Tuesday, November 9, 2010
Today (Map)
This large wall drawing takes on the aesthetic model of scientific calculation but upon closer investigation becomes increasingly subjective and emotional. The elaborate nature of this movement map begs to be viewed as fiction but the spontaneity of the structure mentions an intuition of truth. Gathered from dozens of smaller scenarios in real life, this drawing creates a new composition which offers a glimpse of macro-level complexity, and beauty, in human inter/actions.
Found Quotes
Set of six postcards with quotes on the front, meant for mailing. Each quote is from a spoken encounter in life which I heard and transcribed through the contextually skewed and physically flawed mechanism of my ears and perceptions. The cards were for sale (and still are) with the intention of allowing the purchaser to both touch and own art created from the very thing they encounter, and ignore, daily. The cards will also live inside their function once they are sent to another, further validating them as a gesture and therefore validating the source from which they come.
Doppelganger upon Admission
Upon entering the gallery, each viewer was required to receive a hand stamp saying ORIGINAL as well as have a instant photo taken of them for addition to the wall. Anyone who refused participation was not granted access to the gallery. This piece ran for the length of the show but the photo element stopped upon reaching 100 images. Through this gesture, the passive viewer was confronted with their addition to the space as being something acutely tangible and valuable. Passive spectatorship is a myth, viewership is also authorship.
Current
Performance Notes:
Typist sits at desk with electric typewriter, stack of semi-translucent white paper and tape (or stapler).
There is one empty seat across from the Typist.
The Typist invites a person to participate in a short interaction with him or her.
-Shake the person’s hand in welcome.
The only stipulation is that any statements they make must be True.
-The Typist puts a new page in the typewriter.
-The Typist remains absolutely resolved on the task at hand.
“Who are you right now?”
-Encourage them to elaborate by verbal and non-verbal cues.
-Make 3 overt gestures for more elaboration, thought, or information before being satisfied with their answer.
-Attempt only to repeat the question with more or less emphasis for new meanings, or keep the quest for elaboration minimally verbally.
-Type everything they say, including filler words and stumbles.
-When they reach a pause, move to the next line on the page.
-Ask for them to speak more slowly.
-Ask them to repeat what they just said at least one time during your interaction. Type the first and second version of their statement.
-Make eye contact when you are not typing.
“How did you come to be here?”
-Again, use 3 gestures for more elaboration before finishing.
-Repeat steps above.
Finish either when 3 attempts at each question have been satisfied, or when the page is filled.
Notes on the piece:
In this piece, I am looking at the individual’s search for self only in the healthy terms of community. By premising the Truth stipulation, the Typist has no way of knowing if the participant is holding reasonably to that agreement other than trusting their desire to be honest. This always leaves room for choice between the two, to intentionally build trust or to deceive for various reasons. The ultimate consequence to this piece, like relationship, when trust is broken is laid upon the conscience of the aggressor.
While no significant answer to these two questions may be established, this piece reflects the eternal task of asking and seeking with others. The participant may not have asked these questions alone. They probably would not have moved past the first elaboration alone. They certainly would not have withstood the audible, visual, mental distractions alone. They definitely would not have remembered alone.
The interaction becomes less about what the person said in response to the questions, and more about how they responded.
The literal form of transcription through the hand of mishearing, interpreting person by the mechanics of a malfunctioning analog device points both to the perpetually flawed state we find our community in… and yet, when the flaws are bathed in truth and love, with respect for the answers and the questions, the whole process becomes a reflection of necessity.
Authentic Community.
Typist sits at desk with electric typewriter, stack of semi-translucent white paper and tape (or stapler).
There is one empty seat across from the Typist.
The Typist invites a person to participate in a short interaction with him or her.
-Shake the person’s hand in welcome.
The only stipulation is that any statements they make must be True.
-The Typist puts a new page in the typewriter.
-The Typist remains absolutely resolved on the task at hand.
“Who are you right now?”
-Encourage them to elaborate by verbal and non-verbal cues.
-Make 3 overt gestures for more elaboration, thought, or information before being satisfied with their answer.
-Attempt only to repeat the question with more or less emphasis for new meanings, or keep the quest for elaboration minimally verbally.
-Type everything they say, including filler words and stumbles.
-When they reach a pause, move to the next line on the page.
-Ask for them to speak more slowly.
-Ask them to repeat what they just said at least one time during your interaction. Type the first and second version of their statement.
-Make eye contact when you are not typing.
“How did you come to be here?”
-Again, use 3 gestures for more elaboration before finishing.
-Repeat steps above.
Finish either when 3 attempts at each question have been satisfied, or when the page is filled.
Notes on the piece:
In this piece, I am looking at the individual’s search for self only in the healthy terms of community. By premising the Truth stipulation, the Typist has no way of knowing if the participant is holding reasonably to that agreement other than trusting their desire to be honest. This always leaves room for choice between the two, to intentionally build trust or to deceive for various reasons. The ultimate consequence to this piece, like relationship, when trust is broken is laid upon the conscience of the aggressor.
While no significant answer to these two questions may be established, this piece reflects the eternal task of asking and seeking with others. The participant may not have asked these questions alone. They probably would not have moved past the first elaboration alone. They certainly would not have withstood the audible, visual, mental distractions alone. They definitely would not have remembered alone.
The interaction becomes less about what the person said in response to the questions, and more about how they responded.
The literal form of transcription through the hand of mishearing, interpreting person by the mechanics of a malfunctioning analog device points both to the perpetually flawed state we find our community in… and yet, when the flaws are bathed in truth and love, with respect for the answers and the questions, the whole process becomes a reflection of necessity.
Authentic Community.
the unreliable, unsolid, unlasting, unpredictable, dangerous world of. [Volumes 1-3]
This three volume piece falls between multiple mediums and ideas. It is in all practical sense, book art. The kind that's meant to be handled and touched unlike so many other variations of creative practice. Each book is a collection of unique but similar gestures, found drawings.
Volume One: Indoor Movements is made up of light dashes and dots spread across white pages. These drawings were collected and scanned from foot prints on a paper covered floor inside a gallery.
Volume Two: Touch feels first like black and white topographical maps. They are actually 50 retrieved paper towels from a single institutional bathroom trashcan, unfolded and scanned. The groves and lines made in the paper become a new terrain, begging to be noticed as the beautiful side of refuse.
Volume Three: Occasion is a collection of the inside of greeting cards, pulled together from one person over many years. Prewritten wishes mingle with the tradition of keeping in touch, sometimes dated, telling a story of relationships and obligations through decontextualized lines and images.
This volume series is both a study of value systems and an attempt to make drawings literally out of a life that's full of stains, smudges, and unwantedness.
Volume One: Indoor Movements is made up of light dashes and dots spread across white pages. These drawings were collected and scanned from foot prints on a paper covered floor inside a gallery.
Volume Two: Touch feels first like black and white topographical maps. They are actually 50 retrieved paper towels from a single institutional bathroom trashcan, unfolded and scanned. The groves and lines made in the paper become a new terrain, begging to be noticed as the beautiful side of refuse.
Volume Three: Occasion is a collection of the inside of greeting cards, pulled together from one person over many years. Prewritten wishes mingle with the tradition of keeping in touch, sometimes dated, telling a story of relationships and obligations through decontextualized lines and images.
This volume series is both a study of value systems and an attempt to make drawings literally out of a life that's full of stains, smudges, and unwantedness.
Monday, November 8, 2010
"A lot is going on this space between."
Finally I'm getting around to posting images from my show in Mt.Vernon, Ohio earlier this year. My alma mater gave me a great opportunity to have a solo show in their brand new gallery space, which went as well as a show could ever go. The work was wonderful in the space and the viewers were incredibly responsive to the concept of the show. Below are some images of the space as well as the artist statement. I'll post images from each piece individually and the opening next.
Statement:
The title of this show almost begs to take itself too seriously. That would be, of course, if the quote hadn’t been lifted from a woman referring to her recently acquired double-stuffed Oreo.
Each piece in this show attempts to engage in a conversation about authorship, decontextualization, and the function of consciousness in everyday activities. Utilizing intentionally varied gestures, this exhibition confuses its own artistic equilibrium by challenging the understanding of how, or when, actions become art.
In this space between, you will hopefully find yourself the observer instead of viewer and participant as opposed to consumer. You will simultaneously be asked to see the unnoticed and become the noticed. This space between is a spot made banal in its familiarity, significant through our accountability, and beautiful by association. This space between is a place to see and to become wholly interested in a remarkable and disinterested world.
Statement:
The title of this show almost begs to take itself too seriously. That would be, of course, if the quote hadn’t been lifted from a woman referring to her recently acquired double-stuffed Oreo.
Each piece in this show attempts to engage in a conversation about authorship, decontextualization, and the function of consciousness in everyday activities. Utilizing intentionally varied gestures, this exhibition confuses its own artistic equilibrium by challenging the understanding of how, or when, actions become art.
In this space between, you will hopefully find yourself the observer instead of viewer and participant as opposed to consumer. You will simultaneously be asked to see the unnoticed and become the noticed. This space between is a spot made banal in its familiarity, significant through our accountability, and beautiful by association. This space between is a place to see and to become wholly interested in a remarkable and disinterested world.
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