4B - Thursday, November 4, 2010 The Michigan Daily - michigandaily.com 4B - Thursday, November 4, 2010 The Michigan Daily - michigandailycom Contributors to the FOUND store include FOUND From Page 3B hearing voices, and then going and fighting for the French, and then being burned at the stake. So I found little things that repre- sented those various stages of her life to me." Among these artists' diverse found art endeavors, Cambruzzi maintains that the most popu- lar items are John Marchello's silverware bud vases. These slim vases are made out of a hol- lowed knife handle with a deli- cately bent teaspoon as the base. There's just enough room to hold a single-stemmed tea rose. Before he turned his talents to silver- ware shaping, Marchello used to design metal hockey and wres- tling headgear for the Universi- ty's hockey team back when Red Berenson played for it. Marchello also designs silverware angels, fork wall hooks and spoon rings for the store. "I think part of the reason that they're so popular is because he writes 'Made in Ann Arbor' and dates them on the bottom," Cam- bruzzi said. "For people who are visiting, what better way to bring back apiece of the city than to buy one of these vases?" Due to the store's limited space, Cambruzzi must always be selec- tive about what she brings in. "I never want to have too much jewelry or too much old stuff or too mnch new stiff. hecause the local artists and University lecturers. whole premise of the store is this mix of the old and the new and things that are made from recy- cled, found objects," she said. This premise even extends to the objects that she finds. "Two different times I have found cabinets that are made of old wooden cheese boxes," she said. "Back then, Velveeta cheese came in (Velveeta-sized boxes), and in the Depression-era maga- zines, they have directions on how to turn those kinds of boxes into something to store all your screws in. I've had one that had four drawers down and six draw- ers across of just cheese boxes in a cabinet. "I love things like that prob- ably better than anything, things that were made from discards at that time that end up. serving a different purpose." Indeed, it is FOUND's unique mixture of vintage knickknacks and art recycled from them that have melded the present, past and imagination into one unforget- table treasure hunt. "My store isn't really about selling old vintage stuff; it's more about having that element that is able to connect generations," Cambruzzi said. "For instance, these spoon rings. They used to be popular when I was a teenager. Young people come in and buy them because they think they're cool or because they want to be green, but their mothers come in and say, 'Oh, I remember wearing those!' There really is that cross- aenerational link in this store." SHLIAN From Page 1B taught them in class. In Shlian's Creative Paper Fold- ing/Engineering class - offered last semester bythe Lloyd Hall Scholars Program - students engaged with paper in a much different way than they had previously experienced. Kyla Suchy, a junior in Art and Design, said that the course was unique in that the material was the focus rather than merely a canvas. "(The class involved) taking something really two-dimensional like paper and used it as a medium to build with instead of something to draw on," she said. Suchy said that the course helped her shift her focus in her own work from two-dimensional projects to three-dimensional ones. "I picked up a lot of skills with measuring and just being able to analyze structures a little better, which are 3-D now and mostly 2-D before (taking Shlian's class)," she said. While some students took a more formulaic approach in Shlian's paper engineeringclass, Suchy said that for her, the class was more of an exercise in trial and error. "In order to get things to sit together right and to open up in the pop-up books you had to make sure the angles were right," Suchy said. "But it was more of an exper- iment for me. You can be very sci- entific about it when you're trying to figure out how things are sup- posed to function, but you can also just play around with it." In the class Tools, Materials and Processing 1, students collab- orated on paper sculptures such as pamphlets and pop-up books, with each class session geared toward a different project. Dylan Box, a junior in art and design as well as mechanical engineering, said that paper engineering definitely played an important role in TMP 1. "(The class involves) applying paper techniques to engineering principles,". Box said. "There's a lot of work - a ton of math and a ton of trig to make sure it'll work geometrically." "I think that mixing art and science is very important because without artistic and creative peo- ple, the sciences could be a very un-relatable subject," Box said. "On the contrary, without sci- ence and technology, a lot of art wouldn't exist today. There's an Matt Shlian started his paper engineering career based on an interest in pop-up books. animosity between mixing the two sometimes. But the cross- disciplinary research is vital to address the gamut of needs and issues." On various projects, Box used a more scientific approach, which often baffled fellow art students. "In TMP1, it wasn't mathematic to start out with, but I definitely got really involved mathematically. I was pulling out my calculator and protractor while working and get- ting some weird stares from other art students," Box said. "There are a lot of people in the art school who use math and science without real- izing it, but you have to know it to do design work." Another project in the course involved packaging design, which is what Box is currently hoping to further nursue as a career. "I'm hoping to do product design. That stretches everywhere from the product to the package. I've definitely applied a lot of Matt (Shlian)'s principles to current projects. Without Matt I wouldn't see package design the same way," Box said. He said that paper engineering is a combination of the aesthetic and pragmatic. Not only does the work have to be visually arresting, but it must also serve a practical purpose. "There's definitely a practi- cal application. Packaging design, that's complete paper engineer- ing," Box said. "Really limited pal- ate of materials to hold a product, make sure it doesn't break and looks nice. If it's not designed well and engineered well the product can fall flat." For a project called "found typeface," the students were to construct a version of the alpha- bet using found materials. "I took a match and using long exposure photography I drew out the letters. Glowing letters with a little flame at the bottom. It was really cool," Box said. Work ethic is crucial in Shl- ian's classes, and Box said that it was one of the major aspects he carried away from Shlian's class: making sacrifices to mas- ter a craft. "I guess one of the big things was about time, putting in time for your work," Box said. "We read the '10,000 hour rule.' The idea is that to master a subject, or anything, you have to spend ten thousand hours doing it. There are tons of examples, (like) the Beatles and Bill Gates. You have to make sacrifices to become good at what you do. In the end of it all, you'll be much better because of it." In Ann Arbor, outside the sphere of the University, Shlian has spawned an artist colony called (half-seriously) the Dhar- ma Initiative Artist Collective - a reference to the television show "Lost." On the show, the Dharma Initative is a hippie sci- entist group from the University of Michigan that does experiments on the show's mythical island. The workspace of Shlian's collective allows local artists to have a physi- cal community to share ideas about their current projects. Carrie Mood, a local glass art- ist, was drawn to Shlian through a mutual friend and is now cur- rently a member of Shlian's Dhar- ma Initiative. Since relocating to Detroit, Mood has switched focus from high-brow art to more acces- sible crafts. Mood met Shlian just over a year ago when a mutual friend thought they shared some artistic interests. "I'd kind of fallen into the indie craft scene here," she said, "which is the furthest from gallery art- work as possible." Mood said that the underlying motivation behind the Dharma Initiative Artist Collective was to have a communal space, which she found difficult to have after college. "We always talked about having a studio, but (Shlian) was the one who really pursued it and got all these artistson board. Once you get out of college you don't really have that community," Mood said. "We just wanted to influence each other and inspire each other and help each other out. We all do our own separate thing but it's about being in the company of other artists." Although artists mostly stick to their own work, Mood said that she finds Shlian's presence beneficial. She is able to use tools she previously wouldn't have had access to if not for Shlian, which has contributed to her personal growth as an artist. "It's really nice because (Shlian) is on the academic side of things so it's really beneficial for me as an artist to grow," she said. "There'll be like some techniques that he knows and will be familiar with and help me with my work. I have some grand ideas to use a Plotter- Cutter, a machine that cuts paper that Matt has. I would never have access to that if it weren't for him." 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"In this case, time actually does stop." The two spend a night togeth- er, represented in the play by a 20-minute scene. When Anibal's brother Nelson, played by Dear- born comic Frank Gutierrez, vis- its the couple, they learn that two years have passed in the outside world. The three characters try to come to terms with the time that has passed, which reemphasizes Celestina's problem of identity. "She's looking for her place in the world, because, for her, time has no meaning, the world has no meaning," Medelis said. "She seeks to be always traveling, always hitchhiking, always wait- ing for that bus that doesn't seem to be coming. "She's lost and looking for answer that it seems the rest of the world has." The first season of TNTP is themed "Identity," so Med'elis also chose this play because of its prevalent questions of personal place. Medelis explained that a lot of Rivera's work is about what it means to be Latino in America and how he thinks many Latinos are losing the identity associated with their cultural heritage. It is a theme that touches "Cloud Tectonics" as well. The play has a Spanish-language monologue, but Anibal has forgotten his first language and can't understand. If the play investigates the need for identity and the effects of love, it also points out that identity and love can't be understood. The play's title, "Cloud Tecton- ics," is the science of how clouds move. It is drawn from a line in the play that discusses Celes- tina's need for love; understand- ing this necessity is "like trying to understand the anatomy of the wind or the architecture of silence or cloud tectonics." "Cloud Tectonics" explores the relativity of time, but finds that in the complex realm of human emotion, nothing can provide all of the answers. Some things - and people - exist outside the world of natural lawls.