|Brooks – Adrenaline GTS 21|
|I liked these the first few runs, but then felt that there was a bit of extra space causing my feet to move around too much, so I exchanged for a 1/2 size smaller + then was still having that same issue. I’m now thinking it might’ve been the laces or something about the way they lace up, but I did love the comfort the cushion provided on these.|
|Brooks – Ghost 13|
|I was excited to try these after hearing + reading a lot of hype about them esp. for distance runs. But…these didn’t stay on my feet. I felt like my ankle was slipping out the back + the ankle was too free to move around in general + the laces would not hold the shoe together tightly enough.|
|Brooks – Bedlam 2|
|These are one of my favorites b/c the GuideRails technology was such a game-changer for me. This was my first stability shoe + I love how my foot, ankle, calf + knee all stay aligned/any extra motion is cut out. I also love the DNA Amp technology which produces a high energy return. The only con I’d say for these is that they’re more heavy than others. I’ve run the most miles in these recently + would say they’re the most reliable so far + durable.|
|Nike – Free RN Flyknit|
|Big fan of Nike Free RNs – been running in these since at least 2017, if not even earlier. Only reason I’m experimenting now is due to the lack of cushion + support esp. now that my distance has increased. (Although I did run my 10-mile race in 2018 in these + had no issues!) These are a newer version of the 2018 flyknit – the lightest weight shoe I’ve ever had.|
|Nike – Air Zoom Alphafly NEXT% |
|I wanted to try these b/c of the Zoom technology + a lot of the positive reviews on these made me think they’d be more supportive than other Nikes. My issue w/ Nike is not enough structure/stability + a huge part of that is the laces not staying tied tightly (even when knotted). These are sock-style shoes, so it’s nice to not have to worry about the tongue moving around (find that issue in a lot of other shoes) + I loved the super bouncy cushioning – however, I still had the same repeated issue w/ the laces + the back area of the shoe curves inward so much that the pressure alone caused a bad Achilles injury to my left ankle after only one run.|
|New Balance – Fresh Foam 860 v 11|
|These were recommended to me by a running friend + they are my absolute favorite pair right now! These are truly all-in-one shoes – stability, comfort, cushion, support + fairly lightweight. I didn’t have to adjust a single thing my entire run w/ these! The laces stayed tied + tight + so did the tongue. The cushioning feels great esp. on a day like today on my 5th run in a row. The only negative I can think of is that they’re pretty warm, esp. on an 80-degree day like today, but I’ll take that over structural or support issues any day. Highly recommend!|
|Nike – Infinity Run Flyknit|
|Shocked that these are branded as an injury prevention shoe… had the v same issues as listed above w/ Nikes in general – pretty much constantly slipping out of the shoe, tongue is too free, lightweight was nice, but the laces were strange… would feel too loose or too tight, never just right – annoying AF! (*tried this one first, but forgot to add at the beginning)|
Threewalls gallery is showing Diana Guerrero-Maciá’s exhibition, “The Uncertainty of Signs” from November 2- December 15, 2012. Maciá’s work consists of five large-scale collages, twenty-six smaller works, and a furniture piece.
Although Maciá uses many different materials, she used mostly felt in this collection of works. In the piece titled “Nomadic Future” (Figure 1), Maciá uses pieces of felt shaped as rainbows, stars, smiley faces, butterflies and hearts, along with big red x’s. In this piece and the rest of the works in the collection, there is a definite sense of connectivity. This piece has lines that intersect some of these symbols and other symbols are placed between the lines. Overall, there is a definite theme of lines in her work. Some of the other pieces also had similar connections. For example, another piece consisted of a grey background with red lines going off in several directions, with bits of black and white scrap felt added on the lower right corner. Again, the viewer is offered this sense of connectivity where everything inside the vicinity purposely connects or touches in some way.
One of the larger canvases appeared to be created on a type of cloth that was meant to be a sign. It has holes around all the edges as though it would be tied to a structure instead of placed on a wall. This piece contained very little color, except for the two small felt rainbows. There was also one black “x” or a cross on the bottom right corner. The other geometric pieces placed on the canvas seemed to resemble both the outlines and inner workings of an intricate spider web. This piece again conveyed the sense of connectedness because the web-like structures drew viewers’ eyes in towards the close center.
The twenty-six smaller pieces were titled “A-Z” because each tile was supposed to reference a letter of the Latin alphabet. This is not an easily observed purpose since the only actual letter portrayed is a red letter “a.” Mainly from these works, there was again the sense of connectivity and a sense of distortion. The distortion stemmed from the fact that a few of the textiles included photos that were altered or placed in an unusual way. One also portrayed part of a flower painting but was interrupted by paper and felt. Many of these textiles had multiple layers of material.
Another interesting thing about these twenty-six smaller works was that a lot of them also involved sewing and needlework. This is rarely seen anymore. There were several textiles that included felt being sewed both to other pieces of felt and paper as well. Many include themes of line, some with and some without vibrant colors palettes. The small textiles do not all have the same frame lengths or style but the collection is aesthetically pleasing because of the color palette and theme of lines.
The artist’s furniture piece, called Let x=x (Figure 2) very closely resembled one of the twenty-six smaller textiles in design. It appeared that the small textile was a blueprint for the construction of the furniture piece; however, two of the colored benches were switched around in order. This piece consisted of similar color shades as the rest of the works “thereby referencing the fabric in a physical, touchable way” (Sorkin). This shows viewers how Maciá changes up her work and isn’t afraid to play with designs and patterns. This again gives the audience that same sense of connectivity but instead of tying everything in one piece together, two pieces in the same room are connected.
Sorkin, Jenni. Diana Guerrero- Maciá’s Hand- Sewn Hard Edges. Chicago. Threewalls, 2012, print.