I pay attention to the overlooked spaces where land and industry meet, prompting me to wonder what can be gleaned in the oily and cracked urban periphery. With a focus on my hometown St. Louis, this industrial city is my subject matter. And so, I draw in a neighborhood bisected by a highway. I animate with sand near the river confluence on land preserved after a historic flood. I make my own bricks in this Brick City, setting up in locations of former terra cotta clay mines. I sit in the tension of what author Michael Martone calls the “midwestern paradox,” in which “I [feel], simultaneously, my isolation on one of the margins of the world and my connection to what is essential in the scheme of all things.”
In this paper, I use four recent artworks to describe my relationship with drawing, time, and site. I expand my methods for image-making by using sand, clay, and metal as drawing materials. Committed to working observationally, I use drawing to slow down and observe what would normally flash through my car window. I work on site to be in collaboration with the landscape and meet passersby who share their stories. I emphasize time’s relationship to the industrialized landscape by inefficiently rebuilding common forms, producing sequenced analog works and making display systems which suggest movement. By emphasizing time in the work, I ask what is lost when efficiency is prioritized.
","abstract_html":"<p>I pay attention to the overlooked spaces where land and industry meet, prompting me to wonder what can be gleaned in the oily and cracked urban periphery. With a focus on my hometown St. Louis, this industrial city is my subject matter. And so, I draw in a neighborhood bisected by a highway. I animate with sand near the river confluence on land preserved after a historic flood. I make my own bricks in this Brick City, setting up in locations of former terra cotta clay mines. I sit in the tension of what author Michael Martone calls the “midwestern paradox,” in which “I [feel], simultaneously, my isolation on one of the margins of the world and my connection to what is essential in the scheme of all things.” </p> <p>In this paper, I use four recent artworks to describe my relationship with drawing, time, and site. I expand my methods for image-making by using sand, clay, and metal as drawing materials. Committed to working observationally, I use drawing to slow down and observe what would normally flash through my car window. I work on site to be in collaboration with the landscape and meet passersby who share their stories. I emphasize time’s relationship to the industrialized landscape by inefficiently rebuilding common forms, producing sequenced analog works and making display systems which suggest movement. By emphasizing time in the work, I ask what is lost when efficiency is prioritized.</p>","abstract_has_math":false,"creators":["Ribaudo, Carmen"],"institution":null,"degree_name":"Master of Fine Arts (MFA) in Visual Art","degree_level":"Thesis","degree_discipline":"Graduate School of Art","degree_department":null,"school":null,"contributors":["Cheryl Wassenaar","Sage Dawson","Amy Hauft"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025-08-15T07:00:00Z","date_published":"2025-08-15T07:00:00Z","updated_at":"2026-07-24T06:12:25Z","subjects":["St. Louis","Midwest","Drawing","Ruderal","Site-responsive","Urban","Infrastructure","Analog","Animation","Sequencing","Art and Design","Fine Arts","Landscape Architecture","Other American Studies"],"languages":["English"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://openscholarship.wustl.edu/mfa_visual_art/37","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Cheryl Wassenaar","Sage Dawson","Amy Hauft"]},{"key":"dc:creator","label":"Author","values":["Ribaudo, Carmen"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2025-05-12T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Graduate School of Art"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Fine Arts (MFA) in Visual Art"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["St. Louis","Midwest","Drawing","Ruderal","Site-responsive","Urban","Infrastructure","Analog","Animation","Sequencing","Art and Design","Fine Arts","Landscape Architecture","Other American Studies"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://openscholarship.wustl.edu/mfa_visual_art/37"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["I pay attention to the overlooked spaces where land and industry meet, prompting me to wonder what can be gleaned in the oily and cracked urban periphery. With a focus on my hometown St. Louis, this industrial city is my subject matter. And so, I draw in a neighborhood bisected by a highway. I animate with sand near the river confluence on land preserved after a historic flood. I make my own bricks in this Brick City, setting up in locations of former terra cotta clay mines. I sit in the tension of what author Michael Martone calls the “midwestern paradox,” in which “I [feel], simultaneously, my isolation on one of the margins of the world and my connection to what is essential in the scheme of all things.”
In this paper, I use four recent artworks to describe my relationship with drawing, time, and site. I expand my methods for image-making by using sand, clay, and metal as drawing materials. Committed to working observationally, I use drawing to slow down and observe what would normally flash through my car window. I work on site to be in collaboration with the landscape and meet passersby who share their stories. I emphasize time’s relationship to the industrialized landscape by inefficiently rebuilding common forms, producing sequenced analog works and making display systems which suggest movement. By emphasizing time in the work, I ask what is lost when efficiency is prioritized.
"]},{"key":"dc:title","label":"Title","values":["What is Lost When Time is Saved: Drawing in Collaboration with the Urban Periphery"]}]}],"canonical_facts":{"dc:contributor":["Cheryl Wassenaar","Sage Dawson","Amy Hauft"],"dc:creator":["Ribaudo, Carmen"],"dc:date.available":["2025-05-12T07:00:00Z"],"dc:description.abstract":["I pay attention to the overlooked spaces where land and industry meet, prompting me to wonder what can be gleaned in the oily and cracked urban periphery. With a focus on my hometown St. Louis, this industrial city is my subject matter. And so, I draw in a neighborhood bisected by a highway. I animate with sand near the river confluence on land preserved after a historic flood. I make my own bricks in this Brick City, setting up in locations of former terra cotta clay mines. I sit in the tension of what author Michael Martone calls the “midwestern paradox,” in which “I [feel], simultaneously, my isolation on one of the margins of the world and my connection to what is essential in the scheme of all things.”
In this paper, I use four recent artworks to describe my relationship with drawing, time, and site. I expand my methods for image-making by using sand, clay, and metal as drawing materials. Committed to working observationally, I use drawing to slow down and observe what would normally flash through my car window. I work on site to be in collaboration with the landscape and meet passersby who share their stories. I emphasize time’s relationship to the industrialized landscape by inefficiently rebuilding common forms, producing sequenced analog works and making display systems which suggest movement. By emphasizing time in the work, I ask what is lost when efficiency is prioritized.
"],"dc:identifier":["https://openscholarship.wustl.edu/mfa_visual_art/37"],"dc:language":["English"],"dc:subject":["St. Louis","Midwest","Drawing","Ruderal","Site-responsive","Urban","Infrastructure","Analog","Animation","Sequencing","Art and Design","Fine Arts","Landscape Architecture","Other American Studies"],"dc:title":["What is Lost When Time is Saved: Drawing in Collaboration with the Urban Periphery"],"thesis:degree_discipline":["Graduate School of Art"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Fine Arts (MFA) in Visual Art"]},"updated_at":"2026-07-24T06:12:25Z"}