MAS 962 Project #2B (page) (box)

This object is a cardboard box, mass-produced and sold at craft stores. The box is in the shape of an extruded heart form. A singular green leaf on its top surface has been painted in acrylic colors. The colors used are Plaid "923 Clover", Delta Ceramacoat "Bright Yellow", and Delta Ceramacoat "Magnolia White". The box itself measures 3" tall, and 2.75" at its widest point.

If taken literally this work may seem to be primarily concerned with three things: The heart, (or its very common simplified symbolic graphical representation), plant life (specifically leaves), and boxes, or containers.

A less literal interpretation of this works subject matter points towards notions of simple crafts, and hobbies. The decorative motif of the generic plant leaf is stereotypical of the handicrafts of the contemporary homemaker. This leaf motif is seen quite frequently in the context of wallpaper, and hand painted home details. The heart motif is associated with early American crafts, specifically the work of the Pennsylvania Dutch colonies, as well as the hand made Valentines Day cards of children. The leaf, and the heart are probably the two most common symbols used in home handy crafts. The size of the object is somewhat fetishistic and diminutive. The mere fact that the object is a container, in itself supports the theory that the subject matter of this piece is that of home crafts.

The shape of the box is perfectly heart shaped, and has the trappings of a mass produced item. There is no evidence of the construction process in the boxes overall form. It is uniform, static, and passive. As mentioned earlier its scale is small, posing no threat, and no consequence to the viewer. At the same time it is not quite small or intimate enough to draw a viewer in. This object has the unfortunate burden of sharing the same proportions and size as most consumer goods, and is likely to get lost in a sea of knickknacks and consumable goods which surround us.

One visually exciting element of this object, is the singular green leaf on a sea of white. This contrast is rather unorthodox in the decorative arts, where usually one motif is repeated over and over to give an object a patterned and continuous feel. Here the artist has deviated from that path, a rather bold maneuver.

The leaf is the only compositional element in this piece. The painted leaf is quite small, solitary, and isolated. Its placement in the dead center of the top of the box further accentuates the singularity of the leaf. This type of composition reinforces the diminutive, fetishistic aspects of the work.

The technical execution of this box is unique. Apparently great care has gone into the production of the uniform white background upon which the leaf sits. The surface is smooth, even, and undisturbed by brush marks. The boxes white area is hypo allergenic, and antiseptically free of evidence of the human hand. In stark contrast to the pristine and mechanic technical detail of the background, the leaf itself has been rendered quickly, and is reminiscent of writing or other simple mark making techniques. We can see the brush strokes, the thickness of the paint, and the directions of the human gesture.

It is difficult to understand the intentions of the artist in this work. On the one hand, there is compelling evidence that the artists would like to make some commentary on the traditions of craft. On the other hand, the technical execution, and compositional elements seem to violate many of the cannons of the very traditions the artist is speaking to.

For instance, although the artist borrowed a decorative motif and technique in the execution of the leaf, the artist managed to estrange the meaning of this motif by isolating the traditional motif in a laboratory like context, and by rendering the motif in an inappropriately small scale, thus sterilizing a uniquely human type of mark making.

It is unlikely that the artist's intentions were to start a dialog about hearts, and leaves and boxes. It's also unlikely that the artist was simply trying to render traditional crafts, or to celebrate the history of craft making in America.

Although the exact intensions and motivations of the artist remain elusive to me, I have no doubt that it concerns the relationship between art and craft in contemporary times. Because of the way the leaf was rendered, box feels simultaneously lonely and sad, and endearing. Perhaps this reflects how the artist views the Martha Stewart suburban craft renewal movement.

Technically this piece is not very interesting. It borrows its main shape from a commoditized craft blank. While the white surface treatment is somewhat obsessive, it is not without its flaws, so it is neither completely free of the human hand, nor completely expressive. The inverse can also be said about the leaf motif. While it attempts to look expressive, it is also scripted and staged.

This artist needs to get clearer about his or her intention as well, This piece was difficult to discuss, because I wan unable to identify the intention of the artist. In general I suggest more experimentation with scale, some exaggeration, drama, anything to sharpen and articulate his view. If the piece really is commentary on craft, the artist should be familiar with the work of artists like Judy Chicago.