We Are Not Passive Observers, But Active Participants | Sena Clara Creston | TEDxRichland

we are not just passive observers of our

we are not just passive observers of our world but active participants the light

world but active participants the light

world but active participants the light space and materials that make up our

space and materials that make up our

space and materials that make up our environment influence our thoughts and

environment influence our thoughts and

environment influence our thoughts and emotions but the world is so big and we

emotions but the world is so big and we

emotions but the world is so big and we are so small our individual actions seem

are so small our individual actions seem

are so small our individual actions seem insignificant compared to the forces of

insignificant compared to the forces of

insignificant compared to the forces of time nature and society the untouchable

time nature and society the untouchable

time nature and society the untouchable beauty of a natural landscape gives the

beauty of a natural landscape gives the

beauty of a natural landscape gives the illusion of it being a powerful force of

illusion of it being a powerful force of

illusion of it being a powerful force of vengeful disregard and the crumbling

vengeful disregard and the crumbling

vengeful disregard and the crumbling ruins of a cultural wasteland give the

ruins of a cultural wasteland give the

ruins of a cultural wasteland give the illusion of the impermanence of our

illusion of the impermanence of our

illusion of the impermanence of our actions it looks like whatever we do

actions it looks like whatever we do

actions it looks like whatever we do today will be erased by geological

today will be erased by geological

today will be erased by geological history but all we have control of is

history but all we have control of is

history but all we have control of is what we do and our actions have profound

what we do and our actions have profound

what we do and our actions have profound impact on the well-being of our world

impact on the well-being of our world

impact on the well-being of our world I’m an artist inspired by my environment

I’m an artist inspired by my environment

I’m an artist inspired by my environment my real one not just the natural one

my real one not just the natural one

my real one not just the natural one I feel the effects my environment has on

I feel the effects my environment has on

I feel the effects my environment has on me and I see the effects humanity has on

me and I see the effects humanity has on

me and I see the effects humanity has on the environment how do we talk about the

the environment how do we talk about the

the environment how do we talk about the symbiotic relationship of codependent

symbiotic relationship of codependent

symbiotic relationship of codependent allies I’m compelled to make art that

allies I’m compelled to make art that

allies I’m compelled to make art that highlights the power and the poetry of

highlights the power and the poetry of

highlights the power and the poetry of the world we live in while revealing the

the world we live in while revealing the

the world we live in while revealing the consequence of our actions I grew up in

consequence of our actions I grew up in

consequence of our actions I grew up in New York City where the dominant life is

New York City where the dominant life is

New York City where the dominant life is human life the environment was

human life the environment was

human life the environment was rigorously regulated and never under

rigorously regulated and never under

rigorously regulated and never under control the great outdoors was full of

control the great outdoors was full of

control the great outdoors was full of danger adventure and a constant quest of

danger adventure and a constant quest of

danger adventure and a constant quest of freedom I began staging photographic

freedom I began staging photographic

freedom I began staging photographic tableaus of kids in the woods or in

tableaus of kids in the woods or in

tableaus of kids in the woods or in abandoned industrial areas away from the

abandoned industrial areas away from the

abandoned industrial areas away from the societal rules and expectations of

societal rules and expectations of

societal rules and expectations of grown-ups not being bad just being wild

grown-ups not being bad just being wild

grown-ups not being bad just being wild human animals set free in the elusive

human animals set free in the elusive

human animals set free in the elusive magic of after dark I wanted my viewer

magic of after dark I wanted my viewer

magic of after dark I wanted my viewer to be able to project themselves into

to be able to project themselves into

to be able to project themselves into these liberating environments so I

these liberating environments so I

these liberating environments so I presented my images as light boxes and

presented my images as light boxes and

presented my images as light boxes and set them at a small dark room to create

set them at a small dark room to create

set them at a small dark room to create a quiet breeding ground of fantasy

a quiet breeding ground of fantasy

a quiet breeding ground of fantasy and memory but a picture is still a

and memory but a picture is still a

and memory but a picture is still a picture and there remained an obvious

picture and there remained an obvious

picture and there remained an obvious distance between the subject of my

distance between the subject of my

distance between the subject of my photograph and the intended subject of

photograph and the intended subject of

photograph and the intended subject of my piece the viewer instead of having my

my piece the viewer instead of having my

my piece the viewer instead of having my viewer relates to somebody else being

viewer relates to somebody else being

viewer relates to somebody else being emotionally influenced by an evocative

emotionally influenced by an evocative

emotionally influenced by an evocative environment I wanted to create an

environment I wanted to create an

environment I wanted to create an environment in which to provide an

environment in which to provide an

environment in which to provide an experience in cities where the cacophony

experience in cities where the cacophony

experience in cities where the cacophony of culture prevails we become

of culture prevails we become

of culture prevails we become disconnected with the profound

disconnected with the profound

disconnected with the profound experience of being alone in a powerful

experience of being alone in a powerful

experience of being alone in a powerful environment what do we do when cultural

environment what do we do when cultural

environment what do we do when cultural norms prove impotent do we act on

norms prove impotent do we act on

norms prove impotent do we act on instinct or morals I built inside

instinct or morals I built inside

instinct or morals I built inside outhouse to capture the feeling of

outhouse to capture the feeling of

outhouse to capture the feeling of freedom and fear isolation and elation

freedom and fear isolation and elation

freedom and fear isolation and elation felt while standing alone on a country

felt while standing alone on a country

felt while standing alone on a country road at night the panoramic images of

road at night the panoramic images of

road at night the panoramic images of desolate firm scapes are printed on

desolate firm scapes are printed on

desolate firm scapes are printed on backlit transparencies and used to form

backlit transparencies and used to form

backlit transparencies and used to form the interior walls of a small farmhouse

the interior walls of a small farmhouse

the interior walls of a small farmhouse that can be transported back to the city

that can be transported back to the city

that can be transported back to the city for urban dwellers the vast American

for urban dwellers the vast American

for urban dwellers the vast American landscape is recreated in a cell size

landscape is recreated in a cell size

landscape is recreated in a cell size space with walls that appear to be built

space with walls that appear to be built

space with walls that appear to be built out of distance and light and while

out of distance and light and while

out of distance and light and while inside outhouse stages the power of the

inside outhouse stages the power of the

inside outhouse stages the power of the ingested landscape it ignores the

ingested landscape it ignores the

ingested landscape it ignores the actions of the viewer and the reactions

actions of the viewer and the reactions

actions of the viewer and the reactions of the environment to activate my viewer

of the environment to activate my viewer

of the environment to activate my viewer and articulate my environment I animated

and articulate my environment I animated

and articulate my environment I animated the garden with responses to the viewers

the garden with responses to the viewers

the garden with responses to the viewers movements when the viewer gets within

movements when the viewer gets within

movements when the viewer gets within range robotic flowers and close their

range robotic flowers and close their

range robotic flowers and close their petals within their leaves shaking as if

petals within their leaves shaking as if

petals within their leaves shaking as if they’re nervous if the viewer continues

they’re nervous if the viewer continues

they’re nervous if the viewer continues to approach the flowers respond by

to approach the flowers respond by

to approach the flowers respond by becoming aggressive snapping their

becoming aggressive snapping their

becoming aggressive snapping their petals and leaves open and shut

petals and leaves open and shut

petals and leaves open and shut only when the viewer retreats well the

only when the viewer retreats well the

only when the viewer retreats well the flowers relax open their leaves and

flowers relax open their leaves and

flowers relax open their leaves and expose their petals the viewer in turn

expose their petals the viewer in turn

expose their petals the viewer in turn reacts to the to the flowers they will

reacts to the to the flowers they will

reacts to the to the flowers they will either retreat apologetically or embrace

either retreat apologetically or embrace

either retreat apologetically or embrace confrontation with the skittish

confrontation with the skittish

confrontation with the skittish sculptures and approach them as a piece

sculptures and approach them as a piece

sculptures and approach them as a piece of art to be

of art to be

of art to be and understood I’m asking my viewer to

and understood I’m asking my viewer to

and understood I’m asking my viewer to question their responsibility for their

question their responsibility for their

question their responsibility for their environment are the flowers mere objects

environment are the flowers mere objects

environment are the flowers mere objects to be enjoyed or beings with feelings to

to be enjoyed or beings with feelings to

to be enjoyed or beings with feelings to be respected animating my sculptures

be respected animating my sculptures

be respected animating my sculptures makes them seem alive and so how they

makes them seem alive and so how they

makes them seem alive and so how they are made should make sense from within

are made should make sense from within

are made should make sense from within the imaginary world from which they come

the imaginary world from which they come

the imaginary world from which they come I don’t just want my sculptures to look

I don’t just want my sculptures to look

I don’t just want my sculptures to look real I don’t just want them to act real

real I don’t just want them to act real

real I don’t just want them to act real I want them to be what they are in

I want them to be what they are in

I want them to be what they are in organic others born from the constructed

organic others born from the constructed

organic others born from the constructed reality of consumer culture the material

reality of consumer culture the material

reality of consumer culture the material matters I don’t live in a world of raw

matters I don’t live in a world of raw

matters I don’t live in a world of raw material I live in a world of stuff and

material I live in a world of stuff and

material I live in a world of stuff and in my dystopian future the reanimated

in my dystopian future the reanimated

in my dystopian future the reanimated remnants of post-industrial sentience

remnants of post-industrial sentience

remnants of post-industrial sentience will be the survivors of civilization

will be the survivors of civilization

will be the survivors of civilization once its primary function is lost what

once its primary function is lost what

once its primary function is lost what else could it be animating the inanimate

else could it be animating the inanimate

else could it be animating the inanimate brings it to life and brown paper bags

brings it to life and brown paper bags

brings it to life and brown paper bags inspire the same feeling of freedom as

inspire the same feeling of freedom as

inspire the same feeling of freedom as any bird when it takes flight for brown

any bird when it takes flight for brown

any bird when it takes flight for brown paper bag birds highlighting the beauty

paper bag birds highlighting the beauty

paper bag birds highlighting the beauty and the poetry of new Bikila dismissal

and the poetry of new Bikila dismissal

and the poetry of new Bikila dismissal allows us to see a bird and think of

allows us to see a bird and think of

allows us to see a bird and think of freedom and see garbage as a reminder of

freedom and see garbage as a reminder of

freedom and see garbage as a reminder of what’s lost in my dystopian future the

what’s lost in my dystopian future the

what’s lost in my dystopian future the obsolete machine is prime material

obsolete machine is prime material

obsolete machine is prime material especially one is simple and elegant as

especially one is simple and elegant as

especially one is simple and elegant as the bicycle it’s purely mechanical and

the bicycle it’s purely mechanical and

the bicycle it’s purely mechanical and built to last the knower machine is

built to last the knower machine is

built to last the knower machine is constructed like a carnival ride

constructed like a carnival ride

constructed like a carnival ride as the viewer pedals cyclical rolls of

as the viewer pedals cyclical rolls of

as the viewer pedals cyclical rolls of minimalist scenery or propelled past

minimalist scenery or propelled past

minimalist scenery or propelled past mimicking the experience of freedom felt

mimicking the experience of freedom felt

mimicking the experience of freedom felt while riding alone on a country road

while riding alone on a country road

while riding alone on a country road through the crude animation of a broken

through the crude animation of a broken

through the crude animation of a broken machine being brought to life through

machine being brought to life through

machine being brought to life through movement and imagination our environment

movement and imagination our environment

movement and imagination our environment is saturated with the manufactured

is saturated with the manufactured

is saturated with the manufactured castaways people don’t want or need

castaways people don’t want or need

castaways people don’t want or need anymore

anymore

anymore TVs VCRs tape decks computers printer

TVs VCRs tape decks computers printer

TVs VCRs tape decks computers printer hard drive disk drives once valuable

hard drive disk drives once valuable

hard drive disk drives once valuable home purchases are now gathering dust at

home purchases are now gathering dust at

home purchases are now gathering dust at Goodwill or being discarded under the

Goodwill or being discarded under the

Goodwill or being discarded under the guise of electronic recycling what is

guise of electronic recycling what is

guise of electronic recycling what is the value of these machines it was

the value of these machines it was

the value of these machines it was valuable enough for the materials to be

valuable enough for the materials to be

valuable enough for the materials to be mined and processed engineered

mined and processed engineered

mined and processed engineered fabricated shipped and sold and now it’s

fabricated shipped and sold and now it’s

fabricated shipped and sold and now it’s worthless enough for me to chop it up

worthless enough for me to chop it up

worthless enough for me to chop it up and use it as an art material if they

and use it as an art material if they

and use it as an art material if they are no longer needed to do what they

are no longer needed to do what they

are no longer needed to do what they were designed to do do they still have

were designed to do do they still have

were designed to do do they still have value I began taking these orphaned

value I began taking these orphaned

value I began taking these orphaned machines apart and harvesting them for

machines apart and harvesting them for

machines apart and harvesting them for their gears motors and electronics but

their gears motors and electronics but

their gears motors and electronics but the most powerful quality they still

the most powerful quality they still

the most powerful quality they still possess is the poetry of their complex

possess is the poetry of their complex

possess is the poetry of their complex movements so I use these machines to

movements so I use these machines to

movements so I use these machines to puppeteer my kinetic sculptures my

puppeteer my kinetic sculptures my

puppeteer my kinetic sculptures my installations try and seduce my viewer

installations try and seduce my viewer

installations try and seduce my viewer into a childlike fantasy while

into a childlike fantasy while

into a childlike fantasy while illuminating their adult choices you

illuminating their adult choices you

illuminating their adult choices you seek solace in a constructed environment

seek solace in a constructed environment

seek solace in a constructed environment as you would a natural one the Machine

as you would a natural one the Machine

as you would a natural one the Machine escape tries to harness the

escape tries to harness the

escape tries to harness the contemplative feeling people get when

contemplative feeling people get when

contemplative feeling people get when immersed in a dependable rhythmic

immersed in a dependable rhythmic

immersed in a dependable rhythmic environment while alluding to the human

environment while alluding to the human

environment while alluding to the human tendency to try and control and

tendency to try and control and

tendency to try and control and ultimately destroy nature with

ultimately destroy nature with

ultimately destroy nature with technology spinner dress examines the

technology spinner dress examines the

technology spinner dress examines the evolution of music through the mediated

evolution of music through the mediated

evolution of music through the mediated commodification of culture it’s made

commodification of culture it’s made

commodification of culture it’s made from woven Grateful Dead bootleg

from woven Grateful Dead bootleg

from woven Grateful Dead bootleg cassette tapes and the viewer is invited

cassette tapes and the viewer is invited

cassette tapes and the viewer is invited to play the nonlinear recordings by

to play the nonlinear recordings by

to play the nonlinear recordings by fondling a spinning dress sculpture with

fondling a spinning dress sculpture with

fondling a spinning dress sculpture with gloves made from hacked Walkman moving

gloves made from hacked Walkman moving

gloves made from hacked Walkman moving to the American West I was overcome by

to the American West I was overcome by

to the American West I was overcome by how open and exposed it was

how open and exposed it was

how open and exposed it was environmental features come together to

environmental features come together to

environmental features come together to create the texture of the surrounding

create the texture of the surrounding

create the texture of the surrounding landscape it’s the remnants of industry

landscape it’s the remnants of industry

landscape it’s the remnants of industry that are out of place here impromptu

that are out of place here impromptu

that are out of place here impromptu rural shooting pits are an oasis of

rural shooting pits are an oasis of

rural shooting pits are an oasis of implied human activity where acres of

implied human activity where acres of

implied human activity where acres of public land are carpeted with thousands

public land are carpeted with thousands

public land are carpeted with thousands of spent shotgun shells their bounty

of spent shotgun shells their bounty

of spent shotgun shells their bounty mimics the texture of the surrounding

mimics the texture of the surrounding

mimics the texture of the surrounding landscape and are only out of place in

landscape and are only out of place in

landscape and are only out of place in color

color

color and material these bright totems of red

and material these bright totems of red

and material these bright totems of red blue green pink yellow they look like

blue green pink yellow they look like

blue green pink yellow they look like toys or candy an oculus and fun but each

toys or candy an oculus and fun but each

toys or candy an oculus and fun but each one arrives with a secret explosion and

one arrives with a secret explosion and

one arrives with a secret explosion and an engineered intention of bloodshed how

an engineered intention of bloodshed how

an engineered intention of bloodshed how do I talk about our relationship with

do I talk about our relationship with

do I talk about our relationship with this environment I wanted to create a

this environment I wanted to create a

this environment I wanted to create a space that evoked feelings of security

space that evoked feelings of security

space that evoked feelings of security and fear showcasing the overwhelming

and fear showcasing the overwhelming

and fear showcasing the overwhelming bounty of a powerful and dangerous

bounty of a powerful and dangerous

bounty of a powerful and dangerous material made of a mortal plastic

material made of a mortal plastic

material made of a mortal plastic discarded materials linger as a reminder

discarded materials linger as a reminder

discarded materials linger as a reminder to what they once were the harvested

to what they once were the harvested

to what they once were the harvested shells look like scales or cells or the

shells look like scales or cells or the

shells look like scales or cells or the bark of a tree I wove them together into

bark of a tree I wove them together into

bark of a tree I wove them together into the samia basada an enterable biomorphic

the samia basada an enterable biomorphic

the samia basada an enterable biomorphic tree creature explosion that embraces

tree creature explosion that embraces

tree creature explosion that embraces the viewer with its outstretched arms of

the viewer with its outstretched arms of

the viewer with its outstretched arms of reassuring beauty while telling a

reassuring beauty while telling a

reassuring beauty while telling a history of violence and destruction the

history of violence and destruction the

history of violence and destruction the shells can’t hide what they are but

shells can’t hide what they are but

shells can’t hide what they are but showcase their eternal brutal beauty the

showcase their eternal brutal beauty the

showcase their eternal brutal beauty the America of considers the commodification

America of considers the commodification

America of considers the commodification of American culture has seen through

of American culture has seen through

of American culture has seen through Plato’s allegory of the cave the teepees

Plato’s allegory of the cave the teepees

Plato’s allegory of the cave the teepees made from materials that will be

made from materials that will be

made from materials that will be abundantly available after the downfall

abundantly available after the downfall

abundantly available after the downfall of our civilization a hundred pounds of

of our civilization a hundred pounds of

of our civilization a hundred pounds of use bluejeans conduit safety pins and

use bluejeans conduit safety pins and

use bluejeans conduit safety pins and pop tops and of course the captivating

pop tops and of course the captivating

pop tops and of course the captivating hearth is the television a tool used to

hearth is the television a tool used to

hearth is the television a tool used to depict imagined events rather than

depict imagined events rather than

depict imagined events rather than provide actual experience the result is

provide actual experience the result is

provide actual experience the result is eerily familiar and pleasantly

eerily familiar and pleasantly

eerily familiar and pleasantly meditative and on the open road what

meditative and on the open road what

meditative and on the open road what else could a vehicle be a way of

else could a vehicle be a way of

else could a vehicle be a way of transporting us from reality to fantasy

transporting us from reality to fantasy

transporting us from reality to fantasy back to reality

back to reality

back to reality I built the umbrella ship with support

I built the umbrella ship with support

I built the umbrella ship with support from artists trust and students from

from artists trust and students from

from artists trust and students from Washington State’s University to bring

Washington State’s University to bring

Washington State’s University to bring to life the childís assumption of the

to life the childís assumption of the

to life the childís assumption of the way machines could work why do we accept

way machines could work why do we accept

way machines could work why do we accept things for the way things are just

things for the way things are just

things for the way things are just because it’s the way they have always

because it’s the way they have always

because it’s the way they have always been the physical realization of a

been the physical realization of a

been the physical realization of a sailboat gliding across the desert

sailboat gliding across the desert

sailboat gliding across the desert landscape beg for additional illusions

landscape beg for additional illusions

landscape beg for additional illusions reminiscent of a childlike dream vessel

reminiscent of a childlike dream vessel

reminiscent of a childlike dream vessel so the vehicle transitions from bed to

so the vehicle transitions from bed to

so the vehicle transitions from bed to ship to bicycle it’s propelled by a

ship to bicycle it’s propelled by a

ship to bicycle it’s propelled by a large umbrella that can be steered to

large umbrella that can be steered to

large umbrella that can be steered to catch the wind and walking chuck oars a

catch the wind and walking chuck oars a

catch the wind and walking chuck oars a single passenger climbs into the bed

single passenger climbs into the bed

single passenger climbs into the bed boat and is able to sail the umbrella

boat and is able to sail the umbrella

boat and is able to sail the umbrella ship across land

the human all is the piece that I’m

the human all is the piece that I’m currently working on with the Robotics

currently working on with the Robotics

currently working on with the Robotics Club at Washington State University

Club at Washington State University

Club at Washington State University it’s designed to question the

it’s designed to question the

it’s designed to question the relationship between the human and the

relationship between the human and the

relationship between the human and the other machines animals strangers our

other machines animals strangers our

other machines animals strangers our environment how do we hear their voice

environment how do we hear their voice

environment how do we hear their voice in a cold dimly blue lit space a

in a cold dimly blue lit space a

in a cold dimly blue lit space a humanoid animalistic robot pieces back

humanoid animalistic robot pieces back

humanoid animalistic robot pieces back and forth in front of the entrance to a

and forth in front of the entrance to a

and forth in front of the entrance to a fiery red cave it’s a century protecting

fiery red cave it’s a century protecting

fiery red cave it’s a century protecting its lair when it senses an intruder it

its lair when it senses an intruder it

its lair when it senses an intruder it stops turns its head and glows red

stops turns its head and glows red

stops turns its head and glows red voicing its displeasure fear and

voicing its displeasure fear and

voicing its displeasure fear and aggression the viewer is then forced to

aggression the viewer is then forced to

aggression the viewer is then forced to respond to this challenge deciding

respond to this challenge deciding

respond to this challenge deciding whether to heed the warnings of a being

whether to heed the warnings of a being

whether to heed the warnings of a being of unknown power and back off or embrace

of unknown power and back off or embrace

of unknown power and back off or embrace the human alas a piece of art to be

the human alas a piece of art to be

the human alas a piece of art to be examined and understood upon inspection

examined and understood upon inspection

examined and understood upon inspection familiar materials reveal a second

familiar materials reveal a second

familiar materials reveal a second ambiguous relationship the human l and

ambiguous relationship the human l and

ambiguous relationship the human l and cave are made from discarded plastic

cave are made from discarded plastic

cave are made from discarded plastic water bottles and shopping bags the

water bottles and shopping bags the

water bottles and shopping bags the bringer of life and the polluter of land

bringer of life and the polluter of land

bringer of life and the polluter of land we made this angry environment where we

we made this angry environment where we

we made this angry environment where we are not welcome our actions have

are not welcome our actions have

are not welcome our actions have profound impact on the world around us

profound impact on the world around us

profound impact on the world around us but often go unnoticed for better or for

but often go unnoticed for better or for

but often go unnoticed for better or for worse how do we feel the effect of our

worse how do we feel the effect of our

worse how do we feel the effect of our actions how do we take responsibility

actions how do we take responsibility

actions how do we take responsibility for what we do in a way that inspires

for what we do in a way that inspires

for what we do in a way that inspires understanding and change I build

understanding and change I build

understanding and change I build responsive environments that through

responsive environments that through

responsive environments that through action and reaction material and

action and reaction material and

action and reaction material and illusion fantasy and reality ask the

illusion fantasy and reality ask the

illusion fantasy and reality ask the viewer to question their actions in the

viewer to question their actions in the

viewer to question their actions in the past present and future thank you

past present and future thank you

past present and future thank you you