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I apologize everyone, I thought my mentor artist blog posted successfully. Since it did not, I am going to briefly mention that I reviewed John Baldessari’s work as my first mentor artist. The reason was to reflect on my past influences; on my current study of work. The idea of visual culture and covering appropriated images is still a major influence on my work—similar to Baldessari. However, I am going to switch my first mentor artist to Myriam Dion. While I was in Quebec City, my friend and I went to the Musée National des beaux-arts du Quebec. There I saw some of her work, and it was breathtaking. Her work possesses intricate cuts on delicate paper. Her design is well thought out with the color of the newspaper or appropriated images. She beautifies depressed negative visuals.
I think this is where I want to head with my work. Still applying the same process, same visual culture theme, but the last layer of incised oil paint will consist of similar geometric designs such as her cuts. Similar to how I started my work last semester; using the Islamic geometric designs in cut paper. This time I am just doing it in wax on top of images from Rochester.

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Melissa Mizerak ARE 518​Visualization 1 = Your topic + Ecological Pedagogy
Additionally, each visualization is to be accompanied with a statement of purpose that discusses your intentions and analysis 400-600 words [5 points].
As I continue on with my research and teaching, I have come to realize that the most important thing in teaching—for me—is community. I am constantly moved around in my district, and I have become tired of getting to know my kids over and over again. I love my School 12 community because I have seen several kids grow from kindergarten and they are now approaching third grade. Watching them grow and having them know that I am there supporting them and caring for them is highly important to me. The relationships that you foster as a teacher are highly important. I am struggling this year because I feel that my bonds at School 12 are weakening for School 28. My School 28 kids are receiving most of my effort because I cannot seem to manage a foundation with the kids. It feels like a daily struggle. So, as I approached my Pedagogic Ecology, I realized that—as a military kid—I was constantly moving; maybe community is what I have always been seeking? That is why I want to find the school where I can have a strong community built and supported every year. That way struggles with the kids will result in them knowing I am fighting for them not against them.
As I approached the physical visualization, I used the same method I will for my research. I will be incorporating maps into my research as well as the nails and thread. The thread is wrapped around a central point. The radius was measured for each year I lived in a location. Each year was represented by an inch. Thus, for Germany my radius is two and half inches which represents the two and half years I lived there. I only included areas where I lived. Nothing under a year. However, I had trouble representing New York because I had lived in several locations. The map was too small in size to fit all the locations with the threading. So, I just included a nail since I did a zoomed in location with Farmington, NY.
As I approach my research with this method, I will include city streets. Each street will have a central point and a radius. I have not worked out the radius. I think that will depend on the number of murals, graffiti, or billboards in each location. If anything, I will make each point a half inch radius, and the points will represent one of the three visual culture representations. The thread will distinguish the differences.

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I have continued my studies with the encaustic wax and pastels. The last layer of my work will end with the step that is seen in the image above. I intend to carve into the wax, and then proceed to add oil paint on top of the carving. The image added is just an image of the carving process. It is very similar to removing ink off a plate for etching in printmaking. I have been using the same image just for my study pieces, but I intend on having final pieces possess two images juxtaposed.

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My research has taken a slight turn from the original plan that I had discussed in my presentation over the winter session. I was looking into the bus schedules and found major resistance and road blocks. With that said, I have decided to still travel the roads, but I will do every road within the radius of both School 12 and School 28; taking note where murals and graffiti are located. The radius will be based off data that I collect from http://www.cityofrochester.gov. I have been looking into the city’s main website to get guidelines on neighborhood zoning. I have also been looking into which zones my schools embody; thus, keeping in mind that we have a lottery system in the district. I will then proceed to show the images to local shop and community members. I was going to give them printed images with questions. I will ask that they respond to the questions via paper or internet (assuming not everyone has internet access). Or if I can personally record responses if they do not have time to write. I will also incorporate student responses. I will show them the images, and then I will record the responses via written or recorded documentation. If I do recording, it will not be video but just audio. I have begun the HREB process. The application is very intimidating. I fear being concise might be an issue, since I feel as though my research is having many “hiccups” already at this point. Overall, I am excited for the art part of the research. I think it is actually starting to bring a little clarity to the process. The writing seems to cause me to slow down with my thoughts and rethink things. I am trying to do both at the same time.

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This past Sunday, I went to a six hour workshop on joining pastels and encaustic. The workshop was very meditative, and I am grateful because I think I have found the direction I am going with my work. I started three works where I learned three different techniques under a local artist named Kathryn Bevier. There were several RIT professors that I had the opportunity to speak with there and pick their brains. The results from the workshop where the three artworks attached. The image that has the bubbles is the direction I will be pursuing my final artwork. I will be applying soft pastel images, and then several layers of raw encaustic wax. The last layer I will carve into the wax and then apply a dark oil paint to the surface. I will probably be using oil paint sticks for that.

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Currently my work has been focused mainly around material exploration. This spring semester has started with my continuation in encaustic exploration; the exploration that started at the end of the fall semester and continued on into our winter session. Recently, I have been completing 8×10 inch pieces that involve the incorporation of pan pastels, oil paints, and actually painting with pigmented encaustic. So far, my exploration has resulted in favoring layering Pan Pastels. I want to proceed in this direction with placing a second layer with another image. One image will be a photo transfer and the other will be with the application of more pan pastels. I might also attempt creating transparent layers of encaustic paint over the Pan Pastel. My plan that I worked out over winter might need to be a little altered. The details that will be required for the application of images takes me roughly four hours for one layer with Pan Pastels (not including the second layer that will involve an image transfer or painting). With that said, the numbers of completed final pieces might be hard to accomplish. I am hoping to finish up with material exploration by the 13th of February. Once I complete that, and figure out the method I will be using, I want to collect material images around Rochester.
The images that I will be collecting will pertain to my conceptual focus. I am looking at visual culture within the city of Rochester. The images that I will be utilizing will include two images. Those two images will have some sort of juxtaposition that will in turn hopefully question conceived perceptions the imagery evokes.
Once I have decided on the images that will be used, I still have the intention of removing areas of the encaustic wax to highlight the image below. I will also block out areas on the top layer with cross hatching of layers of colored wax over the encaustic paint. This is intended as a form of beautification to direct the viewers’ eye to areas I perceive to be important to the conceptual theme. This is the more immediate form of encaustic exploration that will take place in the next few weeks.

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The work seen here is my progress on one piece and another work started on Masonite. Each encaustic I am starting on Masonite. I have tried both the textured and smooth side. These pieces are test pieces for the final method I will be using for my summer work. Out of the four images, the one image that possess the teapot with layers of wax is the farthest I have been able to get. Each piece is about 8 by 10 inches. They take me quite a bit of time because of the methodic process. I intend on cover that image next and then carving into the wax.

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“Drawing is a tool of thought.” This quote resonated with me since I forget this frequently; especially on a micro level. With my personal artwork, I think of the end result; but, my focus is never on a point or a stroke. I never think about thinking regarding strokes or mark making. The majority of the time I subconsciously make decisions.
Cognitive ethnography struck my curiosity. I would actually like to try this. Watching myself make decisions and then narrating it might bring to light some subconscious decision making. Helping to place more emphasis back on the mark or decision making. This would result in revisiting my work with positive revisions, especially if coworkers or peers are not around to request opinions or thoughts.