• American Standard

      Shenal, Martina M.; Smith, Kaitlyn Jo; Alshaibi, Sama; Farbrook, Joseph; Taylor, David; Vaden, Cerese (The University of Arizona., 2020)
      My thesis project, American Standard, comprised of the works Fixtures and Lights Out, addresses issues surrounding automation by utilizing processes that have rendered the shift-worker nearly obsolete. In American Standard, I have replaced workers with 3D scanning, 3D printing (Fixtures) and machine learning (Lights Out) to question the ethics surrounding the current state of labor practices in the United States, while drawing attention to the individuals that these processes replace. Through this project, I become the archeologist of my own family’s recent past to show that automated America is not some dystopian fantasy, but rather a contemporary reality with implications for the psyche of an entire societal class. The very nature of work in America is changing and along with it the way we view ourselves as both individuals and a nation. With unemployment on the rise, we are experiencing psychological repercussions as well as shifts in America’s socio-economic structure. In her article We Are All Workers, Sarah Banet-Weiser states that, “Historical American mythologies of rugged individualism, stoicism, and persistence have shaped the symbolic construction of the male blue-collar worker as the quintessential American man, the self-made individual who perseveres under hardship, who sees every crisis as an opportunity” (Banet-Weiser 2014, 89). The way we discuss and respond to technological advancements in manufacturing in the front half of the 21st century will greatly impact our species relationship to work for generations to come. American Standard is both an archeological and anthropological examination of the present that asks us to consider the implications of automation on America’s working-class and therefore society as a whole. Over the past two years, my father and I have revisited the shuttered American Standard plant where he, and many of his brothers, once worked. In this landscape, we become the archaeologists of our collective histories through the excavation and preservation of once functional pottery, the toilets made by skilled laborers at the now abandoned American Standard factory in Tiffin, Ohio.
    • Condensed Chaos

      Zielinski, Angela; Dahlke, Ashley; Vaden, Cerese; Zielinski, Angela; Bradford, Carlton; Moore, Sarah; Leslie, Kelly (The University of Arizona., 2019)
      The relationship we have with objects is one that is often quite complex. Things that we own can bring us feelings of joy, nostalgia, comfort, melancholy, and can become burdensome. Objects that we choose to surround ourselves with gives insight into who we are and can become portals to our past experiences and memories. Condensed Chaos looks at objects found in thrift stores and resale shops and how their proximity to other objects creates a range of narratives about who the previous owners were and what the life of the object once was.
    • Silent like Snowfall: A Retrospective on Memory and Self

      Zielinski, Angela M.; Krause, Janelle Lorraine; Zielinski, Angela M.; Setzer, Gary; Vaden, Cerese; Christiana, David (The University of Arizona., 2017)
      I believe art should express things which cannot be easily or entirely explored with words. For me, memory and unconscious mental processes are such matters. Memory is imperfect and impermanent, yet it greatly influences our day-to-day decisions. My memories of fiber art, altered and nostalgic, set me on my path to weaving and the pursuit of fine art. Silent like snowfall: A Retrospective on Memory and Self, explores the memories and concepts behind Silent like snowfall, a woven installation which creates the theoretical space in our minds which houses remnants of memories.
    • Traces

      Vaden, Cerese; Steinert, Lauren Collins; Coleman, Aaron; Leslie, Kelly; Bradford, Carlton (The University of Arizona., 2021)
      Traces, presents real, traced, printed and projected marks, sourced from the communal printmaking studios at the University of Arizona. It is a combination of printmaking, glass, and light projection. The exhibition consists of three parts; 8 wall mounted, plastic drypoint plates, a series of 12 intaglio prints, and 3 intaglio wiped glass inking slabs mounted into tables. The work transforms unnoticed marks into transparent, excavated objects and explores history, memory, presence and absence.