Link to Presentation:
Monday, April 1, 2019
Area of Interest Statement:
Interested in creating a tessellation with varying degrees of color found in soil around campus. (Preferably soil within on area of UWF property, but may change depending on availability of soil color variety.)
This research project will focus on soil quality, soil component, and soil color found among soil along UWF’s E.B. Nature Trail.
Trailing along the west side of UWF’s main campus, E.B. Nature Trail is a half-mile long nature trail beginning behind Crosby Hall (Building 10) and snakes around in a loose oval shape to end near the start of the trail. Along E.B. Nature Trail, visitors can enjoy long peaceful walks or explore a bit of Thompson’s Bayou with canoes / kayaks. Throughout the trail, various mammals, birds, and fish can be seen among a sea of trees. Supporting all of the wildlife present in the nature trail is soil and their various contents that keep many of the plants thriving with quality components.
Primary Research Sources:
- How To Read A Munsell Color Chart (n.d.) munsell.com. Retrieved from
- David H. (September 2013). Color Interpretation and Soil Textures [Powerpoint Slides]. Florida Health. Retrieved from
- Colorado FFA (n.d.). Soil Color and Its Causes [Powerpoint Slides]. Retrieved from
- Natural Resources Conservation Service (n.d.). The Color of Soil. United States Department of Agriculture. Retrieved from
- Cornell Cooperative Extension (n.d.) How To Take A Soil Sample. Cornell University. PDF file. Retrieved from
- Athia H. (October 2, 1988).The Art of Navajo Sand Painting. The New York Times. Retrieved from
- Pennsylvania Envirothon (n.d.). The Color of Soil. envirothonpa.org. PDF file.Retrieved from
E.B. Nature Trail and the edges of Thompson’s Bayou
Data to Gather at Field:
- Soil Color
- Soil Component (component giving color)
- Soil type
Type of Final Product: 24” x 24” sand/soil tessellation on canvas
Planned Visual Outcome of Final Product:
Materials: soil moisture meter, Munsell Color Guide, glue, large canvas/foam board, and at least 5 samples of soil of varying colors
Size: 24 inches x 24 inches
Other Formal Elements: visuals of quilt, tilings, tessellation, and mosaics.
Questions and Statements
- What allows different soils and sands to appear in different colors?
The main factor is soil component; red colored soil will appear more vibrant when the level of oxidized iron oxides are higher while the lowers levels will appear as a dull yellowish-white color. Darker soils that are closer to dark brown and black have high levels of organic matter; some soil are darker colored also because of specific minerals. White and tan colored sand are made from higher levels of quartz crystals.
- How does moisture affect soil color?
Higher levels of moisture allows soil to appear darker while dryer soils allows soil to appear duller.
- What significance does the Edward Ball Nature Trail have in UWF?
Edward Ball Nature Trail is a nature trail and wildlife sanctuary built on the UWF campus on November 16, 1969 as a collaboration with the Edward Ball Wildlife Foundation to introduce sanctuaries to college/university campuses.
Friday, March 15, 2019
Out of UWF’s array of properties, I feel that I am most interested in looking further into the nature trails on main campus. Many times when I have long breaks in between classes, I will go out to Edward Ball Nature Trail with friends to look around and unwind. While I currently do not have a definite idea on what I wish to look into (due to having to be in the earlier stages of research), I do want to work with the natural resources I can find on the trails to make my final piece; some of the materials include the soil/dirt samples along the trails, water samples, and foliage. Since temperatures are warming up, I am also curious to see if anything can be done relating to floral plants (if such can be found along the trails).
As I understand that the process of reading is part of the overall artwork/project, I am curious to see if differences in color and texture can be found from dirt samples taken along the trail that vary in environment (such as areas that are closer to water, farther from water, under foliage, richer in minerals, and etc.). As a final piece, I will like to make something that appears tile-like or quilt-like that can show small differences in color and texture (similar to the style of Mark Rothko and how he places various colored rectangles/squares with various hues and shades to create his abstract color field paintings). At this moment, I will only perform fieldwork when there is no rain since color and texture can be affected by an increase in water/humidity (this is mainly to maintain various samples under similar conditions without the influences of big external factors).
Tuesday, March 12, 2019
Prior to reading “Six Quick Lessons in How to Read a Landscape” by Daniel Grant, Spring Greeney, and Ben Kasten, much on my thoughts on reading landscapes were quite literal. I imagined that the process of reading landscapes were to be observations, some testing/sampling, and other direct fieldwork in the location selected; nothing more, nothing less. Instead, I was quite wrong with my idea because there is so much more that goes into the process of reading landscapes; many of the steps taken can be quite intimate and personal rather than to just simply observe and record. This idea of intimacy in reading landscapes is briefly explained in the article’s last lesson, Particularize.
In the last lesson, the writers explain the importance of reading further into landscapes and how symbolism/themes attached to such landscapes can help elevate one’s understanding of the selected location. While there are symbols/themes that are generally understood about a location, intimate and personal experiences/knowledge can also become an important symbol/theme of the location. The main objective of reading landscapes is to not just scratch the surface of the landscape’s visuals and history already known to the public, but to also find the hidden treasures that the public were never aware of. These deeper findings can lead to unexpected connections to other locations or a “better reading” of the location (which is the, again, the main objective of reading landscapes); examples could be certain patterns present in specific locations or comparisons of before and after of specific locations only the artist/reader may know. As readers will understand after going through Edge Effect’s article, landscape reading is to present findings that merge the scientific observations of a location with its history and culture; out of the three, culture is what can bring meaning into the story of the process of reading a landscape.
From a project’s point of view, this individuality can also help separate a project from the rest when focusing on similar (if not the same) landscape/location.
Sunday, March 3, 2019
Thursday, February 21, 2019
Below is the link to Project 2: Rough Draft.
Link to Goole Drive Folder: net.art research
Link to Goole Drive Folder: net.art research
- Link to Image Bibliography:https://docs.google.com/document/d/13NznbovScQqPsl35qVwBkc8_2I-Gx0h2fyXXJwDoLIk/edit?usp=sharing
- Link to Term Generator List:https://docs.google.com/document/d/1_IXMtS5myOwOfK1OaLfiTRkeVqqZbiJc1Mmveu0HAFE/edit?usp=sharing