The ambiguity of an object, visually, lets one talk about an object any way one wants to talk about it. For instance, my piece of the mushroom like explosion, I decided to talk about its symbolic traits rather than the actual aesthetics of it. Whereas I COULD have shown how it’s directionality was instead shown through the cut of the material directing all to the center of the mushroom. The change of idea reflects how ambiguity can be relied upon in an art form. In most cases, artists are asked for specific things, this controlled environment detracts from the purity of an art piece. As a piece that is more ambiguous gives off a kind of general light that people can find ways to relate to. Like my tri-piece that reflected love, the ambiguity of it made it hard to see at first but after a while, the class seemed to pick up on the idea. Even the parts of the piece were placed in the shape of a heart.

If I walk into a museum and I see a plain wooden chair sitting (no pun intended) in the middle of the room, cool indoor light spooling onto the object, I would be unhappy with it and feel unclear about the idea. The fact that the object might seem like it does not have a purpose would anger me and instead of convey the artist’s meaning, it would repel me from the object. In turn, if a person who was interested in industrial design and was fascinated by chairs walked into the same gallery piece, they would most likely stop and divulge into the art piece. THEY would find other meaning to the art form and THEY would find new ideas, new landmarks, new places to rest upon after starting from what they know: a chair. The origin, the known, helps to kick off into the ambiguous world. As each project we are given starts off. The idea is there, directionality, similarity, and proximity were our points of origin. The second points of origin we were given was in fact a more ancient knowledge to us, our A-B-C’s, the start of our childhood.

Leaving room in an object for talking also allows for a directional free flow of ideas. Usually when I’m given a subject I get easily stuck, trying to convey the idea and only that idea, as most English teachers try to get a student to do. The use of an outline was purposed for a direction of a single idea without means to go outside the box, and not to go outside the thesis. With these projects I am able to continue on any path, still conveying an idea but instead of a single idea, I am able to convey many. As I was able to in my A-B-C project, I tried to show not just the ability of letters in different forms to still look like their letter but also to convey the fact that all of the letters are still recognizable no matter how large or infinite they are. In the ambiguity of these projects I was able to show something I did not see before that I created, sometimes I would even say something that sparked something else in the free flow of my speech. This especially happened when I was in class with Adam and how an idea, as ambiguous as it was, was able to set me off in the direction I found or wanted to find. My story called “Orange Juice” was based on a few random words, we had to write a random paragraph maybe not using all the words but most of them were the only guide lines. I decided to write what I knew. Usually when I start with something I know I am able to find something I do not. In that instance, I found that by finding a few words allows for me to find a whole paragraph. No matter how ambiguous something is, I am still able to find some path and still change directions at any time. As shown in the last paragraph, I switched back to the present and talked about the orange juice sitting on the table.

Ambiguity is illicit when needing to be specific, particularly in writing a statement or when explaining something that needs to be in perfect sense. A most common element would be a recipe, if directions were not given strictly but simply, the recipe could cause for confusion, anger, and even danger. In an art field, ambiguity is the soul of the terrain, the ice cream in the sundae, by means that ambiguity leaves room for a greater art piece. By making something vague, an artist can leave the viewer with their own sense of discovery; perhaps even find something the artist does not know their selves. This is an important connection, a bond between maker and viewer often gives the most stars in a review, particularly when a piece is wholly loved. The negative of this word is the loss, the breaks from maker to viewer between the midpoints, the piece of art. When an idea is lost because of ambiguity, the piece itself can still be saved by the beauty in aesthetics. Such being the Mona Lisa, ambiguous in it’s nature, it’s a mystery but a beauty nevertheless.

When declaring a piece a certain idea, one has to remember that there could be other explanations to it also, and has to find the one idea that strengthens the piece the most. If Jackson Pollock paintings were about the Vatican church, people would be lost and Pollock would not be as great as he is today, no matter how revolutionary his paintings are. The fact that they do not have a purpose is conveyed in the art form itself, the ambiguity of how the piece will turn out, how it did turn out, and the feel or mood of it from each and every person’s eyes.

The first day of Design, I did not know what to expect and how to expect it. During that day, I was confused, contradicting in my own mind, and often at a point of un-accomplishment. I did not realize how to take ambiguity, how to ease through its many different directions, how to grasp at any far off idea it can reach. From Design I to Orange juice, the relation is there, I just need to find it. I often related from and to things I knew. I needed to take one of those out of the equation and relate to a thing I was or would not be familiar with. For instance, the day with the wall, the shine graduation in the plethora of bricks was weird but intriguing. I remember writing what I had seen before, how I did not realize that this was an art piece. I never really thought of architecture as an art piece, particularly one so peculiar. I used words I would never use for such an object, such as beauty. The stillness of the wall was still able to sweep me off my feet into a splendor of design qualities, lighting and reflection was my favorite to find.

Color was beyond me. I would and would not be able to tell of the things that could come from color. The ambiguity of color is not absolute, only in things that are less controlled, such as outdoor lighting arrangements. In contrast to that ambiguity, outside light tends to give off a warmer color palette than indoor lighting which tends to be cooler in shadow. In a sense, these attributes add to the default of ambiguity. Color is in fact not supposed to be ambiguous and instead is supposed to be a theory, something that has guidelines and figure-ability in its type of math.

The positioning of something that is not ambiguous can make something obviously dull, such as a toaster in a kitchen or a remote on a television. Something that can catch the eye is something that is more vague as to why a toaster is in a bed and why a car is on top of a television. How things are put together can make something interesting, how something is out of place or not right. The beauty of things is ambiguous by nature. For instance, going back to the Mona Lisa, I do not believe there is any sure reason as to why the painting is beautiful. The size of the painting is not something to marvel at, the woman inside the painting has no eyebrows, and the background looks like something out of a cartoon. Although the feel of the painting and reality in which things are juxtaposed look astounding. The three-fifths rule really bring out a love for a non-awkward setting, as Mona is slightly turned. The wonder of the painting itself really lets the painting rely on the mysteries of it, and in turn, people love to look at her and marvel at a surreal type of beauty. The Mona Lisa is not the definition of an ambiguous painting yet it finds itself settled there. Pollock grasped a better hold on ambiguity and he was just as successful. If seems that the ambiguity of both of Da Vinci’s and Pollock’s paintings can turn down different paths of meaning depending on the viewer, the maker, and the positioner.