"I exist. It is soft, so soft, so slow. And light: it seems as though it suspends in the air. It moves." Jean-Paul Sartre
In 2002 In San Diego I was working on a body of work that we exhibited as "Living on Departure" at the Price Centre theatre in La Jolla California. My approach was the building of structures upon a moving plateau, working the idea of permanance and dissolving it. Time pieces (100 x 100 latex gloves suspended from the ceiling with dental floss and slowly precipitating powder) created large scale white hazy paintings from a distance with the effect of opaque gloves, white powder, 2.7 m grid of dental floss and the 2 inches of tension space (nothingness) between the hands and the floor. the slight movement as the hands slowly shifted as the weight of the powder fell through the cut fingers of the gloves. it was a shimmering quiet piece with release and colour field sculpture principles at play.
and so the floating sculpture continues, similar to this and so soft, so light in 2011
perspex- is as much as ordered. Scale models in action. and YES! I can buy 3 x 4m sheets of 10mm perspex in North Sydney and YES they deliver!. Now I just need a confirmed space to exhibit..to work out the proportions.
and some transit works. hubs of inbetween/floating.
SKIP OVER THIS PART BELOW IF YOU Want to Cut to the chase: and continue part B
2002 Again:
release: with love letters which I decoded and took backwards imprints of type writer cartridges that I obsessively filled with love letters and declarations over a period of 6 months. so all I had to show of it were 9 drawings made of the backwards font saturating the page with hues of deep black to thin threads of grey. Lots of lines
doing something then taking it apart.
filling then emptying
boxing gloves turned into mittens
deconstructing objects into a fine powder and making pigment mandalas out of them ( my kitchen noodle packets included ) and for the future I wanted to do this with an old car on the farm. but practicality and wanting a boyfriend to like me, stopped me. and then I painted pleasant pictures instead.
however back to my heart:
the opposite of progression. the importance of cycles. celebrating movement and flux...
taking boring text and turning it into a visual cryptic painting. for fun and to falsely fascinate my professor because he hated representation.
making symmetrical compressed powder sculptures with loose powder, delicate deceptive 'solid' (not) sculptures on a mirror. touch it and it disintergrates, touch the reflection and it remains strong. take one and you lose the other. co-dependance with the dionysis and Apollo, form and formless energy.
antimatter
No finite point has meaning without an infinite reference point. Jean-Paul Sartre
of course words make it sound pretty stupid, hard to visualise, I dont have any documentation of this show (except in the hands of a friend Jesse Rider who disappeared into New York somewhere...he took photos that night in 2002) We used to go on pretend dates and be strange couples throughout history.
and Ozomatli played a concert outside and congo-lined the party goers into our show. Super cool, but the wine evaporated. and something terrible happened that night. as did it'd opposite with the show- so wonderful a response.
So the show was with Philipa Juliet and Jennifer Myer. Jenn made sculptures of the moon at a graspable size...and worked with giving form to music by taking old records and making creatures out of them... Phillipa took images of from Titian's vintage and kind of characatured them. there could be more written here...soon....
Part B:
so part Two : living on departure. I am going to work again with Transit Zones. places where time loses a pattern and space changes all of this. Of returning to Sensation over system.
The Future isn''t what it used to be..." Jean-Paul Sartre
I love him...
At least I think I do..
I think therefore I am..? ( that's Plato, Yes)
No! I think therefore I was...
well,I think....hmm??
was/past not 'am at all........because thought is one to 20 steps removed from the sensation, the moment and the most 'real' connection and falling into a pre-determined system of words; decyfering syntax, fabricating Semantics.
I confused things with their names: that is belief. Jean- Paul Sartre.
So today I wrote my usual hidden script behind a painting.
I was looking at an old book I found in New York in a second hand store in brooklyn 2008. somewhere in Brooklyn, I am not sure, but it was still decrepit. It is called the Dictionary of Existentialism.
and I found it interesting reading a part on Future by Jean Paul Sartre. my 1/1/11 favourite. (please forgive typos:)
"There are two sorts of Future: the one is but the temporal ground on which my present perception develops, the other is posited for itself but is that which is not yet. When I play Tennis I see my opponent hit the ball with his racket and I run to the net. Here there is real anticipation since I foresee the ball. But this does not posit for itself the passage of the ball to this or that point. In reality the future is here but the real development of a form induced by the gesture of my opponent and the real gesture of this opponent communicates its reality to the whole form. In other words the real form with its zones of real past and real future is effected entirely as a result of his gesture. As for my provision also being reality, I continue to carry out the form by foreseeing it, because my provision is real gesture within the form. Thus step by step there is always a real past, the sense of an actual form in development, or, in other words, as the meaning of the universe. And in this sense, it is like presenting the unperceived real aspects of objects as present which is real and envisioned in a vacuum, or as a real future..... all real existence occurs with present, past and future structures, therefore past and future, as essential structures of the real are also real, that is, correlatives of a realising theme. But if on the contrary, while lying in bed, I anticipate what might happen when my friend Peter returns from Berlin, I detatch the future from the present whose meaning it constitutes, I posit it for itself and I present it to myself. But I give it to myself exactly while it is not yet, that is as absent, or if one prefers, as nothing. Thus I can live the same future in reality as a ground of the present (as for instance as i look for Peter at the station and all my acts have for their meaning the arrival of Peter at 7:35pm) or on the contrary isolate it and posit it for itself but by cutting it off from all reality and annihilating it, by presenting it as nothingness" Jean-Paul Sartre, The Psychology of Imagination.
ok so I am confused also. but it sits well with me. the duplicity, co-dependance of two time points. as I quoted from an earlier piece of Sartres above: " no finite point has meaning without an infinite reference point"
perhaps the theory of relativity falls into place here.
...and that leads me to the next question...antimatter.....???
hmmm
why am I thinking about all this.
I think sensation runs contrary to the invented world of our generation. to try and understand connection a little better, I can start making art that touches before it translates into another data file for the progression of man (words thought reason/purpose) . I simply miss touch. and many don't realise they probably do too. If we weren't confusing things with their names (Sartre again) Sensation simulation generation, limitless options, plastic fantastic....cyber/matrix and so on.
I have been well rested for a few months, Finalising the last touches to two art shows and a little bit of life in-between. Now I am back to thinking again. exploring. Luckily I have a cyclical philosophie underlying my intentions as something progessive would be insatiable.
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