Below is the initial proposal from Bradley Cahill and Erin Coleman-Cruz.
After a first meeting and obtaining a crate, new activities transpired.

Transience: A Proposal

That nothing is static or fixed, that all is fleeting and impermanent, is the first mark of existence. It is the ordinary state of affairs. Everything is in process... always changing, moment to moment.
--Pema Chodron

This project involves crates that act as vehicles for objects, but become obsolete once the parcel is delivered. The shell that remains can be a symbol of the universal nature of transience, and how it can be applied to social structures.
We are considering this project as a large installation that will be limited by availability. The exact form this will take is as yet unclear, as that the process is inherent to the imagery. We plan to use these crates to delineate spaces that suggest the most basic shelters and dwellings. We included some photos (see below) that inspire the process, but do not dictate the form.
home_1.jpg

The first image inspires us to create these structures to be elevated in some way and flow one into another. Ideally, we would like to fill an entire gallery space, which would require all of the crates, but are open to any number. It is important for us to approach this intuitively, where any pieces that are removed are returned back into the installation, and so the piece will be refigured as it grows. We also plan on using other found materials, but limited to using only other wood, fabric, and hardware such as nails and screws. It is imperative to maintain the quality of the materials and to handle them with respect.








In restructuring the crates, we intend to largely maintain the integrity home_2.jpg
of the material, approaching the project with a sense of holistic reverence. We find the structure, this discarded shell without place or usefulness, to be the concept in and of itself, and this opens the opportunity to discuss transience on a larger scale. The experience of these crates is intended to create Thirdspace, which is, according to Edward Soja, an "imagined, liminal space where liberating acts and thoughts can occur." The installation itself becomes a comment on transience as an answer to the pressures and the trappings of permanent placement. The work itself engages the viewer to ask questions such as: What are the meanings and connotations for transience and permanence? What does it mean to create such spaces within a gallery setting? These questions are an integral part of the act of liberation that our Crate Space will bring into being.




Soja, Edward. Thirdspace: Journeys to Los Angelos and Other Real and Imagined Places. Blackwell Publishing: Malden, MA, 1996.


Proposed by:
Bradley Cahill, MFA student in Sculpture, first year.
Erin Coleman-Cruz. MFA candidate in Sculpture, third year.



home_4.jpghome_3.jpg