LINE
The city has functioned for decades as a source of inspiration for many artist, while for others it became a frustration. The many facets of city life heighten its own enigmatic while reinforcing co-existence and intertwine. Michel De Certeau in The Practice of Everyday Life: Walking in the City" grapples with seeing " the whole" of the city whether that be from above looking down upon the grid layout of the street, or from amongst the " walkers" with a panoramic vision. Roused by De Carteau's attempts at classification of perspective, I went in search for any aspect of the city which seldom changed due to distance. An Auditory Landscape. "A wave of vertices. Its agitation momentarily arrested by vision. The gigantic mass is immobile before the eyes. It is transformed into texturologies in which extremes coincide" stated De Certeau. I transformed overheard conversations and noises from around the city into visual records to be read. Each work contains mark making applied with varying pressure to signify the intensity of the auditory sounds in comparison to each other. It is the relation between things which classify and define the city.
Mediums: Mascara, Eye Shadow
2/4/19
READING
Tim Berners-Lee WWW / Jorge Luis Borges The Library of Babel The World Wide Web, WWW, is a compilation of information accessible round the world in virtually seconds. The layout and functioning of the WWW is demystified by Tim Burners-Lee in the communications published in 1994, a time when the emergence of such an engine was in its infancy. The simplistic basis of its design makes its information universally accessible using specific coding such at HTML and http;/. This world is created in an even more primal form, by the 1 and 0 letters in the computer language. Just two numbers which poses the infinite combinations entangle and carry our own meaning of life. Similar to the philosophical story "the library of Babel", written by Jorge Luis Borges in 1941 years before the internet. This fictional Library contains a total number of possible combinations of 25 written symbols; however, the meaning of life, the universe, etc..are inscribed in a book which sits in this library but none of the inhabitants in this story have the means to find this book in order to read the other work, all the information which literally surrounds them is inaccessible because they do not possess the basic understanding. This is a "problem" the www solved without ever reaching a point of crisis like in the book.
2/11/19
NEWS
The newspaper re-imagined is a response to the prevalence and superiority of the web as a platform of communication. This paper incorporates informed technology and interactive search tools which collaborate with the active web. Hyperlinks and QR codes scatter the page as a doorway for interaction in a web and technology centered paper. In an interview called, "The Last Newspaper: Artist in Conversation Sarah Charlesworth, Aleksandra Mir, and Nate Lowman", artist who work with the the newspaper in a variety of fashions and as a source of medium, agreed upon the "instant aging" of the newspaper and its lifespan from"art to archive". By intertwining the nostalgia of the print and the inspiration radiating from the emerging technology, I hoped to capture the interest of popular culture and yet inform the future.
2/18/19
MUSEUM RESPONCE
Give Me Time/ This Page is No More, 2015-ongoing
Olia Lialina
This work is inspired by and derived from the essence of the web and its short life span on GeoCities.com. Two projections are shown upon an eye level wall where a diptych of light is displayed, one shows closed website that have shut down or abandoned, while the others inform of reconstruction of the sight. It was originally centered around the preservation and restoration of these vanishing GeoCities. In a response to "digital folklore" these amateur web practices make up a significant part of internet culture. By creating this diptych, the two projects enable a conversation with each other, a constant deterioration and improvement. I am interested in the specificity of each slide, of each site and the artist behind that work too. This installation speaks to the prevalence and influence this subculture had on those who partook in its creation. A wide spread collaboration of millions of people functioning similarly to that of a city, with its own subcultures and communities functioning for the progression of a larger whole. These works speak volumes of cultures and in turn fold to the context of their creation. I was intrigued by the coupling of the closing sites with the ones under construction/awaiting or undergoing transformation. A serious undertaking for a hobbyist. I was also appreciative of the use of a old slide projector, purposefully using dated technology to show aged technology! Thought that was splendid
Marten, 2015, from the material speculation: ISIS series, 2015-16
Morehshin Allahyari
"Larrikin has described her series Material Speculation: ISIS as an examination of "petrologic and poetic relationships between 3D printing, plastic, oil, technicalities and jihad" There are twelve works in the series which consists of 3D recreations of ancient artwork and sculpture that had been destroyed by ISIS. The artist has assembled these pieces by extensive photographic research to be able to collect enough accurate and usable data to be able to use 3D printing technology to once again re-create this piece. The instruction along with other important information on making duplicates of this work as a stand in for the one lost to all of humankind, is hidden in an SD card within the sculpture. Destroying the work will reveal the instructions. It is clear and see thought with smooth edges. Her politically laden art creation functions as a replica for the idea of the art which in many cases is what art mostly functions as, a representation of an idea or thought, a notion. Using technology to bring the past to the present speaks volumes to the advancement and endless possibilities afforded to us in the digital era. This is such a cleverly crafted response to the malicious destruction of art from the earth. This removal of such respected and cherished pieces sculpted centuries ago, only seems right to be made in spite. However, I do not condone the weak and limited replication or replacement. It by no means fills the void where the original might stood, including the sculptures miniature statue is not appealing. Yet, the concepts behind the movement are rattling.
Blind Spot, 2007
Miao Ying
A dictionary of all the words in the mandarin language that were censored in the year of the books creation, 20007. The book was manually annotated to "mark two thousand search terms". A red book lays open on its spine so its pages are sprawled out open within a Plexiglas cube. The works appearance is mockery to the dictionary as if one could reference its meaning, yet it carries a sense of correctness and officially. In regards to the stereotypical idea of censorship on words, one that focuses on religion and politics, it was a surprise to the artist and to the viewer to observer that relatively obscure words were also banned from use. I was interested in the books laborious creation. This work, although its digital relation might be less apparent than the other artworks in the show and previous discussed , the instant feedback from the internet is the strongest connection to the online world. As each one of these words were queried on a search engine on the world wide web. I am fascinated by the production of this book and its purpose beyond specification of restriction. How does this work aid those being afflicted in a country of censorship?
Shape Statement
Shapes make up our world and inform our every movement, but we often fail to grasp the essence of the 'shape'. We see the object which is created from the contours and negative space and believe we have grasped the whole. Level of viewing, like pains of glass stacked upon each other, is similar to how the human eye function, removing many of the mechanism which allow us to taken in and make sense of the world in rapid succession and comprehend movement, we can analyses the foundation of an object, a shape. I construed shapes which derived objects from nature with others crafted by humanity. In doing so I hoped to mimic the subjective and objective views one can use to view the world. The "Banana Pills" textile has the shape of fruit from the earth with pressed substances from a lab. By merging these images, I highlight their peculiar presence and apparent artificiality which taints our world today.
Color Statement
A foreshortened silhouette rests upon pigmented bricks which span the frame of the photograph. The shadow is anthropomorphic, reduced to shapes yet holds the notion of a person, a sole, a purpose. The arms are infer and defined by the bend in the shadow which lead the lack of light to trail along the orange textured exterior and form the figures outline. It is less of the shapes integrate but the environment it which it exit upon. The figure in the figure ground model is deemphasized as the pigment bleeds across the page, staining the viewers eyes.Tim Griffin in Cabinet magazine marks the reflective ray of light as, "a color created to oppose nature, something never to be confused with it. It is the color of information, bureaucracy, and toxicity" (Safety Orange). It is the contrast, the juxtaposition, the relation between this humanistic natural object against its opposite. An unformidable the terrain, the color of the desert and unearthed rocks. However, it is enduring because it is recognizable in texture as well as color: a sweet flavored orange, a slow swimming fish.