For my revision of the first visualization, I decided to combine all three maps. Instead of having them separate, I tried to display the influence of each area that I lived in regarding to size. So, I decided to make the country out of the nail and thread and larger in size to display the amount of influence. Generally speaking these were the major areas that I changed from the first visualization.
So I realized that I did not write my second memo correctly. I have been writing down notes that were due, but I lost my cell phone with my calendar in a bucket of water on my art cart. So please disregard the second memo I posted earlier. My research has hit some issues. I spoke with Kevin the other day, I realized the area in which I am trying to cover is too vast. I need to cut down the research area of the southeast quadrant of Rochester to the lower section of the southeast quadrant. I walked one of the neighborhoods with one f my best friends. It took us a little over two hours. There is approximately 46 in the southeast quadrant of Rochester. As we were walking I was talking pictures of visual culture under the labels, statements, graffiti, murals, signs, or flags. I have drawn maps of the neighborhoods that I am making marks to label the locations. 
My work continues. The Pan Pastels are the slowest part of the process. This current piece is of a coffee shop on South Avenue in Rochester. It is about five minutes down the street from my school. I thought I would start with this coffee shop because one of my students comes here every Saturday to draw with her father. She is currently in third grade, and this is the first year I have not had her since I have started working. Every time I get coffee here I think of her and her father. She is an amazing artist for a third grader. I think it says a lot about practicing your art form. As I continue my work I will add a contour drawing of graffiti that is across the street from the coffee shop.
For my second mentor artist, I looked to the works of Nancy Crawford. I was drawn into her work purely because of the physical outcome. The transparent layers, carved writing with inlayed pigment is similar to my process. Although our themes differ, I was hoping to have some insight or inspiration to which I could add to my work. Right now, I am struggling with cohesive outcomes with the line work and Pan Pastel under layer.
However, she has a series of work that I think Brette would find interesting. It is called The Detritus Institute. Crawford describes the series as:
an imaginary organization whose function is the collection and preservation of the debris, waste and scraps of daily life. All of the objects share the patina of age, decay or use, a visual reminder of the constant passage of time and its effects on things – which I find captivating
Although our conceptual component to our work is different, the images I am attaching by her are very similar to my current body of work. I would like to try some of her approaches so that I can cohesively unify my layers like Crawford does. She also has a TedTalks that I watched on creativity. I thought her point on being in the moment was very interesting. I think it is what we are trying to do with the Studio class. Having our attention on our studio practice, and not being distracted by all things around us. However, when there is so much to be accomplished, my mind struggles with this. It was an interesting point of view.
This week, much of my studio time was consumed by making maps of neighborhoods in the Southeast Quadrant of Rochester for my research. This past Saturday I went out and started to take pictures of images with one of my good friends. The maps individually took about 20 minutes (making sure I had the proper street names and house numbers so I knew where to stop and start on the street). I also started the Pan Pastel on one of my images. I placed the grid as well which takes forever because it is really hard to see. However, I think I want to change the size–larger will be easier with the pan pastel (I think).
My work continues with encaustic. I am starting work on three pieces at a time. I have put the base layers of wax on each. This time I have also included black wax on and white wax on the edges of two of the works. The images do not show the first process well. As I go through each layer of wax, I scrap or heat the surface to make it a smooth working environment for the pan pastels. I will be starting three different images from the south wedge neighborhood of Rochester. I have picked three different sizes this time to work with so I can gear what size I want to work with over the summer. I have also included the incision on the teapot. I carved into the wax and set oil paint into the lines. I did it for the teapot and chair. I also went back over with some pan pastels for the chair. I did not like the stark black as much; so, I tried covering it up with Pan Pastels.
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.
Melissa Mizerak ARE 518Visualization 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.
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.
Comparison of the Encaustic painting with the wax and soft pastels. Same image, but I am not sure which is stronger. I will probably end up carving into the encaustic painting first. Not sure what to put on the top yet.
