Split Seconds traces the dual realities that can exist within a single moment. Each drawing holds two versions of the same memory: one rendered in color to reflect what we present outwardly, and the other in graphite to reveal the quieter emotional undercurrents of our inner thoughts. Glee can mask encumbrance, celebration can coexist with coping, and connection can carry hesitation.
The sculptural form extends this tension by challenging the idea that time moves in neat, measurable increments. Instead, it reflects how college memories actually unfold: unevenly, with ruptures, overlaps, and pauses that resist the circular shape of time.
Together, the drawings and sculpture occupy the space between public and private, recognizing that our stories are rarely singular. Most of us live in the in-between, where joy and discomfort, certainty and doubt, color and graphite can exist in the same split second.
This project began as an exploration of nostalgia and the fleeting nature of college life. I was interested in how the same moment could feel very different internally than it appeared externally.
Early drawings focused on splitting memories into two visual languages: colored pencil for what is shown and graphite for what is felt. As I continued working, this contrast became less about opposites and more about coexistence. Rather than presenting experiences as either joyful or difficult, I became interested in the overlap between the two.
Material choices played a central role in shaping the emotional tone of the work. Colored pencil felt quiet and saturated, while graphite carried a more ghostly, subdued presence. Using both within the same image allowed me to express the tension between vibrancy and stillness, immediacy and memory.
The drawings developed slowly through research, iteration, and feedback. I worked from references of people in my life, which made the process more vulnerable but also more honest. Instead of forcing the drawings and sculpture to feel unified, I allowed them to exist as distinct elements connected through shared materials and themes.
Research into contemporary figurative painters, particularly Jordan Casteel, influenced the direction of the work. Her focus on emotional truth over literal accuracy encouraged me to prioritize the psychological energy of a moment rather than perfect representation.
The sculptural element emerged as a way to anchor these ideas in physical space. Inspired by the form of a grandfather clock, I designed a fragmented wooden structure using parametric modeling and CNC fabrication. The broken form represents an object meant to measure time, but one that no longer functions in a clear or linear way — mirroring how memories actually behave.
This project taught me the value of sitting with an idea over time. Rather than rushing toward a final outcome, I allowed the work to evolve through research, iteration, and emotional exploration.
Working across drawing and sculpture also revealed how expressive and sentimental my art practice is compared to my design work. Instead of seeing those two sides as separate, this project helped me recognize how they can inform each other.
As I finish my dual degree, Split Seconds feels like a snapshot of who I am at this moment: someone navigating between worlds, balancing analytical thinking with emotional expression. Moving forward, I want to make room for slowness in my practice and continue creating work that prioritizes emotional honesty — whether in art, design, or technology.
