Sunday, November 9, 2014

MCAD Art Sale Inventory

Hey everybody,

I just completed my drop off for the 2014 MCAD Art Sale - see what I've got for sale! 
~ List goes in order from top to bottom ~


All to Herself

Cardinal Window II

Chutes

Cozy Woman

Doryphoros

Fractal Trajectory

Friends

Girl with a Pearl Earring

Her Duality I

Her Duality II

Her Poise

Her Stability

Homage to Mr. Scully

Internal Man

Liminal Woman

Luminous Apple

Momma's Tired

Mr. Matisse

Navigating Aillwee

Restless Woman

Roly Poly Fish Heads

The Flower and the Bone

The Pool

The Sieve



Tuesday, October 21, 2014

"Snakes and Ladders" + Interior Angles + Process Essay




"Snakes and Ladders"
Ink on paper
15" X 22"
2014


I am weightless in a web of invisible threads. I pluck one and watch tender reverberations create thin reflections that spider deep into the darkness. From this vantage point, I can only see a part of the structure's infinite complexity. There is neither here nor there, only a spatial median that divides deeper into self-similar parts. Like the trapeze artist, I hold my breath and attempt to climb atop one of these threads. I stand straight, trying to become objective within this innumerable prismatic organism. One step forward, and the thread flexes beneath newfound gravity! My spine curves against the forces of instability and I see anamorphic shifts of light play off multiple contradicting planes. A colossal geode surrounds me: it is the image of relativism - a place where coordinates are lost in the game of snakes and ladders.


* * *

Also, I have some new ideas for how I am going to create my wood panel paintings.  Hint: they are not going to be quadrilaterals.  I am letting the interior angles speak to each other to create the individual shapes of the panels. 







...Ellipses?




I am also working on a process essay regarding the surface-paint-space relations in my work:

"...My work explores the potential of surface by using paint to create the illusion of contradictory dimensions between sculptural and architectural spaces.  Having borrowed the concepts of surface roughness and fractal dimension from Benoit Mandelbrot, I have come to challenge Clement Greenberg's notions of flatness and medium-specificity in painting.  Essentially, my process embraces the reality that nothing in this world is flat, and as a result, my paintings are concerned with the wide range of space that can be exploited between surface and paint.

According to Benoit Mandelbrot, surface is inherently rough, but may appear smooth from distances where detail and dimension become invisible.  The ability to see dimension depends on the relationship of scale between the viewer's bodily subjectivity and a surface's roughness.  Both the material and illusionistic application of paint can alter surface roughness, increasing or decreasing dimensional visibility.  For example, thick impasto can materially rough up a smooth surface, while optical tensions between layers and color contrasts can illusionistically smooth out a rough surface.  Consequently, I define painting as the material or illusionistic adjustment of dimensional visibility on surface..."


More soon!  Up next: full essay and paper models ~

Tuesday, October 7, 2014

"Painting in the Round" + Color + Future Topics




Cyberspace III
Acrylic, resin and Masonite on wood panel
1' X 1'
2014
Concerning the notion that a painting becomes an object once its sides are painted:

I paint the edges of my panels white in order to frame painting as a dialectical inquiry within space and surface.  I acknowledge and accept the fact that my paintings are hybrids.  They intentionally include performative, sculptural and architectural elements that enhance the overall illusion of form, movement and space presented within the painting's surface.  

By presenting the painting's surface face-up, I show how media can have canonical shifts depending upon their relation to the body.  For example, a sculptural element can become a painting from a perspective in which its plane becomes flattened and illusionistic.  Because of the relativistic nature of these spaces, the canonical shifts are both reversible and topological, existing in constant flux.  In essence, the elements within the surface are never clearly defined, but are ultimately necessary to simultaneously contradict conventional dogma and push the limits of what we consider to be painting.  

This approach to painting is what I call "painting in the round" or "emergent painting", and can be observed in other contemporary artists' work that juxtaposes elements of installation, sculpture and architecture within the context of painting.  I believe painting in the round provides the unique opportunity to exploit useful obstacles that can challenge assumptions and expand painting into new territory.  It's both an emergent and dialectical process of discovering the possibilities of what something can be by creating relational contrasts.  The strategic placement of seemingly non-painting elements allows for painting to emerge from in between canonical shifts.

The role of color:

My general argument for the use of color in paintings is that we experience life in color, and in the spirit of authentically communicating our experience, we are permitted to use color as liberally as necessary.  In my own work, I've found color to be helpful in describing space and coding individual compositional elements with archetypal associations.  Temperature shifts and color contrasts can create more complex figure-ground relationships than simple value shifts.  Furthermore, the sensations that occur from perceived temperatures and chromatic optical tensions have the power to dictate the tenor of the whole experience of the work.

Future topics:
> Using conceptual Jiu-jitsu on modernist painting to create a space for feminist discourse in postmodern painting.
> What it means to "wrap" illusion around sculptural forms.  Illusion as connection, sculpture as disconnection.
> Cyberculture in relation to the point of view depicted in my work.
> The politics of creating aerial landscapes that cannot be viewed in their entirety. 

Friday, September 26, 2014

Dreams of an Exhibition + New WIP + Career

New series/exhibition pieces idea sketch:







New WIP:


Second layer of inking


Detail


Completed composition, working on the inking ~


View from the top


View from the bottom

And, lastly, I'm enjoying being a Drawing I TA at MCAD and working as an installation crew member at the Walker Art Center:


Still life drawing demonstration for the students ~


Getting dirty painting 20 ft walls for new exhibitions!


Tuesday, September 2, 2014

The Circuit Topology Series

Huzzah!


"Circuit Topology"
Ink on paper
15" X 22"
2014


"In Planar Camo", "Tri-circuit", "Attractor"
Ink on paper
6" X 7.5" (each)
2014

* * *

"Circuit Topology Poem"

Slabs of square tiles line the jungle floor

I am in planar camo
as I weave between muscular tree roots
bursting from the uneven concrete layers,
up to a kaleidoscope canopy

Knots of interwoven branches obscure the sun,
casting gothic rays down onto my
animal face

Instinct drives me
to an ancient geometric grotto,
located somewhere beyond the deep murmurs
of these uncharted tropics...


^ Four Tet, my love. 


* * *

I think the crop helped to emphasize the functional elements of the composition. I'm going to continue working on this suite of drawings and will likely be showing these somewhere in the coming months, alongside my Cyberspace paintings. I will also be getting ready to make a new series of paintings from these drawings. I have lots of ideas, but need to narrow it down to make a cohesive presentation of paintings.


My newest idea deals with the communication between different bodies of networks. So, the next drawing is going to be like "continents" of perspectives that are connected by extended circuits. I want to begin to make the composition less of a closed loop and integrate the challenges of mapping negative space between multiple bodies.*  (It may have emergent concave/convex topography, like "Attractor").  I'd like to eventually have a bunch of panel paintings that function this way as an installation.


*That's the whole challenge - it takes awhile to figure out how to connect everything, but it's all about maintaining loyalty to a system, while at the same time, pushing it to its limits to maximize the surprise.

(^Similar to "Postmodern Tectonics", but with more negative space and irregular polygons.
It's time to break the square!)

           
P.S. Frank Stella, the love of my life: http://20thcenturyartmovements.weebly.com/.../537017720.jpg
            20thcenturyartmovements.weebly.com
           
            i.telegraph.co.uk
           
^I hope I get to meet him someday.

           
(I love his Protractor Series, Exotic Birds and Eccentric Polygon Series.) http://en.museuberardo.pt/.../files/collection/works/554.jpg
            en.museuberardo.pt

The Black Paintings are also really great - but I like his less minimal work.  I like it when 
Stella lets loose and gets sculptural with painted surface.


I'm also thinking about starting with the drawn composition and responding to it sculpturally (vs. responding with illusion on top of the sculpture). That way, I might be able to foresee and dictate the contradiction of the space with more intention. I was thinking I could take a drawing like this, divide it into tiers of spaces, and then build the levels on the wood panels according to those tiers.


Of course, I would completely reverse the logical progression of back-mid-fore-ground spaces that we understand in the illusion. The space would be compressed and contradicted by reversing the order of spaces in the compositions.


Also, I have some new mini wood panels. I'd love to cut up these drawings and collage them onto wood panels, while working with the same sculptural ideas. I want to varnish them, too - cover them in clear gesso and put an isolation coat with high gloss varnish on top. These need to be really shiny. Also-also, interference paint and tracing paper would have amazing spatial-distortion effects. I could easily collage the tracing paper over sculpted surface by folding it and gluing it down. *Ok, I will stop verbalizing my artist train of thought, now*


Layered book board + PVA glue + paper collage + wood panels + clear gesso +varnish = new collage paintings. They will be much easier to construct, and they won't warp on the wood panel! **I've made myself happy**
 

I'm also thinking about breaking the square format of the painting and doing something more irregular shaped. Like, maybe, a bunch of skewed squares that fit together and slither across the floor like a rattle snake. Or, maybe I'll have all that occurring within a rectangle format… was also thinking it'd be crazy to bring the Fibonacci sequence back into the grid.
           



^ Clark, my love.


^ Autechre, my love.

Tron '82. My favorite movie, both on an aesthetic and conceptual level. Lovelovelove  

http://37.media.tumblr.com/tumblr_lxr3r1sGb71qc67l3o1_1280.jpg

* * *

Visions of an exhibition:



Feeling this kind of exhilaration:
^ Autechre, my love.