AMER-ICAN
8.5’ tall reproduction of a Coca-Cola can using dumpster-dived objects as both an art piece and commentary on American consumption.
PROJECT BACKGROUND
Amer-Ican was the result of a dual thesis, combining design with art to create something meaningful and impactful. Inspired by the Found Object movement and the Trash Art movement;
Amer-Ican exposes the globalization of American consumerist culture and its far-reaching consequences while offering alternatives within its critique.
INSPIRATION
I visited Portland’s Museum of Science & Industry’s “Clever Together” exhibition which showcased the relationships between consumption and waste.
One exhibit was a pinball machine that exposed waste disposal dynamics in everyday life and had many examples of responsible consumption and disposal.
I began sketching and prototyping models using everyday objects to highlight the intricacies between American consumption and its global consequences.
After receiving feedback from peers, I used my skills as a designer and fine artist to further refine my prototypes using chicken wire, scrap wood, and paint.
ITERATION
The exhibition site was measured to understand project size limitations.
Google Sketch-Up aided project specifics before construction began.
Every section was tested thoroughly to spot potential conflicts.
Copious amounts of hot-glue reinforced cardboard joints.
IDEATION
Using chicken wire, I began building a prototype that showcased the cause-and-effect of American consumption via superimposed anatomical structures.
Paper-mache lungs were made to illustrate air pollutants such as smog and carbon dioxide. Exhibit stands were made for each part of the anatomy.
A week into prototyping, I realized the system was too complex for viewers to interact with comfortably. I began setting out my backup project plan.
After receiving positive feedback from peers and learning from my initial attempt, I began sketching and building new models for an interactive exhibit.
IMPLEMENTATION
The door’s frame underwent several iterations of setup to be secured.
All parts were designed to be easily transportable by truck to the art site.
Final setup was relatively simple due to proper planning and sound design.
Amer-Ican blew people away at the art exhibition in San Francisco, CA. Success!
OUTER & INNER WALL
A solid wood board was cut and sanded as a base-layer.
Cans were flattened and hot-glued on the board in a mandala pattern.
The boxes became a wall almost sixteen feet wide and nine feet tall.
The boxes were primed using a neutral gray base coat.
Next, multiple coats of vibrant semi-gloss red were applied.
A second round of hot-glue was applied to loose edges and corners.
Metallic spray-paint was used inside to disperse light from the straw.
The title “Amer-Ican” was painted glossy white to match the stationery.
DOOR
The cardboard door was painted red and hinged to a wooden post.
A projector was used to trace a Photoshop file onto the board.
Small brushes and glossy white paint were used to fill in the traces.
Painter’s tape was used to create crisp lines separating information.
Bottles were used as handles for both sides of the door.
A wheel was fastened to the corner edge of the door for easier access.
Metal bars were added to the door’s top, middle, and bottom for support.
The metal bars enabled the door to bend in line with the can’s curvature.
STRAW
Larger cans were collected and divided by brand and condition.
Cans were hot-glued to a bamboo pole in a stacked alternating pattern.
A 50-ft LED rope light was hot-glued vertically between the stacked cans.
Bamboo shoots were painted metallic and added by support.
A metal bar was fastened to the underside of the joint for reinforcement.
Hook rings were added to the straw’s top and back for later suspension.
Brackets were added to anchor the straw to the floor’s center securely.
Stage rope suspended the straw from rafters during the showcase.
FLOOR & CEILING
A solid wood board was cut and sanded as a base-layer.
Cans were flattened and hot-glued on the board in a mandala pattern.
Pressure from bricks aided the bond of cans and wood using hot-glue.
Cardboard layers were wood-glued to prevent floor scratches.
Cardboard sections were cut and shaved down to appropriate sizes.
Then, cardboard sections were spray-painted with a metallic finish.
Can bottoms were placed and glued to spell “Don’t Trash Our Future.”
Bricks were used as weights to let wood-glue bond layers of cardboard.
FLAG
766 aluminum cans were collected from a recycling station in Oakland, CA.
Cans were hand-washed using hot water and soap in a massive tub.
Then, cans were sorted into separate bags by color, size, and brand.
Cans were cut using razor-blades to be used as project material.
Metallic spray-paint was applied to a wooden board to reflect light.
Most of the cans were intentionally scrunched to convey brokenness.
The tabs were left to show humankind’s decision to consume throwaways.
Variations of Coca-Cola / Coke were put in place to show homogeneity, mirroring the American Flag.
PEDESTIAL
Scrap wood was glued together, then spray painted with a metallic finish.
Several hundred cans were cut to form the rough outline of a man.
The tops of cans were cut off to create the pedestal top.
Many prototypes were made for the top before settling on a final design.
Beverage package containers were cut, glued, and overlapped.
Next, tabs were patterned and glued. At the center was a tabbed US flag.
Semi-translucent gloss caught the light and covered sharp edges.
Printed stationary rested on the pedestal at Amer-Ican’s entrance.
INNER WALL
SNAPSHOTS
