Oh, to be Obscured: A Studio

There are several components that make up the ideal studio. A studio, for one, is not simply the place in which you work. Rather, it is the place that decides how you work. Practicality is important. Therefore, I have three, miniature rooms inside this piece that each serve a different purpose. One would be a woodshop, the other a miniature gallery, and the last, would be for painting. Of course, I know the way that I am, and, unfortunately, these rooms would not adhere to their purposes. Rather, each one would bleed into the next, with materials from another obscuring the purpose of the space. Which leads me to the idea of obscuration. My work centralizes on memory, through both the functions of it and our experience of disconnect with it. So, for that reason, I believe a studio that mimicked obscuration and, subsequently, disconnection, would best serve me in my practice. In reality, I have no idea how that disconnect would function in a studio space, and if it would be practical, yet I feel it is necessary in some capacity. So, the first two images I have attached represent the feeling that I would like my studio to evoke and the last two images are pictures of the actual structure that I made. I feel that the first image best represents what I want from my ideal studio. Yet, it is the most intangible of all of the images. 

The two pictures, taken from my sketchbook, exhibit the process I took in deciding how and what I wanted to construct. The top left panel is my studio as it was before spring break and the top right panel is how I would want to display my art if I made exactly the art I wanted and had the means to do so. The bottom left panel is a representation of the atmosphere I would want to be represented in my studio (a sense of tranquility and ease), and the bottom right panel is my sketch that eventually led to the cardboard-constructed studio.