Folded in Silence

When have you felt misunderstood or silenced (censored) here at RISD? Or elsewhere?

Are there words you felt you couldn’t use / say in the art school context?

Is your effort of writing one of reclamation? Are you calling upon words that communicate certain subtleties of experience or silences that have been imposed on you?

· Your Visual Bond

What is your visual bond today? Do you thrive on a compressed attention span? On impression rather than immersion? On intensity rather than contemplation? On previews rather than screenings?

· Noticing

Drawn to see, observe, perceive, notice. In our writing we can offer clues to what prompted the making of work, as well as underlying themes and processes — and how these might have changed the way the work took shape. For this prompt, target a reader. What were you drawn to notice? Capture in precise detail that which was visually intriguing. What triggered your curiosity, and how did this lead to your decision to create a particular work?

(We reworked this effort through a second draft toward a short essay)

· Ponderable questions. Search questions. Questions you ask of your practice, your work. Asking questions as a primary mode of making an argument.

Example: What does it mean to thrill at the sight of nature when its destruction is inevitable? How do I reckon with the deep time of landscape and the entangled conditions that colonialism has produced between humans, animals and land?

· Roundtable

In seeking to answer or reflect on our questions, we look not only to our studio work but to influential writers, theorists, experts in the field, other artists and designers, poets and so on.

Imagine some kind of roundtable where a combination of progenitors and purveyors of the material you are exploring are seated with you. Take five minutes to list three people — living or dead,

known or not — at your roundtable. Why did you invite them? List one ponderable question (for each influential individual) that probes an important dimension of your work.