I am interested in the way we interact with the experiences and objects of our everyday lives. Our seemingly trivial interactions in our daily routine are often overlooked and forgotten, but play a critical role in how we feel about ourselves and the effect we have on our social and physical environment. I encourage the audience to be a part of each piece either through physical, emotional, or implied interplay to foster an awareness and appreciation for the mundane of our everyday.
Each piece has a description & then the images below it. The below sequence is from 11/22.
The Pink Room is based on the emotions from an experience. I wanted to give each participant a similar emotional experience by creating a small environment. The room is approx. 8' x 8' x 8'. There are a little over 1,000 hand sewn & loved squares on the wall. The floor is leather & fabric with balloons. Friends are invited to sit and feel part of, to touch, to play.
Friday, December 5, 2008
In the "Offerings" piece, participants were able to do one or both of the following:
*Add chips to another person's "thankful pot" if they were also thankful for the same thing, or
*create their own "thankful pot" choosing one of the many vessels & using a label maker.
This was fun both for those involved and for me to see people so involved. I deem it a great success. These are some images from 11/22. There were just under 50 created.
*Add chips to another person's "thankful pot" if they were also thankful for the same thing, or
*create their own "thankful pot" choosing one of the many vessels & using a label maker.
This was fun both for those involved and for me to see people so involved. I deem it a great success. These are some images from 11/22. There were just under 50 created.
The below postcards encourage participants to think about who they are thankful for, and then to tell them! The postcards are already postmarked. At the open studio, there was a "mailbox" to drop into. I also have plans to go gorilla style outside of a Post Office or by a public mailbox (but it is really cold right now).
Top images are front & back (collage style).
Bottom images - a participant & a shot of some of the postcards filled out by participants 11/22.
Top images are front & back (collage style).
Bottom images - a participant & a shot of some of the postcards filled out by participants 11/22.
Footprints series con't
As I've discussed the Footprints series in length in a previous blog, I will only touch on the newest addition. Below is a walking labyrinth. The blue lines are a guide.
The 4 shots below are from previous installations for the series. If you would to read further on these images, they are all discussed in these previous blogs: "Part III" (concept), "Window is up" (window on broad - Rosenwald-Wolf gallery), & "Other foot prints."
The 4 shots below are from previous installations for the series. If you would to read further on these images, they are all discussed in these previous blogs: "Part III" (concept), "Window is up" (window on broad - Rosenwald-Wolf gallery), & "Other foot prints."
The Everyday Routines
What does our everyday routine consist of? It is easy to stop paying attention to the mundane. How often we go through our lives missing chances to take control of our routine.
If everyday I make a sandwich, I also get to everyday choose for my sandwich to be important.
If everyday I wear black, I also get to everyday choose which pieces I wear. I can choose to be myself within my "uniform."
Everyday I make tea. I choose to savor each cup, to pay attention to this moment.
The sandwiches are 14" x14" mounted on foamcore. These are actual lunches.
The "uniform" is one week from my closet.
The tea is months of daily tea stains from the tea I drink during work.
If everyday I make a sandwich, I also get to everyday choose for my sandwich to be important.
If everyday I wear black, I also get to everyday choose which pieces I wear. I can choose to be myself within my "uniform."
Everyday I make tea. I choose to savor each cup, to pay attention to this moment.
The sandwiches are 14" x14" mounted on foamcore. These are actual lunches.
The "uniform" is one week from my closet.
The tea is months of daily tea stains from the tea I drink during work.
Tuesday, October 28, 2008
Friday, July 25, 2008
Part V - Steamy
And another very closely related piece to the footprints & especially water drawings...
Steam drawings – closely related to the water drawings. This is more involved in terms of set-up/construction. It is almost contrived in its set-up/materials. A window from my parents’ house is steamed and folks are invited to draw in the steam with their fingers – remember when it rained on the school bus and the windows got all steamy and you drew on them? This piece is about playing and about the marks we leave behind. Again the drawings are non-permanent & difficult to document. Again, they are wiped away by the steam or by the artist themselves. The difference in these pieces is that the ghost trails of each participant are left on the window (the oil from your hands leaves marks that do not entirely disappear after the window is steamed). This piece has presented a bit of a challenge to me b/c of materials…so, the window is surrounded by flashing – intending to keep the steam in, the steam hose which has holes drilled into it is laid across the bottom and around the right side – steam rises. The steam hose gets HOT, so there is a wooden a shelf with caution tape on it attached to the bottom of the window. Even though somewhat contrived, it worked well enough for me to be satisfied with her debut performance. I was part of a cabaret-style show (music, art, performance) and have a few pictures from this show.
Part IV - Water Drawings...
So, to continue the conversation, related to the ideas of the Window on Broad & the Footprint Series, I will remind you I was pondering what marks do I leave behind that are singular to me. Also, and always in pushing the boundries of what makes "art" itself.
Water drawings – just what they sound like. This is a series of drawings that exist for a brief period of time. Literally, I draw with water on the wall and then I wipe it down. Only some are recorded, and frankly they are very difficult to photograph, so many are not recorded. I am interested in pursuing this in a participatory manner. Set up a can of paintbrushes and a container of water & invite folks to draw on the wall & then wipe it down. There is something about wiping away a piece that you just created that has no record anywhere and no one but those present will be part of that is appealing to me.
Wednesday, July 16, 2008
Other footprints...
across the carpet...
water marks that disappear...I really like this one b/c their is no evidence that you were ever there except for this photo. I purposefully took this photo so that you could not tell where it was that "there" is.
Tuesday, July 15, 2008
Window is up...
Well, the window is up, buddies...
Interestingly, I realized that I had no expectations of what it would look like. I did a very minimal amount of planning before the installation. I am pleased by the result, although not sure what my final reaction is to it.
One defining moment was at the very end of installation (some 10 hours or so) when I entered the window area after popping out to clean my hands. There by the window was a family of three - mom, dad (late 20s/early 30s) with a small girl (3?). He was squatted down next to the window with her sitting on his knees. She had her foot against the window where one of my footprints was measuring her foot to my print. Oh, but for a photo!
It is really great to see when the sun is golden and the shadows mix with the real against the back wall. Lots of layers and shades of grey.
Thursday, July 3, 2008
Part III
My friends, let us journey to our next arduous task.
In what capacity does work need to be created? Is creating a piece that you call art enough for it to be so? Not important and yes, respectively. I can expound on this subject, but perhaps it is best answered in my current body of work. Below you will note a few choice examples of current exploratory and ongoing pieces. Head-splittingly, each of these pieces not only address the above questions (as these are forever imbedded in my genetic makeup), but also their own issues.
___________________
I have also been interested in the marks that we leave behind. This is especially prominent in the diary series. What do I leave behind each day? What mark do I make on the world? Hell, don’t we all feel as if “all I do is work all day?” – our lives dictated down to when to get up, when to eat lunch, when to go home - told what to wear. The choices left are limited by salary paid for services – again my life is dictated as to what social class I will be/am part of. So, what are my choices? One could argue that your job is your choice, that you could work another job, but isn’t it all just shades of the same gray? And when do the constraints of birth factor in?
What marks do I leave behind that are singular to me? What choices do I make each day, and how do these affect the mark I leave? The marks I leave behind are directly related to these daily choices, and I have begun to record them. I lint roll my clothing to be sure I am clean and presentable. I save the linty tape. I have the choice as to what tea I will drink. I have kept the tea bags and marks those tea bags make from drying on the paper. I have the choice as to what sandwich I bring each day and how I cut it. I have the choice as to which black clothing I will wear each day. All is recorded.
These are the marks I am leaving behind now. What marks did we leave behind as a kid? What are desirable marks to leave behind? Isn’t it a universal experience to want to stay home from work, do your own thing, color outside of the lines? When are we taught this? Who is taught this? How do I do this? And so enters the next piece of footprints.
Footprints – this is simple in its execution. The piece comprises of me getting my feet very dirty and walking though public spaces – the mall (this would be great to have a lot of folks do as well – like a mass entry out of the ocean & walking up the beach – footprints left behind). What would happen? I hope to find out soon (with the mall). Other places include: in paint in my studio, on the “Window on Broad” – muddy feet on the window, painty/muddy feet on the wall – July/Aug 2008. This space will be good b/c people will be expecting the window to have a piece of art (as it is the window of a gallery). Hopefully, it will spark some questions. Also, it is an interesting space for the piece b/c there will be 2 surfaces about 3’ from another, so 2 layers of footprints overlapping each other. I am excited to also document the actual making of the piece – walking horizontally on the window and the wall. I’d also like to do this walking across the floor in Hamilton Hall with clay-dirty feet from the studio. A great space to do so! I will see about this soon. I have also been eyeing some local Gallery spaces…
Okay, enough for today, I will continue another time...
In what capacity does work need to be created? Is creating a piece that you call art enough for it to be so? Not important and yes, respectively. I can expound on this subject, but perhaps it is best answered in my current body of work. Below you will note a few choice examples of current exploratory and ongoing pieces. Head-splittingly, each of these pieces not only address the above questions (as these are forever imbedded in my genetic makeup), but also their own issues.
___________________
I have also been interested in the marks that we leave behind. This is especially prominent in the diary series. What do I leave behind each day? What mark do I make on the world? Hell, don’t we all feel as if “all I do is work all day?” – our lives dictated down to when to get up, when to eat lunch, when to go home - told what to wear. The choices left are limited by salary paid for services – again my life is dictated as to what social class I will be/am part of. So, what are my choices? One could argue that your job is your choice, that you could work another job, but isn’t it all just shades of the same gray? And when do the constraints of birth factor in?
What marks do I leave behind that are singular to me? What choices do I make each day, and how do these affect the mark I leave? The marks I leave behind are directly related to these daily choices, and I have begun to record them. I lint roll my clothing to be sure I am clean and presentable. I save the linty tape. I have the choice as to what tea I will drink. I have kept the tea bags and marks those tea bags make from drying on the paper. I have the choice as to what sandwich I bring each day and how I cut it. I have the choice as to which black clothing I will wear each day. All is recorded.
These are the marks I am leaving behind now. What marks did we leave behind as a kid? What are desirable marks to leave behind? Isn’t it a universal experience to want to stay home from work, do your own thing, color outside of the lines? When are we taught this? Who is taught this? How do I do this? And so enters the next piece of footprints.
Footprints – this is simple in its execution. The piece comprises of me getting my feet very dirty and walking though public spaces – the mall (this would be great to have a lot of folks do as well – like a mass entry out of the ocean & walking up the beach – footprints left behind). What would happen? I hope to find out soon (with the mall). Other places include: in paint in my studio, on the “Window on Broad” – muddy feet on the window, painty/muddy feet on the wall – July/Aug 2008. This space will be good b/c people will be expecting the window to have a piece of art (as it is the window of a gallery). Hopefully, it will spark some questions. Also, it is an interesting space for the piece b/c there will be 2 surfaces about 3’ from another, so 2 layers of footprints overlapping each other. I am excited to also document the actual making of the piece – walking horizontally on the window and the wall. I’d also like to do this walking across the floor in Hamilton Hall with clay-dirty feet from the studio. A great space to do so! I will see about this soon. I have also been eyeing some local Gallery spaces…
Okay, enough for today, I will continue another time...
Tuesday, July 1, 2008
Part II
Three questions: “Who has to see the piece for it to be art?” and the follow ups, “how long does the work have to exist?” and more commonly, “what materials are acceptable for art?” My gut and partial subconscious response to this tri-query is found in the materials that exist in my work. These materials often attach themselves to my mind during sleep or attack me in Home Depot (these two situations providing much the same experience, only the latter leaving you less $100 on any given trip while the former just leaves you rested). Media in the Diary Series include tea/tea bags, lint rolls, sandwiches, everyday clothing, and trash. It is in these materials that I ask what materials are suitable for a great piece of art. The questions of who has to see art and how long does it exist are prominent in pieces where water, steam, lint, and even trash are used. Media in the Participatory Series includes water, steam, and dirty footprints. [Now, my compatriot, do not believe me to be adverse to using traditional materials! In this garrulous essay you will surely learn to believe otherwise, else I have not truly represented myself and my work.]
Relative to pondering on the nomination of artistry lies, “Who needs to see a piece for it to be art?” I guess I address this aspect by creating work that is only partially or not documented. I do this both to address this particular question, but also to grant myself the right and joy to retain work for my Being only. But here’s the kicker: an artist cannot live off of one’s art if no one sees it (and buys it), yet does art retain all honor if it is created soley or partially for monetary purposes? This paragraph also answers the question as to why I am not a full time artist.
Relative to pondering on the nomination of artistry lies, “Who needs to see a piece for it to be art?” I guess I address this aspect by creating work that is only partially or not documented. I do this both to address this particular question, but also to grant myself the right and joy to retain work for my Being only. But here’s the kicker: an artist cannot live off of one’s art if no one sees it (and buys it), yet does art retain all honor if it is created soley or partially for monetary purposes? This paragraph also answers the question as to why I am not a full time artist.
Friday, June 27, 2008
Part I
...but I will write about it anyway...
A cliché question no doubt, but this quagmire is truly worth wading through when approached in a correct state of mind and often will yield plentiful delicious fruit. To begin to understand this immense pondering, let me pose two more alike the first, “Who makes art?” and “For whom is art made?” Many of these questions’ iquiritus companions join in my sojourn to become a maker worthy of the title “artista.” I will also disclose to you, my new friend, that I secretly entertain the illusion of said sojourn to destine with creating a self not only worthy of “artista,” but also that of “philosofia.”
“Who makes art?” I have often wondered if the general populous not considering themselves artists would be deemed (or deem themselves) “artist” if they are put into a situation where they knowingly create or assist in creating a piece. Now, revisit this same situation, but replace knowingly with unknowingly. Does an unknowing participant still qualify as an “artist”? Does qualification depend on the specifications of the piece and situation surrounding it? To address these inquiries, I have invited comrades and strangers to participate in pieces designed specifically with this purpose.
As a personal aside: my ego tells me that I believe one does not need to be an artist to create artwork. I am one of the people! I am SO forward thinking, avante guarde, etc. But my education plays at odds with my ego. Or maybe I believe most GOOD art comes from people who either have the opportunity to devote their lives to it (lucky them) or have gone to “art school” (which is pretty much the same thing). Juxtaposed, I honestly could care less when others call themselves an artist, but I do struggle to use the distinction in self-description (even after “art school”). But all asiding…aside, let us find our way back to the discussion.
Why can anyone proclaim themselves an artist and there is no further investigation from whomever is listening? The term “artist” is much more open than titles such as “electrician” or “professor” which bears with it certain assumed knowledge (and one might argue responsibilities). Artist does not hold with it any assumed knowledge or responsibilities (although, I will say that once I had decided to go to art school and continuing today, everyone with whom I was acquainted suddenly was and is in need of a painting. There does seem to be a definite perception that all artists can paint. This was nothing but humorous to me since I had but once done an acrylic painting, not bad, but no Van Gogh. I suppose I am contradicting myself here. So be it. Welcome to my mislogic.). Perhaps the true investigation is not who makes art, but who has the power to deem one an artist? Self-titling is always questionable. There is institutional titling, but I’ve never been a fan of allowing my particular brand of insanity be titled by an institution – educational or not. Is the bestowal of such a title a birth right? A royal heritage passed down from wealthy society/philanthropist to their heir (money buys all things)? Is a title earned? Earned only when the…let us say, “lands and spoils” worthy of the title are amassed that such a title is true in its right?
While encouraging every individual to be an artist, I am at the same time not only facilitating but dictating the means and the piece. I am truly the Grand Master, the brains, the genius (how could I help myself?). The dichotomy is that everyone is the artist, while simultaneously, I solely am the artist.
A cliché question no doubt, but this quagmire is truly worth wading through when approached in a correct state of mind and often will yield plentiful delicious fruit. To begin to understand this immense pondering, let me pose two more alike the first, “Who makes art?” and “For whom is art made?” Many of these questions’ iquiritus companions join in my sojourn to become a maker worthy of the title “artista.” I will also disclose to you, my new friend, that I secretly entertain the illusion of said sojourn to destine with creating a self not only worthy of “artista,” but also that of “philosofia.”
“Who makes art?” I have often wondered if the general populous not considering themselves artists would be deemed (or deem themselves) “artist” if they are put into a situation where they knowingly create or assist in creating a piece. Now, revisit this same situation, but replace knowingly with unknowingly. Does an unknowing participant still qualify as an “artist”? Does qualification depend on the specifications of the piece and situation surrounding it? To address these inquiries, I have invited comrades and strangers to participate in pieces designed specifically with this purpose.
As a personal aside: my ego tells me that I believe one does not need to be an artist to create artwork. I am one of the people! I am SO forward thinking, avante guarde, etc. But my education plays at odds with my ego. Or maybe I believe most GOOD art comes from people who either have the opportunity to devote their lives to it (lucky them) or have gone to “art school” (which is pretty much the same thing). Juxtaposed, I honestly could care less when others call themselves an artist, but I do struggle to use the distinction in self-description (even after “art school”). But all asiding…aside, let us find our way back to the discussion.
Why can anyone proclaim themselves an artist and there is no further investigation from whomever is listening? The term “artist” is much more open than titles such as “electrician” or “professor” which bears with it certain assumed knowledge (and one might argue responsibilities). Artist does not hold with it any assumed knowledge or responsibilities (although, I will say that once I had decided to go to art school and continuing today, everyone with whom I was acquainted suddenly was and is in need of a painting. There does seem to be a definite perception that all artists can paint. This was nothing but humorous to me since I had but once done an acrylic painting, not bad, but no Van Gogh. I suppose I am contradicting myself here. So be it. Welcome to my mislogic.). Perhaps the true investigation is not who makes art, but who has the power to deem one an artist? Self-titling is always questionable. There is institutional titling, but I’ve never been a fan of allowing my particular brand of insanity be titled by an institution – educational or not. Is the bestowal of such a title a birth right? A royal heritage passed down from wealthy society/philanthropist to their heir (money buys all things)? Is a title earned? Earned only when the…let us say, “lands and spoils” worthy of the title are amassed that such a title is true in its right?
While encouraging every individual to be an artist, I am at the same time not only facilitating but dictating the means and the piece. I am truly the Grand Master, the brains, the genius (how could I help myself?). The dichotomy is that everyone is the artist, while simultaneously, I solely am the artist.
Beginning...
Chuck Norris CAN judge a book by its cover, and I'm sure a blog by its title.
What is a first blog supposed to say?
"Hi." ...
"Welcome."
My (new?) friends, I will likely share some ideas on the struggle we so fondly name "art" (I know, I know, but what else am I going to blog about, I am boring), and perhaps about some travels. So, sit back and expect to be confused!
What is a first blog supposed to say?
"Hi." ...
"Welcome."
My (new?) friends, I will likely share some ideas on the struggle we so fondly name "art" (I know, I know, but what else am I going to blog about, I am boring), and perhaps about some travels. So, sit back and expect to be confused!
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