ABSTRACT
In the months following the disasters of 9/11, lower Manhattan was saturated with symbols which blurred the boundary between the patriotic and the commercial. In addition to familiar signs such as the American flag at Stuyvesant High School and the Colgate clock across the river, new images began to emerge in the windows of businesses and on the bumpers of cars. Eating at Morton's Steakhouse became one's patriotic duty. The neoprene studies explore the dichotomy between the patriotic and the commercial through the material's perceptual qualities of fold and plane. The material reveals the way that one act can also be two. While adhering to strict parameters of the fold and the twist, the creation process of individual pieces always maintains a central vertex. This juxtaposition operates everywhere in the ferry terminal, providing the forms that structure the participant's procession to and through the architecture.
