Jocelyne Prince

:: SELECTED COURSE DESCRIPTIONS ::

NOTE: These course descriptions are provided in the spirit of the exchange. However, the content remains the property of Jocelyne Prince and cannot be used without her express permission. Email : info@jocelyneprince.com


1. EXPERIMENTS IN OPTICS (DM/GLA) The prime objective of this experimental class will be to investigate the potential of glass and digital media. This experimental class will promote dialogue and collaboration between students with differing skills. Special attention will be paid to encouraging those with digital media experience to collaborate with those who have more glass or sculpture experience. The class will solicit active exchange and crossover all semester long. Independent research and collaborative studio work will be asked of everyone. Readings and lectures will cover theories and artists surrounding the topics of vision, transparency and new media. Also, we will look at the actual links between digital technology and the role glass plays as a mediator of this technology.

Student work (Inmi Lee): "Experiments in Optics" class, maquette for interactive glass and digital media piece.

Crossover themes:

This class will serve as an interface between the new technologies of digital media, and the old technologies of optics. We will look to give digital technology alternative possibilities with the addition of project specific projection apparatus (in terms of both, projection optics and projection surfaces), also light/optic phenomena that has been enhanced or been made possible by technology will be examined and subverted for our purposes. Given the hands-on nature of the glass department the actual making and/or subversion of traditional optics will be explored. This class will encourage collaborative work between students of varying experience levels and will foster the incorporation and dialogue between students of differing areas of expertise.


2. Projection: Experiments (SCU) This experimental sculpture elective class will explore, through studio practice, the incredible history and potential of projection techniques within contemporary sculpture. The class will begin as a hands-on exploration of pre-cinematic devices (anamorphic cylinders, thaumatropes, zoetropes, magic lanterns, etc…). Working from this basic starting point students will move on to subverting and redefining 20th and 21st century projection technology, always tailoring the technology to the idea. Emphasis will be placed on finding alternative projection methods, alternative projection surfaces and challenging the ever-present installation demands.

Student work (Alex Rosenberg): Projection: Experiments class, bricks projected on bricks.

In addition to this hands-on exploration of optics we will discuss the theories and artistic climate that promoted this particular intersection of art and science. Slide lectures and demos will focus on mapping the use of optics and projection in sculptural work since the turn of the century. From Marcel Duchamp to Dan Graham to Krzysztof Wodiczko, the class will examine the changing meaning and context of projection, transparency, and reflection. The conjunction of the theoretical and the hands-on will give students the opportunity to experience a variety of artistic approaches and to discover and/or clarify their own studio practice. Both the studio process and the seminar style information presented in this class will encourage innovative work with optics.


3. Interdisciplinary Glass Casting (GLA) This experimental casting course will give students the opportunity to investigate a wide variety of casting methods. The class will focus on innovating and experimenting with hot casting, slumping/laminating and kiln casting. Specifically we will be working with a variety of mold materials such as; sand molds, plaster silica molds and organic molds. Demonstrations will not linger on the technical but rather, will function as a catalyst for students to engage in an aesthetic and/or conceptual dialogue with technique and material.

Class demonstration: Jocelyne Prince & Christophe Thompson playing air hockey with hot glass in Interdisciplinary Glass Casting class.

In conjunction with these hands-on techniques we will discuss the definitive meaning harbored in the casting process. A brief series of slide lectures will focus on the use of casting processes and of glass and/or transparent materials in sculptural work since the turn of the century. This intersection of both the traditional and non-traditional methods will expose students to a variety of artistic approaches and to discover and/or clarify their interest in casting and/or glass. Both the studio process and the information presented in this class will encourage collaborative and innovative work and will spur investigations into the process of casting and into the innate properties of glass.


4. Word Flow / Glass Flow (LA/GLA) (Co-taught & developed with RISD Liberal Arts Faculty - Kelli Auerbach) Water as an entity can be constantly moving or stagnant, flowing or frozen, that which brings life or in its absence, kills. How can one reproduce structures of water by using the innate properties of glass? Or when constructing a short story? How can water's various relationships to movement inspire unique narratives in writing and visual art? These are the questions guiding this course.

Glass is often referred to as a hyper-cooled liquid, a metastable phenomenon like clouds, both liquid and solid at the same time. Its metaphors easily slide to the realms of fluidity, memory, gravity, the frozen moment. Writing can be imagined through such water metaphors as well - both tangible and fleeting, a book in the hand but an entire shifting world in the mind.

This course will have writing-specific exercises and glass-specific exercises. But more important, the course aims to explore the ways writing and glass can be combined, in both experience-oriented and object-oriented projects. That is, the course is technical as well as conceptual. Possible glass/writing exercises include: using molten glass as a writing tool; using the by-products of glass production as inspiration for story and character development; using breath to capture words and sentences in hot glass; reinterpreting and/or creating a narrative, using glass; writing on glass; writing inside glass, etc.

 

Jocelyne Prince

Critic

RISD Glass (1999-present)

teaching statement

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course descriptions

workshops

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