Victor Badami II

experiments in making


experiments in making

“the desire to care for”

( fall 2017)

medium : Uncoated Steel + Plaster 


A performance piece of ritualizing maintenance. The room dividing-screen was crafted of a layered grid of steel mesh embedded in a plaster panel. The moisture would passively absorb the moisture present in the air. The moisture would be retained in the plaster and would react with the raw steel, causing rust. The rust then bled through the plaster panels and would emerge upon the tooled surface as an additional pattern. Additionally, an individual was given the agency to take part in the process through means of spraying or wiping down the facade of the panels with water. This ritual action of encouraging the process encourages the person to actively engage with the object. 

↟ material studies : "permanence vs decay", fall 2017  - concrete, plaster x recycled wood

↟ material studies : "permanence vs decay", fall 2017 - concrete, plaster x recycled wood

nail sculpture

( fall 2017 )

medium : Cherry + Upholstery Nails


An attempt to disrupt the Western understanding of surface. The form of the carved wood is both concealed and enhanced with the addition of the nails. Each nail is hammered into its final position in relation to the adjacent ones. Pattern and logic are formed with continued accumulation and groupings. Up, down, up, down, down, up. Each nail, though individual, becomes part of the whole and is no longer considered to be singular. The sculpture encouraged participation and awareness of what came before and what could be after. This sculpture contains a collection of individual decisions resulting that incidentally results a surface that is rhythmic, undulating, and harmonious.



( fall 2018 )

medium : Cork Granules + Cement 


Objects are merely decorative ornaments until they become useful, but there must be some visual and/or emotional engagement to draw a person first to an object. “Remnants” is inspired by the architectural vernacular and material culture of Portugal. Concrete, cork, and cedar are all present both within the built and natural landscapes of Portugal. The form language of this piece is rather simple, distilled to that of an arch. The bold form draws the eye, but the material itself invites the hand to touch and engage with the surface. The material is a composite, comprised of a mixture of cork and concrete — essentially a terrazzo. The material becomes ornament. 

The surface, as a result of the introduction of the cork granules, delights both visually and tactilely; smooth and rough, cold and warm, the field crowded and clear. The cracked and crumbling facade, a byproduct of the casting process, celebrates the dichotomy of control and the lack thereof. This investigation redefines ornament from applied or stagnant to integral and active.