It would be really cool if the people in doctor’s offices looked happier. and even in the whole health care industry in general. I don’t like how limited it is from what I’ve observed. There’s got to be a better set of situations. I want to make sure that my old Pop can come to my shows! But more than that, I’m really interested in how behind the times it seems that design is that have mobility issues. Kind of a way for me to work on some autobiographical parts of my life into my work without being too overt about it. There are a lot of people in my family that are aging all around me and their mobilities are changing, and that’s very much in the forefront of my consciousness. So I’m thinking about contemporary art more and more taking on the problem and logistics of being very inclusive in their models for people who have mobility issues or have sight or hearing or any number of issues. Fun: What about accessibility issues for people like me who are in a wheelchair?Īnna Kunz: To me, when I was working in the space, I wanted to include everybody. I really love the way the light plays off the fabric. I’ve looked at the paintings, but I haven’t really sensed the room yet, so today I’m just kind of sensing the room. I just got off of work and I’m just taking a moment to feel the vibrations of the floor. I haven’t time to sit down and actually enjoy it. One of the reasons I why used transparent fabrics is because I want to implicate the viewers bodies into the experience of the painting. But it does change when there is more of a social thing going on with more bodies, more people. I think the ideal viewing experience is when one figure is absorbing the space. I do think the space changes depending on how many bodies are absorbing the experience, how many bodies are absorbing the sound. I also noticed that there were a lot of kids in here two weeks ago.Īnna Kunz: Yeah, they made me nervous with their chocolaty hands.It was not my ideal situation to have like a run through exhibit, i wanted to make something where people could walk through the painting. And when one person at a time is in here they’re able to really experience it in a lot of different ways and we can play. Fun: The exhibit has a different vibe when there’s a lot of people in here than when there’s no on in here. I also think a lot about the sightlines so that this painting installation is meant to be thought through in 360 degrees because of the catwalk above us and the different levels which affect the space. That allows me to do a little bit of room for improvisation where I can actually get into the space which allows me to do things onsite with a little more confidence knowing what its gonna look like overall. So, to begin the process when I work from conventional painting to installation, I build an architectural model so I use about a half-inch equals one foot scale so that I can imagine it. Fun: Do you design your artwork for a particular gallery or is this exhibit mobile? Has this exhibit been in any other places?Īnna Kunz: No, I do design with a specifically with a particular architectural parameters and elements in mind.
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