1/Sheufelt-Kristina-Stamps-MFA-2022.pdf | |
dc.identifier.doi | https://dx.doi.org/10.7302/8105 | |
dc.description.depositor | SELF | en_US |
dc.working.doi | 10.7302/8105 | en_US |
dc.owningcollname | Art and Design, Penny W. Stamps School of - Master of Fine Arts (MFA) in Art |
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