Friday, December 24, 2010
21st Century society allows a glimpse into the progressively evolving art paradigm that encompasses the rethinking and growing needs of our constantly transforming technological advancements.
In my work I look to explore and shift the possibilities of blurring the boundaries between medium, form, texture, and color. Having long been trained in the commercial production of traditional newspapers and magazines; where rubylith film and blue drafting pencil once reigned, I have developed an aesthetical sense and balance between more contemporary publishing techniques concentrated in digital manipulation and radical non toxic printmaking methods. I look to further converge the distinctions of prior established fundamentals, while re-appropriating methods for a dialogue of the current evolving trends and advancing technology of our times.
In an aim to better understand the evolution of the art world and my present day surroundings, I have come across the works of many great minds including Craig Owens, Duchamp, Rauschenberg, Baldessari, Kant, Freud, and Marcuse. The Sociological Perspective of life and history connect for me the variables of the past, present, and future, making many things transparent although sometimes complex; the accomplishments and discoveries of mankind are always found first in Nature. My innate curiosity and aspirations compel me to question the possibilities of the way different mediums can adapt and reflect the growing archetype of Hybridization found within our current and progressively advancing technological and Globalized Culture.
In the process of researching and developing techniques, my teaching philosophy and workflow has stemmed out of the practices of my time spent working in marketing and advertising for fashion and editorial companies where I had grown used to being surrounded and influenced by creative directors, photographers, models, stylists, writers, critics, and editors. It is this lifestyle that surrounded me in New York City while working for companies such as Armani, Hearst, Meredith, and Bonnier, which taught me the important advantages of having an appreciation for diversity in the complex world and apparatus of our Civilization.
I now look to submerge myself in discourse with my fellow artist contemporaries and colleagues who possess an insightful view into various forms of media and progressive communication trends; it is this collaborative effort of varied skills that drives the influences of my experimental Hybrids.
Hybrid forms leave artifacts of their distinct nature while at the same time becoming juxtaposed and integrated into a blurred visual aesthetic boundary between one medium and another. I work with materials that lend themselves to both two and three-dimensional environments, which at times become synonymous with their ability to morph into the potential of what I see within their infrastructure. I desire to reach a unified understanding of my environment, a challenge that I hope to never attain while holding truth to the crucial importance of questions over answers.
Wednesday, December 22, 2010
My life as of late has consisted of updating my resume, working on my artist statement, and testing out a few oversized 4c prints! I'm at Leah's place and Eder (from Brasil) is coming over so we can all hang out with Christina; I guess Rachel from Thunder Body is coming over too. I've also recently shipped my artwork for the Chastain Arts Center and Atlanta Printmakers Studio juried show that I was selected for! ~Happy Holidays
Wednesday, December 15, 2010
Friday, December 3, 2010
Ok, I'm back... But I'm in Rochester, it's December 22nd, everyone is gone for the holidays! Of coarse, I'm here, I'm always here in the studio. So, David Cooper has been doing well, he did a huge mural for Trendy Studio over in the Wynwood district; it's great to see his recent success. I remember David's illustrations from when we worked over at Meredith publishing, Siempre Mujer; I love his work on this large scale. Since returning home I've been working on some large 4 color prints, I also was recently selected for a juried international show over in Atlanta. I have to catch up on a bunch of writing because I was really sick a few days after I got back from Miami. I got stuck in a snow storm and turned around when I got to Park Point. I stayed in the studio on the couch and thought I could try to sleep it off but it was like the time I got sick on new years a few years back in NYC. (I'll spare the details.) I didn't want to miss New Forms so I thought I'd make it but finally decided around 4:30 AM "Fuck this, I'm not a little kid." So I finally made it to the car and overheated like crazy, there was no way I would have made it back to the school from the parking lot. I had already thought I was going to pass out on the way down and I finally did in the car. I seriously thought I was going to freeze to death and die.
I'm taking Forms of Inquiry and a few other classes, Art Gallery Management is a fun group of people; nothing too new or anything I haven't been around already but it's a great time to hang out with my friends.
Sunday, November 21, 2010
Seul-Gi was just accepted into the Lester, UK small print exhibition I'm really happy for her... she's in Indiana for the break but I'll be right here when she gets back; time will tell.
Sunday, November 7, 2010
Last night I was working in the studio and remembered that I had been starring at one of my transparencies from the transfer technique the previous night; I finally realized the reason why I had sat there looking at it for so long. The DASS film has a glue coating, and with my vector or drawn lines having been worked out after the transfer, there remains a frosted coat left on the film. This coat acts as a piece of one sided mylar and can be reworked into using toner, eraser, charcoal... and then exposed to ImagOn. The color that is left behind on the DASS film surface at first seems too light to do anything with, but in actuality it can then again be used as a stencil itself and prints a reversal which can also be reworked. I still have many tests to do, but there is something about it that caught my eye. The process has only been taught and developed at RIT for the last two years by Alan Singer; Keith has yet to try the process himself. As far as I know, when I approached Bernice with my experiment, she said I was the first to have done this new transfer-intaglio technique; the potential I see in it is that the transparency can be used for at least three different processes.
I had dinner last night at Keith's with John, Kevin, and Henrik... We had arrived around 7:30 and were there for a little over four hours, it was a long night of funny and amusing conversation, wine, and art talk. Keith's house is filled with artwork from various visitors and and past travels; he is leaving on sabbatical after winter quarter and we are already taking lead of the four-color studio II class; we will work in teams to create weekly work and have a competition to print chosen work done in the class by the students. Kevin, John, and I will be the team leaders; I've also been managing and reworking ideas for the studio and redoing signage while looking into some processes. Susan Rostow is coming to Rochester next weekend, there is an artist from Japan coming in December but I'll be in Miami for Art Basel with the guys, we've taken off the first week of classes. John and I entered into the Au Naturel international competition last night, I'm not sure how my processes will sit with the jurors... I wonder what people think about when they see my work. I've been drawing from a live figure model, which has helped me get out of a slump; I'll have John's model tomorrow morning since he'll be busy. Everyone is over at Amy's tonight but I had to write a paper for tomorrow and I need Sundays to work out some things. I saw one of Alan's watercolors at Keith's, I'm going to try to buy some more materials on Tuesday for the transfer process. I'll probably as Alan to be on my thesis committee, along with Keith who is my main advisor; I'm thinking of also approaching Michael Amy with at least some of my ideas.
I'm between hybridization and street art, some ideas... but only ideas so far. We went to ROCO the other night with Aspa and Dimitri, I think I'm going to take her stone cutting class along with Eddie, she'll sign me in. I have a lot more writing to do for my thesis, even though I don't start officially until next fall. I went to the Psychedelic show over at MAG, it was ok; I liked the robot and monitors attached to lights and sound machines. I'm feeling a lot better these days, I'm hoping Katie will stop around Rochester when she comes back... And I have a show in the works alongside my good friend Christina for Shawn Dunwoody's Four Walls Gallery, it will be up for two months and there was just an article on 1975 and a few others in the D&C... I should really put out my work rather than letting it sit under my bed, there's more than just the process; this I am now realizing. So no promises, but I just need to keep experimenting and working. I miss Nesh, she is in Beijing... I have to email her soon so that we can collaborate on some things.
I will be working in the studio during Thanksgiving break... my portfolio book is coming along well, I have a lot of prints to do.
Thursday, October 14, 2010
An important thing happened today; I wish to leave myself notes because they will help me write out my complete thoughts later.
This morning my peers in Painting critiqued my work, and most of them saw little connection to the medium itself. They asked, “When will you paint?” All of which brought out more questions than answers. I naturally defended my work, but only to explain my thoughts and the perspectives that I have gained through my reading and personal experiences; these ideas revolve around Craig Owen’s Allegorical paper, as well as Duchamp’s Fountain.
It was said that my images had no “Aura” because they were seen as being prints from the computer. I brought about the point that I see no distinction between the digital pixel and a spot of physical paint. Rob mentioned that he too used to think like that until he realized that you “can’t touch” what’s inside the monitor. However, I see the mouse or wacom as an extension of my physical hand, and as I become familiar with and practice alongside this digital format, it then becomes part of my aesthetic vocabulary. My strokes within the monitor are just as expressive as those made in the physical realm, perhaps only because they are mine. You can assign a project to be done digitally, and you may get very similar work from individuals, but I believe that to be on the account of their limited understanding and potential of what can be achieved. Joshua Davis creates very organic work within his digitally coded pieces of artwork; achieving final format that are not capable simply by the human hand. This process becomes complimentary to one’s personal sense of aesthetic because the artist then consciously makes a decision of what he/she believes works or does not. They will go through hundreds of artificially created pieces to pull out elements or give life to something wonderful.
My work was once done by the act of drawing my image with pen or pencil and then scanning and reworking my aesthetic line to fit the needs of what I was doing. After a while, I decided to cut out the scanning in some of my work and simply began to draw with the mouse instead, over time it became second nature. The computer replaced the idea of using a projector or optics to create an image. Rob ironically pulled out a computer lap top to show his paintings; did they lose any meaning? Were they less real because they were digital representations? He later talked about his process and how he uses a computer and projector to achieve the ability to trace and work from his reference image. There is something here that needs to be explored; is the painting dependent on technology to achieve its own physical form? Is the human eye much different than a film camera, or even now digital camera? Mankind loves to mimic nature.
In Modernism, craft and the mediums are separated; One must look to (Post) Modernism in order to find the potential of hybridization. Technology has always had an impact on Art. The high Renaissance was impacted by the discovery and research that went into creating better pigments and techniques; these secrets or skills have been lost over time. Photography once “replaced” illustration, the figure was once thought to be dead, especially the still life. With the advancing of technology jobs are lost, trade skills are forgotten. The hand crafted letterpress typography, pre-press operator, or even paperback editorial designer. However, there is strength in the idea of uniting all these different mediums to form a new medium of the 21st century. The Industrial Revolution echoed the art movements of its time. Naturally in today’s world of nano power technology, and applications found in the iphone such as music players, navigation systems, phones, and the hundreds of miscellaneous applications; there is a sense of this reflection of the opportunity to mix all mediums together such as painting, photography, video, literature, etc. These are possibly even all best represented through the medium of Intaglio Printmaking, which has key potential in multi-medium use. Which also ironically attributes its actual use to none other than circuitry and technology. It is the appropriation of the medium that works best in this century, the same century where the world is also becoming smaller, and where cultures are mixing and conscientiously interactive with one another. Painting is strengthened and survives through everything but Painting.
Can a computer be connected to the idea of a dream state; both being untouchable? Are they made any less real or of importance due to their lack of physical touch? Like in a dream, we cannot touch what is in the monitor or in the frame, until perhaps we print it out. In my work there are elements which begin as creations of the physical hand, which then get developed even more by my digital hand, and then again even more when brought back into the physical world through a print. There is a difference between being a Printer and a Printmaker; the Printmaker is a medium in themselves, complimenting the traditional concept of what a medium is. (Painting, Photography, etc.) My mistakes are seen through my work, misaligned registrations, color mixing errors, just like the glitches that can be found in digital programs and software. It is this that makes hand printed pieces unique. Much like how Warhol’s silkscreens are commercially done without the trace of the hand, yet holding to slight errors of the process itself; even if done by machines.
Duchamp really opened the door for the 21st century with Fountain. I have much interest in the relationships between Picasso, de Kooning, Warhol, Rauschenberg, Basquiat and such writers as Kant, Marcuse, and Freud. With each generation, there is the pushing of ideas. Rauschenberg created the “combine painting.” Warhol’s soup cans are ready made in themselves, perhaps mundane as objects, but quite Duchampian; Objects on a pedestal. De Kooning always struggled with his old master training as a painter, and Pollack created something for his time never done before, it was a certain type of thinking. Basquiat creates paintings of word list, which is quite allegorical; text as image.
Technology today allows us to print out our work on canvas. We look at artwork and question them, are they painting? Digital? How is it that this work was created, what was the process? In some cases we cannot tell because there is the blurring of mediums. Blurring which is done very well. In our alphabet we use characters to create words and convey ideas. The more letters we use, the more successful we are in communicating. Why not apply this ideological method to the relm of Art? Would combining painting, photography, drawing, sound, etc. not be a better tool for communication? Painting can be seen as a very old and traditional process, in combining all these mediums there is an adaptable strength that is timeless… The hybrid is not formed or confined to the present, it changes and evolves with the technology and ideology of the future.
The workshops of Leonardo’s times were designed around craft and technique, many times having a young child apprentice and learn from the master craftsmen. In today’s fast paced world, this process almost becomes obsolete. (Watered down?) In our Capitalistic society, there is no room to pay such a trained artist the money for the time required to do everything by hand. Today’s modern cities are fast paced, and work is offshored, outsourced, and given to the lowest bidder, within reason of quality. The craft is then passed on in some cases to the apparatus. The photographic camera for instance hold within it a mimicry of nature or the human eye. One can say that a photographer needs no skill and that everything mankind has learned through history of optics is represented in the apparatus with a simple push of a button; however we know this is only half true. A photographer knows there is aesthetic and subjective ways of portraying an object. Even in photography much like a canvas, there is a “frame’ or view finder. Everything left out of the image is just as important as what is kept. Even in today’s digital photographic world, there is possibly a loss of the aesthetic eye. Where film is expensive to process and more time was given to composition, today’s world allows for hundreds of images taken with little cost; which may lessen the development of the artistic eye.
Today’s world calls for much more social responsibility to the viewer and our surroundings; this I cannot get too into for now. I see the potential in site specific and graffiti based political works, but for now I see this idea as supplemental, or different all together. I will say though, one can display “fine art” and editioned work in public spaces and question the idea of the frame and the institution. Bansky has been quite good at touching on this matter, stemming from Blek le rat.
The draftsmanship skill which disappears or evolves over time may be left within the apparatus of today. (Cad, Photoshop, Illustrator) Collaboration seems to be an important potential as well because this allows for not only for the combination of mediums, but also overlapping and interrelating of different cultures and mind sets. (Which is translucent in itself.)
Practical Vs. Impractical
There are three main components of Craig Owen’s paper, “Allegorical Impulse Towards a Theory of a Closer Postmodernism.”
1. Doubling 2. Site Specificity/Impermanence
3. Accumulation – Piling up Tendency
I believe impermanence to be in history, the present shapes the future, the past shapes the future. Old Europe is literally built upon the physical structures and buildings of the previous generations; dig anywhere and you are sure to discover evidence of the past. Memento Mori. Modernism may simply be collapsing in on itself and will survive through its supplemental extension into (Post) Modernism. (Hybridization.) “In Allegorical structure, one text is read through another.” Owens
Appropriation in the Allegorical looks to confiscate Imagery and add new meaning. Warhol’s work used serialization or “accumulation” in piling up the repeated image. His appropriation gives new meaning to his iconic imagery, he too experimented with film and sound. (Velvet Underground.) “Everything is on the surface.” Over time, Andy hardly even touched his canvas, using a mechanical industrial process similar to Ford’s “assembly line.” We may observe that today we do not touch what we create on the computer yet we humanize it through manipulation. Is that the difference? There are no frames in nature, the white wall, pedestal, or frame questioned by Duchamp is important. Object as art, Art as Object, Man as Object.
Hybridization seems to have the potential to be the new paradigm for the 21st century. “Allegory is continually attracted to the fragmented” Owens Deconstruction is important, the master and amateur are complimentary. The confusion of genre presented by Duchamp reappears. These different mediums work together like organs in the human body which ultimately power the same force. Freud states that we have become “Prosthetic Gods.” With eye surgery, bionic limbs, and better tailored technology to suit our needs, there is attained a closer connection to the technological sublime. Marcuse states the we must mast and go through all of the hardships of technology and modes of production to be free of the slave mentality. We have become in some extent the creators, yet we still only DISCOVER what we FIND in nature. Technology has improved or advanced more in the last 50 years than for thousands of years on the human timeline. With today’s verge of being worked into nanopower technology, our structure will again morph or change. However, not everyone wants to Modernize, or in some cases of difference, Westernize. If a building as an object represented THE MEDIUM; and a particular medium such as photography, painting, digital etc, were to be separated on every floor, and that building were to collapse (The Crumbling factor of history Then those mediums would be combined through collapsing onto themselves. So much like with the idea of destruction, comes creation through destruction in itself.
In my work there are clues to my process much like Andy would jiggle a camera or leave a microphone in a video frame, look close enough and understand the language and one may be able to see the aesthetic vocabulary which is being combined.
Water takes on different forms Gas. Liquid. Ice (Solid) yet it is still the component of H20.
What is an Image?
Tuesday, October 5, 2010
I spent last night with Renée, she invited me with her to New York City this weekend. We've been hanging out a lot lately, I won't read too much into it at the moment. The last thing I wanted or thought would happen is for me to be with someone at this point of my life. But then again, maybe it would be surprising... I always thought that it would affect my artwork negatively to be attached to someone in a way that would trouble me. I don't want to get too into it right now, but she is quite the individual and has a lot going on for her self, I find that quite attractive... She's also fun and has a big heart, I hope to get to know her better.
I've been working on some 4 color prints which I recently was informed are NOW called "inverse intaglio." John has been working on some silhouettes, he asked me about some process I was working on and had mentioned shapes. I already knew what he was thinking of doing, I don't know why he doesn't just ask out straight forwardly, shapes mean silhouettes of bodies. Lol, but it's John so everything involves the figure and it wasn't hard to see that. We just had the Porch show over at the Hungerford building, there was a great turn out. I had worked on the design and had two pieces in the show... I still haven't titled them. I'm reading "The Allegorical Impulse: Toward a Theory of Postmodernism," it's an amazing paper.
Monday, October 4, 2010
Wednesday, September 22, 2010
I've been up since 6:30 and finally had a chance to meet up with Lavon for a studio critique. All artists have their highs and lows, ultimately I have to live with my own decisions. I try to learn from every place, person, and struggle that I encounter. Last night I was at Boulder Cafe with les triplettes de belleville listening to ambient sound machine keyboards and cellos... Even in this I can take away something to add or reflect off of my work. Kevin said he was thinking of layers through out the entire performance. Last night I dreamt of glass paintings, motion over panels, and illumination. This world I belong to is give and take, it's a submersion of everything you're most passionate about, it's not an easy path to understand even for those of us who live it. I need to continue concentrating on the exploration of ideas and mediums, without being too critical of what I am supposed to be doing, or more better put what others believe I should be doing.
Tuesday, September 21, 2010
I'm sitting in Postmodernism class and we're on break... I really don't understand this chatter. People write about art theory and the philosophy of architecture like if they know something special, I wonder how many of them have ever picked up a brush or created anything. I find a lot of these writings to be full of egotistical jargon, or at the least very elitist. Blah Blah Blah, so what? I just want to get back into the studio...
On the lighter side of things, I was assisting Gina in her 2D foundations class and the students seemed to be really responsive to suggestions and constructive criticism, I really enjoyed the experience. I was impressed by some of the insightful observations.
Monday, September 20, 2010
I’m eating some strawberry and green tea “creamy mousse” chocolate sticks, Maasa brought them back from Tokyo, but she called them cookies. Dropping out of school has crossed my mind about ten times or so. I’m not really sure how serious my thoughts have been, but the emotions are based around my frustration with structure. Perhaps it’s simply the artist in me, but structure can be limiting outside of being an educator. (Or so it seems at times.) I find some classes to be far too slow or time consuming. I’m not at all a trained painter, and it’s my own fault of curiosity for taking a foundations oil class, I’m not sure how to feel about this traditional method. I remember how de Kooning was always trying to explore and pull away from his European training as a master painter. I love the textures one can achieve, but my interest in painting seashells and skulls is non-existent, especially for hours at a time. I understand how important it is for learning purposes, but my concern is with how to use the medium in my work, and even then only up to a certain point, I have no desire to become a Renaissance painter. The medium is very foreign to me; layers and light are very different from graphic line.
Most of my energy has been spent in the Printmaking studio developing halftones and test results for my workbook and for future projects. The press has always been a rejuvenating force; it reminds me of why I am here. John and I were helping out Keith photograph some of his large collaboration landscape paintings with an Asian artist in China. He left yesterday for his show in Michigan; Michelle really does have great proportions. Remo redid some of his huge panels last night, I just saw them, they look much better, they may be his personal project and not the collaboration piece he’s been working on. He really improved the motion lines of the figure, and the color is working much better.
I could use a nap; much of the weekend was spent moving out of 775 Park Ave. where Gallery R used to be. We need a new location, I’m hoping for the East Ave. spot that used to be a piano house and currently holds rugs. Henrik gave me a last minute flyer project Friday night and I didn’t want to blow it off, it turned out ok. I just printed a few 4-color silkscreens for class, the colors work together terribly, but it was just something to hand in. I hate making artwork in classrooms, I’m just going to stop showing up. I’ve never cared about grades, and neither does NYC. I thought grades would be important because I want to be a professor, but I got to thinking how in the real world they don’t really matter to some extent. I should trust my instincts and just concentrate on my work and portfolios, as long as I don’t fail. If someone doesn’t want to hire me based on grades then I probably wouldn’t want to work for them anyways because that just says a lot about their type of thinking.
I met with Alex last week after class, I’m thinking of working my (Post) Modernism paper into my Thesis work, or to at least use it as a foundation. I’m reading Craig Owen’s “Allegorical Impulse” paper and “Art School Propositions.” I’m sure he’ll give me more recommended reading though.
Tuesday, September 14, 2010
(Post) Modernism seems to have a handle on everything like some kind of Enlightenment. A formula for A - Z and all that is in between; being able to connect all the letters at will with a mastering of the entire process and progression of mankind. Information at your fingertips can be a powerful thing, but you need tools, ideas, and perhaps a little imagination. I see hybridization becoming the new medium of the future, everything will mix and seem seamless. At times, my aesthetics seem to show the blur, Andy used to leave a mic within the frame or wiggle the camera so you would know what you were looking at. Registration marks give you insight, off registered plates... I'm back in the studio again, I could use an assistant when it comes to working on a larger scale. I'm still trying to balance out my reading, studio work, and TA hours. Art supplies and books are expensive, I should look into actually selling work instead of it accumulating underneath my bed. It would be in my interest to really develop a system for getting my prints and paintings into shows and networks. However, I feel it's more important to simply concentrate on the work, I have to produce, and do it well; do it Naturally.
I gave Adair one of the prints I was working on, hopefully it finds her doing well in NYC. A few people took interest at LUX. I'm glad my windows face the tree line, I'm looking forward to Fall, it's my favorite season. Everything here is slow! It's pleasant but can kind of get frustrating at times, it's probably just me. I feel like I'm losing so much time.
Saturday, September 11, 2010
I have been thinking that it may perhaps be best to pull the inspiration for my Thesis from my interests and experiences of the last few years. Many of these interests play on the idea of Hybridization, the questioning of gallery space, permanence, street art, and political awareness… I miss the fast pace of NYC! I never took many pictures while living in Manhattan but I do have a few and remember the day I made a point to record my surroundings in order to not forget the feeling that makes up such a unique place. I’ve been frustrated with Rochester’s slow atmosphere; some of my classes are too familiar and amateur, especially Serigraphy. However, it’s only the first week, I must be patient with myself. (It’s quite possible I have some type of attention disorder.) I remember in class how one student explained a scenario represented by variable letters; I was surprised because I too have used the same words in order to explain things, but no one ever understands what I am talking about.
I would like to combine one of my glitch/deconstructive video projects with some prints. John made a good suggestion to replicate my jellyfish video as Intaglio types, using the same aesthetic style. (I found this to be a great suggestion; the only thing that other people told me was that it was sweet.) My thesis should have a message or at least make a respectable question that invokes an inner response. Questions in many ways are more valuable than answers. Answers are sometimes quite boring. If my work is to be Aesthetically pleasing or “candy” like, is it at least something different? I need to push the boundaries of simple charms. Does it convey anything?
Maybe I should consider the Sublime or Colossal, but why?
I remember Tom’s thesis show with the erased chalkboards, I thought they were great but nobody really seemed to notice. Communication. I have to have self-discipline; I should start getting up early. Maybe 4:30? Perhaps (Post) Modernism is something we’ve had all along. It’s really just questioning and understanding the past in the context of the present along with the potential of the future. Art movements aren’t really labeled until after they happen anyways, so what’s (Post) Modernism? Maybe it’s the amateur’s chance to succeed. Enlightenment is an Elitist privilege. I don’t see how there can be much PM in a country like Africa that lacks infrastructure. Commodity. How long does this Thesis have to be anyways, I wish they would just give me an outline or something. I saw Fran with someone’s work and it was about almost three quarters to an inch worth of papers. I don’t understand why art needs to be explained at all. Isn’t it supposed to be open for interpretation? I hate describing and working in front of people, at least most of the time. It takes away from the magic of the studio, it changes the perspective of things. It’s the faded AWWWEEE from when you reveal the secret of your magic tricks.
What a SCAM. $$$$$$$
Wednesday, September 8, 2010
I should get to my readings for now, but as to my frustrations... I hate wasting time, I do enough of it on my own and would rather not discuss trivial things like why my studio is in painting, why is it that I am by undergraduate students, am I distant from the graduate students? So many little things that shouldn't matter to anyone but me for the most part so I won't go on, but will answer a few of those thoughts to remind myself why it is I'm here in the first place.
I am actually quite particular to little details, perhaps it's my interest of learning combined with my personal character and training as a visual graphic designer.
1. My studio is adequate in size to work in the scale of my interest. (It's by FAR not the largest.)
2. I loved the lighting, I have two clear and open lights above my space, as well as a flood light just outside my wall which compliments my work environment.
3. Being a graduate student I will always be around my peers and make/have time to share with them, I don't wish to segregate myself from the underclassmen. I like to keep an open-mind, in this case I have access to both worlds, and that's how I like it.
4. Painting is Printmaking; Printmaking is Painting (I'm not going to go into detail or explain because It's somewhat subjective and I don't expect everyone to see things as I do.) I'd rather have a discussion in person and not type behind a computer screen when it comes to this matter. (I don't need to understand my own opinion, it's already mine.)
5. I like to be a little distant, it's good for reflection. I don't want to be entirely submerged. In my own way I'm already submerged and trying to figure out things steps away, you just don't see it. I am always watching and am quite sensitive to my surroundings, you just don't always take notice. I need to learn more, I am making up for wasted time, I feel so far behind.
Sunday, September 5, 2010
A few things that have been on my mind... Karen pointed out an interesting observation on installation art. I was talking about Murakami and how some of his paintings really feel more like dizzying consuming environments. And she had mentioned how some people think that if you put up a painting or series of things that it becomes an installation. The conversation led to the questioning of environment and site specificity. If your installation is the same no matter where you put it up (without it having considered or responded/commented on it's environment) is it still just a paintin or simply sculpture?
I bought a 30 x 48 canvas out of it being on sale... Which has brought up the question of the Canvas itself. I won't get into galleries at the moment but in comparison to street art where one creates an image on almost anything imagineable or accessable, canvas seems to me almost outdated or limited in a way. Why not paint on paper,plexi,copper? I suppose I question these things for the same reason I started doing four color intaglio on PETG plates, not because I was so concerned with registration but rather because it was cheaper than purchasing copper. You come to question the traditional standards and materials of "Art" when you realize that their products come from an overpriced Capitalistic consumer world. Paint on cans, boxes, tinfoil... Run your car over a puddle of paint and see how far you can leave your mark, maybe you can make one longer than Rauschenberg.
I remember Ayo had made a joke once that caught fire, "I'm 27, all of my Dreams are Dead!"
I feel as though
I've lost what was never mine to begin with, and I will never have what is mine to come.
Friday, September 3, 2010
I’ve been going out for the past few carefree nights, inspiration from the streets overflow my mind, live it, be out there. Life doesn’t always just simply come to you, knocks at the door are rare, but “Hi.” can surprisingly go a long way. Compliment the genuine strikes of influence that come across your path.
I love to see the life that surrounds me; the faces, colours, and rhythms which bounce off of everything. These changing rhythms are intoxicating at times, they are genius in the purest form, I love to see them flow.
The graduate orientation at RIT was very unexpected, what great representations of culture. I saw people from all over the world, they were all so interesting, The welcoming committee panel had a few very well spoken and independent forward thinking speakers. (The British accent brightened up the room.) The night led to playing dominoes and hanging out with my new Dominican friends, all 20 of them. Such friendly and welcoming people… Victor is a fun character, we mesh well, the independent film duo. Reiner, Guillermo, Fernando, Clemente, what great names, these are lovely people. I hope to see more of them, perhaps salsa dancing is in the near future.
I met a girl named Maasa from Tokyo, what a small world. It turns out she went to school ten minutes away from my family’s house in MA. Not only that, but tonight I came across a photographer (Manuel) whose family is actually from Puerto Rico. (Very close to Aguirre.) We shared stories of the streets and buildings, what fun! His photos capture moments from all over the world. Poverty. I’ve always found it quite sad and yet surprisingly full of the most filled smiles I’ve ever seen. Hard faces. Raw worked hands. Sadness. Beautiful. Real World.
The gallery spaces downtown are interesting; you just have to find the right places to go. Even the wrong places can be the right places on opening nights; it’s about the show, the people. I must see and experience more of what is out there, forever reflecting until my death. I must keep a watchful eye in order to keep from a slumber of mundane and mediocrity. I will go see the artwork again, (Maybe this time with Victor.) I always like to go back, it's important.
John Remo is a fun guy, we saw his work in the Arts and Cultural Council print show, across from Booksmart Studio. I think his gestural line work is wonderful and hope to see more of his colours.
I’m looking forward to the studios, and yet am intimidated by their plain walls.
But not for long, I will fill them. Art. Can you really make art? Sometimes It all really falls on a personal level for me. It’s my thoughts, hopes, dreams, aspirations… On the good days. It’s about questions and childish wondering. Unanswered thoughts and both miscellaneous and slight recollections. (What drunken words come from my window at night.)
Perhaps I should have traded shirts with the woman at the gallery, but I was wearing one of my favorites! Next time. Dinner awaits. Conversations.
Time will tell. Must find the right formula.
Sunday, August 22, 2010
I am just sitting here, searching and thinking of supplies... As I recall last week, I stopped by the school bookstore and everything has changed. The new store is actually in Park Point, in the recently built Barnes and Noble. It seems as though the department has stopped using copper plates altogether. (At least compared to 2006) I couldn't find any Ulano Emulsion "TZ" in particular, which I became accustomed to using while studying under Roni... Need I mention the lack of colors! I suppose NYC does have numerous advantages in some ways, definitely when it comes to PEARL paints and the like. (The world of convenience.)
Friday, August 20, 2010
I love the cool air by my window; the nighttime breeze is comforting and familiar, wherever I go. I am very fortunate to have been able to secure my studio here on South Avenue... I’ve surely won a prize. Classes are only a week or two away, and I will be at a fast pace for sometime. However, when at such a high velocity, things seem to slow down and almost become variables to solutions. So I hope that I will take advantage of my time here and catch up on my being away for so long at the press.
I must type. I must flow along with my thoughts. Both Conscious and Unconscious.
I’ve yet to find a muse of any kind. And I am currently trying to think less of romanticized thoughts of one who is far away and whom I have come to fall for in part by word and beautiful ideology; to admire so much the thoughts and opinions of someone who desires the most amazing experiences out of this world. To see in light the good, bad, and ugly. (Clint Eastwood) I’ve always appreciated questions more than answers, I feel this will always hold true.
If I were to ever achieve a color palette, I would say that I hope to one day live as the Autumn colors which progress almost into Winter’s Purple. It is there that I am most happy.
If I do only have one chance, I have to make the best of it.
Wednesday, August 18, 2010
I undoubtedly have one of the best apartments in the city; I only hope that I can afford this place for a long time to come. I sit at the top of the building facing the North side; where I have an open view of the late evening sky and courtyard. I can imagine lively things, as I just saw three double-decker bikes, and hear on occasion a swear or two from the traffic below. LUX is at my service along with the great streets that lead to the center of downtown.
This Monday turned out GREAT; I met a new artist Eder Muniz from Brazil! It poured rain all morning but it turned out to be a much better day than was expected. Christina, Lea, and I headed out to the Graffiti bike tour over at the Contemporary Art Center, the trip consisted of 1. The Legal Wall 2. St. Joseph’s Neighborhood Center 3. Broad St (Abandoned Subway) 4. Clifford St. (FUA) I had heard of but never actually had been to the legal wall before, it reminds me of a much smaller “Fun Factory” from Queens. After the ride I ended back over on South to meet up with Eder, who Lea happens to be neighbors with. (He’s actually going back to Brazil at the end of the week.) It’s funny how things sometimes work out. He probably spent about 3hrs on this wall project, during which I met Ant. (A local all around.) I watched him spray layer upon layer of paint… And every time I thought E. was almost done, he’d add something else which made it all work even better. It was the first time I ever really sat around and saw a piece being developed. On the good days its something I might one day hope to aspire to.
When I first got there he was working fast, but as soon as he put up the sun, it stopped raining and the clouds parted. (I swear I’m not making shit up.) Ant and me thought it was pretty funny. People kept stopping by to look around, but E. for the most part was in this mode where he just kept going without any real breaks for water or anything. His style has changed a lot since the last piece that he went over. It turns out his father in law has been down to Salinas before too, on sabbatical. I hope to see more of Brazil in the year that he comes back, seems like a real chill guy.
I can’t get enough of these streets; I’d be out there even more if it weren’t so hot in the last few days. Today wasn’t bad at all, but I still have a lot of errands to run before RIT starts, I’m on the final count down.
There are lots of things that go on in the South Wedge… All this weekend there is a tattoo convention down town, Wedgestock, and a few other art related events. I wonder who I’ll bump into when I get back into the studio. I need to balance discipline with the 19 year old me. I remember when David Jay Reed told me something like, “I used to be like you (non-stop) but I’ve slowed down now that I’m older.” Wherever I end up, if I have to make it happen now, then I’m all in. I can’t wait for later, I’ve waited long enough. I’ve been playing catch up for most of my life… Heinz said he was a late bloomer too, I wish he was around; he always understood what I am about.
This Monday I finally get a bed… A Queen! I’ve been sleeping on the floor for the last few weeks, without an air mattress or anything but a thin quilt. Honestly, this kind of stuff never seems to be a big deal to me. My dream machine status has gone up and intensified. Perhaps it’s my body reacting to the nearby sounds of the city, I really don’t find the faux wood floor all that uncomfortable. Three windows full of light line my wall, much better than that one window box I had in Manhattan facing the dingy brick wall.
Sunday, July 25, 2010
Last week I was in Puerto Rico and had been spending a lot of time at different beaches… Tropical get away clear sandy ones; As well as spending time in trashed landscapes, sea glass filled rocky coastlines, and simple local overlooked/unnoticed patches of charcoal-brown sand and bluish-green salted waters. I enjoyed all of them! (Even the one occasion where I had to toss out six cans of “Coors Light” beer that I found by my feet.) Which reminds me, yesterday I was out at a lake party with Kim and I was on the swings and had gotten dizzy, and of course I eventually left, but more due to the fact that two girls half my age started swinging too. I wonder how water can leave one feeling so empty when consumed by it. I recall Freud expressing his thoughts on the matter, using words like Oceanic Sublime and questioning one’s significance when confronted with something so Vast and greater than oneself. I spent much of today with headaches and reflecting over M Theory and Parallel Dimensions/Multiverse. (These are things that I cannot speak of with most people; The last time was at my cousin’s poker game, but they were all WPI engineers. We had great conversations about the Anunnaki, Planet X, government policies, and the possibility of the Universal.)
You know, Harvey Pekar passed away about a week ago. The first time I had heard of him was through Darryl Ayo. He was obsessed with making it on time for the opening and we were hauling ass just to get there, (Lol) we were the first to make it to the Little Theatre. That’s how I had found out about American Splendor, before I had ever even heard of Daniel Clowes. (I was never really into comics much, except for a little mainstream stuff when I was a kid.) Until Ayo got me into seeing it all from behind the scenes, he told me “All real comics people hate Roy Lichtenstein.”
PR has such tasty food, but my current mood doesn’t allow me to even begin to try and express how great it all tastes because it’s not like you’d be able to savor the moment. And food, like aesthetics can be quite simply dependent on something better left to experience. Maybe you don’t even like certain types of food, so It’d be even less of a reason to read about it; I just know it was really good!
While I was driving home from the beach I got stuck in a LONG line of traffic, there was a dead body lying next to a Mercedes on the cement pavement in the Guayama area gas station. The news the next day was that it was a drug deal gone wrong. The guy was supposed to drop off the money at “Un Punto,” but he unwisely decided to take off with the money himself. (The drug dealers had someone watching him the whole time.)
I hope that mankind can balance technology and modernization in the future with open-mindedness towards the diversity of national cultures and the notion of a Universal society. (I guess people should watch movies more often, even if just to have an impression of Imagination for two hours.)
Tuesday, July 13, 2010
Much has happened through out the last few days...
For one, ESPAÑA won the world cup yesterday for the first time in history! Which means much of Spain, Puerto Rico, and Latin countries took off today in celebration. The first half was less well played than the second in my opinion, but it was a great game. Many yellow cards were called in play, but that was expected for the finals. In any case, the Netherlands were equal opponents, it's fair to say if another game were to be played, it could easily go the other way.
Spontaneity. I was lying in in bed when an unexpected knock came at the door around nine in the morning, "Who's there!?!?" It turns out family friends who I didn't know had heard I was in the area and stopped by to my surprise while looking for Fecca/Felipe. (We never found him.) I looked outside and saw an eight-person boat parked down the road, it didn't take long for me to roll out of bed and into my sandals!
Aguirre surprisingly has beautiful secret beaches; Claudio had once taken me there (Snorkeling) when I was sixteen so I knew what was to come, which made me even more excited. I helped drive the truck and set the boat into the water, it was a Beautiful day. The water was choppy at times so it was like speed racer and rocket launching all at once. We sat in the sun for a few hours, I caught some black spotted red and orange tropical fish while using a very simple tube with line wrapped around it. It was amazing to see the shore from the other side, it helps set into context the family stories I hear of early beginnings.
We traveled to a few small islands and eventually anchored in a local tourist spot. (People come from all over PR and Internationally.) What can I say, the water was clear and sparkling, and people were listening to music and just having a great time! It was much different than the Pozuelo beach I visited this week.
A lot of Puerto Rico has a third world country/lost industrialization aesthetic, but it also has sublime views and vibrant energy. I love the architecture here, it reminds me of the Bauhaus combined with certain elements from France and Spain. (Ornate iron fences and Caribbean colors set against gardens.) I daydream of communities to be built in the idea of function, conceptual layout, and alternative energy. I question why Africa's infrastructure has yet to reach it's potential, and I'm in awe of the way Puerto Rican homes use plastic piping to irrigate house hold water to outside plants; So simple and effective.
I want nothing more than to take all of the colors here with me.
The people here are so helpful and friendly, I'm always met with a casual smile and coffee by neighbors. The local kids I've become friends with over the years are constantly looking for me and asking me all about NYC and if it's true that Asian people live there. (Lol, So many innocent questions.) I find myself playing pool and dominoes on many late weeknds. The air is different here, and I can always find the candy store from down the street open at eleven at night. People have a slow casual way of doing things, and I really like it. I enjoy the coffee and everything around me that I cannot see but know is there.
Today I ended up visiting the cemetery, Felix and my grandmother are buried there. The coffins always sit ABOVE the ground mostly due to what I imagine is the water table. One of my earliest memories is of carefully playing with rocks set upon a grave... It's a Beautiful place. I came across a few children's coffins with toys set atop of their gravestones, which is always unsettling. My father was there and showed me his cousin's marker who passed away when she was ten, no one knew the illness she had. My grandfather is buried there somewhere, mysteriously lost by an unmarked and forgotten marker. (I know it doesn't really make sense, but it's true.)
There are a few things that are just completely different here than back in the U.S. I already talked about the showers... BUGS! I swear, seeing ants crawl here and there is like my breathing of air, it's just natural! Local fruit and organic food here is great, but I find imports always sketchy. Boxes and containers are commonly found in aisles warped and dinged. (At least that is my experience; the more you go out to the cities the better quality, but this description holds true to the suburbs.) My cereal is constantly turning stale and ants always find your sugar, even at times in the refrigerator. Homemade/Local food is amazing! (I'll write more about that later.)
Today was particularly surprising because a knock at the door revealed an older cousin who everyone believed to have passed away after disappearing. I hadn't seen Will since my early teens, memories resurfaced as I reminded him about the Atari and case of cartridge games he had once given me. I always enjoyed our conversations; he's a very intelligent individual and knows a lot about computers and electronics. (He has always been into inventing and modifying useful technology.) We sat in the living room talking for a good while about alternative energy, the government, time machines, and a water powered car that he's been working on...
Wednesday, July 7, 2010
I've lived here from time to time since the age of thirteen; one of my earliest memories is of walking to the American school around the age of four. Held by my mother's hand, down the street from where I sit now... we were told that there was "no school today." (As I remember, it was Fecca who told us.)
One of the most refreshing things to do in a humid country like this, especially in a place like Central Aguirre, is to take a shower. (Usually 2, sometimes 3 times a day.) It took me a while to adjust once again to the faucet that runs one type of water. (As I constantly would reach and turn the left handle with no success.)
The water is best at night after a long humid day; some would describe it as "Dulce," as it overcomes your body. During the morning hours it is warmed by the sun, but take a shower in the midst of rain and it will most likely feel like jumping into an ice stream. There are things here that are so different from NYC and Worcester. Every night is filled with the calls of indigenous Coqui frogs that live outside my window. I hear my iguana friend ruffling in the leaves of the tree, and the constant blowing of the fan that I sometimes wake up and turn off in the middle of the night. The chickens call to the morning sun and the "skylight hole" in the ceiling brings light to my eyes around 5:45 as I lazily toss a pillow over my head. One can constantly hear the neighbor's activities, music being played, and dogs barking. You can really be left alone with your own thoughts in a place like this.
It's difficult to capture the light here in an image, so I sometimes don't bother at all, you simply can't take everything with you. The smell of the air and shape of the light become Memories. I am visiting with two family members, so perhaps that is why I feel different. (I am usually here alone for over three months at a time; I suppose I have Rochester and an MFA on my mind as well.)
I know one thing that has always somewhat troubled me for sometime, after reading my friend's writings, it comes to mind even stronger. I never get home sick.
I believe in "See you later..." I hate goodbyes... I just go. Here. There. Everywhere.
I figure, one of the worst and easiest things that could happen to me is death, so what's the worst that could happen? (That's how I got to NYC.) Perhaps I take for granted at times the few people around me, but as I do think about losing them, the thoughts become almost paralyzing. I really do enjoy spending time with my family, even if I tend to mostly live alone and apart from their understanding when it comes to certain views and decisions in my life. But that's OK because I know they care about me.