Tuesday, October 27, 2015
Process Shots
Working at my sister's desk, preparing to assemble some of the vials. A CD of hers is playing. 
Completed vials & a shot of my workspace on a night of process (working in blue light):
Melting the gram bag:
Blood, insulin, lancet, & sterile alcohol
Picture Findings
Her & I (ages 9 and 3) 
My sister with sailor bear (an important relic I now own)
Bowling
Process Work
Pressing flowers given to me on the date of my sister's birthday:
Smoking one of her brand of cigarettes:
Pulling 10 units of insulin:
Project 2 | Artist Statement
Project 2
Artist Statement
Dialogue
This installation combines meticulously crafted hybrid flowers arranged in specifically patterned rows on a raised white board, as composer, John Cage's In a Landscape plays. The artist presents a serene, almost dreamlike, manipulated landscape in order for viewers to engage and notice the details of the new species upon close examination, and create an sensory experience with sight, scent, sound, and touch. The piece highlights multiple layers of the concept of hybridity, with the nature of connecting, coming together, communicating, and collaborating. Attention is called upon to our current connection with nature and as the flowers are brought together, the viewers are coaxed to engage and have a meditative and intimate experience, noticing the nuances in the presented landscape.
One should be aware of the parallels between John Cage's philosophy of sound, acknowledging the beauty of sound all around us and encouraging engagement with higher sensitivity to surroundings and of his works with prepared pianos, where he manipulates the instrument to create new sound.
The artist has manipulated and crafted a new landscape that calls for the viewer to get close and carefully observe. She has presented the viewer with a manipulated landscape in order for them to engage intimately and notice and appreciate their nuances.
Artist Statement
Dialogue
This installation combines meticulously crafted hybrid flowers arranged in specifically patterned rows on a raised white board, as composer, John Cage's In a Landscape plays. The artist presents a serene, almost dreamlike, manipulated landscape in order for viewers to engage and notice the details of the new species upon close examination, and create an sensory experience with sight, scent, sound, and touch. The piece highlights multiple layers of the concept of hybridity, with the nature of connecting, coming together, communicating, and collaborating. Attention is called upon to our current connection with nature and as the flowers are brought together, the viewers are coaxed to engage and have a meditative and intimate experience, noticing the nuances in the presented landscape.
One should be aware of the parallels between John Cage's philosophy of sound, acknowledging the beauty of sound all around us and encouraging engagement with higher sensitivity to surroundings and of his works with prepared pianos, where he manipulates the instrument to create new sound.
The artist has manipulated and crafted a new landscape that calls for the viewer to get close and carefully observe. She has presented the viewer with a manipulated landscape in order for them to engage intimately and notice and appreciate their nuances.
Monday, October 26, 2015
Project 2 | Development 4
Project 2
Process & Ideation
Update 6
I suddenly knew what was happening. I had removed myself from the collaboration and have studied two entities and have forced them to connect.
_
Talk about how I got to talking about music and arrangement and that I wanted an element of chance in the mix after obsessing over creating a system of pairing. That is also when I became mad. Yes, the role of the botanist turned me into a mad scientist and surgeon creating these new species and researching brought to obsessing.
_
The final solution to compare it to the arrangement of a piece and realizing that the manipulation that I was doing was indicative of John Cage's works. Led me to research about him.
_
Then options of following the piece through emotions, allowing the class to do it, and to include any surgeon tools I need to use. Talk about failures with resin and the jars. Nervous break down.
_
Process & Ideation
Update 6
I suddenly knew what was happening. I had removed myself from the collaboration and have studied two entities and have forced them to connect.
_
Talk about how I got to talking about music and arrangement and that I wanted an element of chance in the mix after obsessing over creating a system of pairing. That is also when I became mad. Yes, the role of the botanist turned me into a mad scientist and surgeon creating these new species and researching brought to obsessing.
_
The final solution to compare it to the arrangement of a piece and realizing that the manipulation that I was doing was indicative of John Cage's works. Led me to research about him.
_
Then options of following the piece through emotions, allowing the class to do it, and to include any surgeon tools I need to use. Talk about failures with resin and the jars. Nervous break down.
_
Talking to people and collaborating really helped in the end. I had a crazy way of discovering how I work best and what makes me freak out. I think way too much. I had a stronger concept when I simplified it for myself. Took out the medical tools, though I did talk to a medical student about how a genetics lab works.
_
Update 7
Final solution for piece, why the choices are successful (the prepared piano is manipulated, I want to take elements out of nature, alter them, and put them back to have the audience walk around these specimens, arrangement is like a piece of music, the music is meditative like the surgical and methodical nature of the process, the title is called In A Landscape, and I choose to make arbitrary decision based off of what landscape I am currently in. Importantly, what I essentially am doing is going back to my original idea and I am choosing to learn about isolation and defying that by collaborating with John Cage by the end of this.
_
Re-state constraints (add the element of chance with arbitrary decisions).
_
Important things to mention with regards to intent and concept.
Artist wishes to connect its audience to the manipulated landscape that she has created for them.
The artist is the facilitator of hybridity, the creator of new species, and the designer of a new landscape. More important than the the aspect of the new beings as specimens is the idea that one can
I am creating a manipulated landscape as I want to audience to engage with the landscape as I did on my walks and explorations. I want them to notice something scientific and unnatural about the way they are arranged, calling upon the presentation of specimens.
The music by John Cage that accompanies the experience is creating with manipulation and chance and is very meditative to respond to the meticulous process of pairing two flower halves together.
In A Landscape present an altered landscape that forces one to connect and communicate with it.
It is truly about subject and environment and just as I have created these new species, I have facilitated the flowers connecting, and the viewers to connect with this landscape.
Impermanence.
I also call to attention our current connection with our environment. Primarily about connecting, communicating, creating a dialogue (between the flowers to the ground, the ground to the floor and surrounding gallery, and the music to the scene). This is how I respond to the music/hybrid.
_
Final ideas on how to present
_
Update 7
Final solution for piece, why the choices are successful (the prepared piano is manipulated, I want to take elements out of nature, alter them, and put them back to have the audience walk around these specimens, arrangement is like a piece of music, the music is meditative like the surgical and methodical nature of the process, the title is called In A Landscape, and I choose to make arbitrary decision based off of what landscape I am currently in. Importantly, what I essentially am doing is going back to my original idea and I am choosing to learn about isolation and defying that by collaborating with John Cage by the end of this.
_
Re-state constraints (add the element of chance with arbitrary decisions).
_
Important things to mention with regards to intent and concept.
Artist wishes to connect its audience to the manipulated landscape that she has created for them.
The artist is the facilitator of hybridity, the creator of new species, and the designer of a new landscape. More important than the the aspect of the new beings as specimens is the idea that one can
I am creating a manipulated landscape as I want to audience to engage with the landscape as I did on my walks and explorations. I want them to notice something scientific and unnatural about the way they are arranged, calling upon the presentation of specimens.
The music by John Cage that accompanies the experience is creating with manipulation and chance and is very meditative to respond to the meticulous process of pairing two flower halves together.
In A Landscape present an altered landscape that forces one to connect and communicate with it.
It is truly about subject and environment and just as I have created these new species, I have facilitated the flowers connecting, and the viewers to connect with this landscape.
Impermanence.
I also call to attention our current connection with our environment. Primarily about connecting, communicating, creating a dialogue (between the flowers to the ground, the ground to the floor and surrounding gallery, and the music to the scene). This is how I respond to the music/hybrid.
_
Final ideas on how to present
Project 2 | Development 3
Project 2
Process & Ideations
Update 4
Each day I continue to obsess over how to tie my piece together as a final project and what to do with the information I was obtaining. I am also glueing flowers and watching them wilt.
This piece has gone through various iterations and considerations. I was at a point where I needed to talk through how I was going to pull it all together based on all of my thoughts and alter initial thoughts I had regarding the concept of coming together. I also had the most beneficial realization over the past week as I collected plants to study, glued flower hybrids, and thought and thought. I had this euphoric epitome moment in which I realized this process did not involve the collaboration of others at all, despite my appreciation for some outstanding dialogue. This process truly became self-reflective, introverted, and meticulous. The process of choosing the plants, or why as the mad scientist I wanted to create these hybrid new species, didn't involve other.
I was finally on a good path where my research and process led me to this. I was appreciating the art of the process and how many iterations of ideas I went through. Now I just had to think deeply about why I wanted to create these hybrid new species.
I decided the hybrid species weren't enough and that's when I obsessively thought about what else I wanted to say and how I would arrange the final piece. Some of the ideas that stemmed from the conversations and brainstorming sessions I had were:
Bouquet references still lives and Art History
Grid with a classification or Linnaeus System references genetics.
Music staff, what song, what album. Create a song?
Alchemic or magical preparations and flower symbolism.
Lineage and family ties.
I wasn't trying to say that. I wanted to be genuine and to simplify my overthinking. I resorted back to my original thoughts of being the creator of new species and to be the facilitator of hybridity.
____
Update 5
As I pondered on what it meant to create these new species, I knew that my main objectives were not to be political or be overly about genetics. I wanted to assume new professional roles, but I did set out to remark on creating and the idea of 'Things Coming Together To Make Something New,' as eloquent as that may be. There is an appropriateness to revel in hybridity and the aspects of collaboration and unity, also commenting on the communication and the intimacy between those who are coming together. I also wanted to comment on our connection with landscapes and not appreciating its inherent naturalness.
I was on to something, I just had to keep thinking.
Process & Ideations
Update 4
Each day I continue to obsess over how to tie my piece together as a final project and what to do with the information I was obtaining. I am also glueing flowers and watching them wilt.
This piece has gone through various iterations and considerations. I was at a point where I needed to talk through how I was going to pull it all together based on all of my thoughts and alter initial thoughts I had regarding the concept of coming together. I also had the most beneficial realization over the past week as I collected plants to study, glued flower hybrids, and thought and thought. I had this euphoric epitome moment in which I realized this process did not involve the collaboration of others at all, despite my appreciation for some outstanding dialogue. This process truly became self-reflective, introverted, and meticulous. The process of choosing the plants, or why as the mad scientist I wanted to create these hybrid new species, didn't involve other.
I was finally on a good path where my research and process led me to this. I was appreciating the art of the process and how many iterations of ideas I went through. Now I just had to think deeply about why I wanted to create these hybrid new species.
I decided the hybrid species weren't enough and that's when I obsessively thought about what else I wanted to say and how I would arrange the final piece. Some of the ideas that stemmed from the conversations and brainstorming sessions I had were:
Bouquet references still lives and Art History
Grid with a classification or Linnaeus System references genetics.
Music staff, what song, what album. Create a song?
Alchemic or magical preparations and flower symbolism.
Lineage and family ties.
I wasn't trying to say that. I wanted to be genuine and to simplify my overthinking. I resorted back to my original thoughts of being the creator of new species and to be the facilitator of hybridity.
____
Update 5
As I pondered on what it meant to create these new species, I knew that my main objectives were not to be political or be overly about genetics. I wanted to assume new professional roles, but I did set out to remark on creating and the idea of 'Things Coming Together To Make Something New,' as eloquent as that may be. There is an appropriateness to revel in hybridity and the aspects of collaboration and unity, also commenting on the communication and the intimacy between those who are coming together. I also wanted to comment on our connection with landscapes and not appreciating its inherent naturalness.
I was on to something, I just had to keep thinking.
Project 2 | Development 2
Project 2
Process & Ideation
Update 2
My intent was to explore the engagement of two entities and detail the benefit of collaboration and hybridity. I wanted to explore areas where two became one and showcase various instances where I have experienced or facilitated my experiences of the interaction. I want to revel in occurrences where two come together, as far as relationships, communication, and collaboration of disciplines in various art forms.
At first I wanted to limit my discussions about food and flavor, but you can't count on that and it wouldn't be natural to not have the conversations go off onto different topics. I wanted to display the beauty of coming together and connections like a chef would pair flavors and present them on a dish, but to my benefit, the conversations I was having with people covered many areas. I found the engagement to be fruitful.
With my initial interest in plants and the genetics behind hybrid plants, I knew that I wanted to go on walks and start collecting. I began taking photos of cracks in the sidewalk where plants were emerging, flowering trees, wild and manicured, and I continued my OCD habits of plucking leaves of my interest off of bushes and looked at their detail as I walked. I even started walking home instead of catching the bus to immerse myself in the landscape of my locale. My first interest was to become a botanist and create hybrid plants. However, I wanted to reference diving into ones research and become mad with it.
I also pondered about the serenity of walking and researched the art and philosophies behind the walk. I read accounts from Henry David Thoreau's works and others who speak of walking.
My process so far has been talking with people, walking and observing my surroundings, picking plants, buying plants, researching the plants, and pairing cut flowers at the buds with super glue. They were becoming new species. I was the creator of new flowering species.
As I worked through some of the initial ideas of collaboration and hybridity, I wanted to become more engaged with the piece. I felt it was in a state that I was not as connected to as I intended and I set out with a craving for more substance and more me in the work. I kept trying to think about how I could create pieces that were a representation of the interactions and dialogues I had with people in the community.
–––––
Update 3
After our class discussion about chance and the Ouilipo Group, I rethought my current approaches. I knew that it would be more successful to set stricter constraints to myself and become a lot more focused with what I was doing.
I stressed that everything I spoke of was too vague, (hybridity, collaboration, beauty), and also had multiple considerations for what the final piece could be. After agreement, I also wanted to incorporate more of a statement and a metaphor as accompaniment.
My process next was creating a mind map of connections I made to my concept and examples of where I saw it. I first thought of pairings in food and flavor and considered only talking to chefs, that was ruled out. I then thought of artist collaborations, of musicians and hybridity in genres or projects, I pondered on the musical aspect. I was also trying to figure out if I should engage with other on my walks. I was setting up walks with friends and I only did one when I realized that it was not appropriate. I knew that the piece didn't involve me presenting my documented talks with people nor did it really make sense for my to limit the collaboration to certain topics.
I continued to get flowers, glue them together, and watch them die.
Immersing myself in landscapes around Gainesville.
Process & Ideation
Update 2
My intent was to explore the engagement of two entities and detail the benefit of collaboration and hybridity. I wanted to explore areas where two became one and showcase various instances where I have experienced or facilitated my experiences of the interaction. I want to revel in occurrences where two come together, as far as relationships, communication, and collaboration of disciplines in various art forms.
At first I wanted to limit my discussions about food and flavor, but you can't count on that and it wouldn't be natural to not have the conversations go off onto different topics. I wanted to display the beauty of coming together and connections like a chef would pair flavors and present them on a dish, but to my benefit, the conversations I was having with people covered many areas. I found the engagement to be fruitful.
With my initial interest in plants and the genetics behind hybrid plants, I knew that I wanted to go on walks and start collecting. I began taking photos of cracks in the sidewalk where plants were emerging, flowering trees, wild and manicured, and I continued my OCD habits of plucking leaves of my interest off of bushes and looked at their detail as I walked. I even started walking home instead of catching the bus to immerse myself in the landscape of my locale. My first interest was to become a botanist and create hybrid plants. However, I wanted to reference diving into ones research and become mad with it.
I also pondered about the serenity of walking and researched the art and philosophies behind the walk. I read accounts from Henry David Thoreau's works and others who speak of walking.
My process so far has been talking with people, walking and observing my surroundings, picking plants, buying plants, researching the plants, and pairing cut flowers at the buds with super glue. They were becoming new species. I was the creator of new flowering species.
As I worked through some of the initial ideas of collaboration and hybridity, I wanted to become more engaged with the piece. I felt it was in a state that I was not as connected to as I intended and I set out with a craving for more substance and more me in the work. I kept trying to think about how I could create pieces that were a representation of the interactions and dialogues I had with people in the community.
–––––
Update 3
After our class discussion about chance and the Ouilipo Group, I rethought my current approaches. I knew that it would be more successful to set stricter constraints to myself and become a lot more focused with what I was doing.
I stressed that everything I spoke of was too vague, (hybridity, collaboration, beauty), and also had multiple considerations for what the final piece could be. After agreement, I also wanted to incorporate more of a statement and a metaphor as accompaniment.
My process next was creating a mind map of connections I made to my concept and examples of where I saw it. I first thought of pairings in food and flavor and considered only talking to chefs, that was ruled out. I then thought of artist collaborations, of musicians and hybridity in genres or projects, I pondered on the musical aspect. I was also trying to figure out if I should engage with other on my walks. I was setting up walks with friends and I only did one when I realized that it was not appropriate. I knew that the piece didn't involve me presenting my documented talks with people nor did it really make sense for my to limit the collaboration to certain topics.
I continued to get flowers, glue them together, and watch them die.
Immersing myself in landscapes around Gainesville.
Sunday, October 25, 2015
Art in the News
Anish Kapoor sculpture in china.
http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/aug/13/anish-kapoor-bean-china-cloud-gate-copycat-intellectual-property
http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/aug/13/anish-kapoor-bean-china-cloud-gate-copycat-intellectual-property
Tuesday, October 20, 2015
Project 1 Process
Project 1
Process & Documentation
S P A C E
As I began this project, I set out to explore the abstract concept of space as an interpretation of the intimacy and connection of two spaces. I wanted to create a very minimal and formalist piece where a series of wooden frames would give way to an interplay and abstracted connection between each frame. The forms include wood and a side facade of stainless that is intended to play with reflective light and lines. The series of frames can be looked through and connections can be made about the communication between these intimate spaces. I set out to, through personal and intimate history, to address interconnectedness and the seeming impossibility of truly connecting and communicating with another entity.
With a personal allusion to intimacy and heartbreak, I was also inspired by this phenomenon of connection and communication in nature, ironically, space. A friend of mine is an astrophysicist here at UF and I discussed with him a similar occurrence that is happening in his studies of star formations in Orion's constellation.
Right now, there is a cluster of young stars towards the bottom of Orion and these stars are in a separated cluster, moving independently from the stars set deeper into the constellation. They move with a different velocity and rotation as well. Though part of the bigger entity, these stars are studied to reveal exactly how and which way they are moving, along with what will happen with regards to their relationship with the rest of the stars. Despite apart of the same mass, they exist and act independently, not entirely connected to the others.
(SKETCHBOOK DRAWINGS)
P R O C E S S
The wood I received were old boards that I sorted through a warehouse downtown for. They were bowed, raggedy, and splintered with rusty nails, but through days of milling, I transformed and refurbished them to perfection. It was challenging and time-consuming, but it was rewarding and meaningful that I worked with wood to the utmost extreme. I really got a feel for the materiality and spent a lot of time perfecting the boards in the wood shop. New to wood, this felt intimate and powerful to spend this much time re-shaping and giving life to these boards again.
So much time working with and listening to the wood. I gained a sense for the material and grew to appreciate my very minimal sculpture, knowing the work and precision that went into just creating the form, which adds to the formalist sensibilities of the piece. Also, this work adds to my exploration of intimacy with space and communicating with other entities. I learned, listened, shaped, re-shaped, transformed, and spent a lot of meticulous work and time with the wood.
Process & Documentation
S P A C E
As I began this project, I set out to explore the abstract concept of space as an interpretation of the intimacy and connection of two spaces. I wanted to create a very minimal and formalist piece where a series of wooden frames would give way to an interplay and abstracted connection between each frame. The forms include wood and a side facade of stainless that is intended to play with reflective light and lines. The series of frames can be looked through and connections can be made about the communication between these intimate spaces. I set out to, through personal and intimate history, to address interconnectedness and the seeming impossibility of truly connecting and communicating with another entity.
With a personal allusion to intimacy and heartbreak, I was also inspired by this phenomenon of connection and communication in nature, ironically, space. A friend of mine is an astrophysicist here at UF and I discussed with him a similar occurrence that is happening in his studies of star formations in Orion's constellation.
Right now, there is a cluster of young stars towards the bottom of Orion and these stars are in a separated cluster, moving independently from the stars set deeper into the constellation. They move with a different velocity and rotation as well. Though part of the bigger entity, these stars are studied to reveal exactly how and which way they are moving, along with what will happen with regards to their relationship with the rest of the stars. Despite apart of the same mass, they exist and act independently, not entirely connected to the others.
(SKETCHBOOK DRAWINGS)
P R O C E S S
The wood I received were old boards that I sorted through a warehouse downtown for. They were bowed, raggedy, and splintered with rusty nails, but through days of milling, I transformed and refurbished them to perfection. It was challenging and time-consuming, but it was rewarding and meaningful that I worked with wood to the utmost extreme. I really got a feel for the materiality and spent a lot of time perfecting the boards in the wood shop. New to wood, this felt intimate and powerful to spend this much time re-shaping and giving life to these boards again.
So much time working with and listening to the wood. I gained a sense for the material and grew to appreciate my very minimal sculpture, knowing the work and precision that went into just creating the form, which adds to the formalist sensibilities of the piece. Also, this work adds to my exploration of intimacy with space and communicating with other entities. I learned, listened, shaped, re-shaped, transformed, and spent a lot of meticulous work and time with the wood.
A second aspect of the peace was working with stainless steel. This took a lot of planning and back and forth with the welder, but it ended up successful. After a couple trips to the welding shop, deciding if I should use aluminum or stainless steel, and reassessing technical concerns such as cutting the metal to size, color & aesthetic, price, and adhering. I made good connections with two individuals at Boone Welding who helped me out through troubleshooting and even technical issues to get it all to work.
After some hard decisions, I stayed true to what I wanted and splurged on stainless steel for its aesthetic quality of being richer and darker in color than aluminum. It was more appropriate for notions of intimacy and combining well with the wood. When the sheets ripped in the drop shear with Brad, I returned to Boone and had them cut it. Sculpture implies money, what am I to do. It was much more precise and worth it in the end.
The Art of the Project Response
When reading The Art of the Project, I felt there were important lessons to be learned. I gained insight both into my project, my project’s surrounding culture, and coexistence between project and amateur.
Oftentimes, a project is often a reflection of current movements or surrounding contexts. On page 2, it’s noted that this is how literary and visual projects emerged side by side, often focusing on topics of form, psychology, or expression of inner life. It’s almost blatantly obvious that art is a product of surrounding culture, but awareness of this culture is still crucial for a project's progression. For any person concerned with making art or, more generally put, a project, it should beg a question; “What is my cultural movement?” Introspectively, my work concerns itself with distilling connections between knowledge and information. This could indicate a cultural need for differentiation between knowledge and information, and indeed it does as the project is being made during the information age. Due to a drastic increase in available information over the past decade, people are faced with more information than they ever have been before. Unless the human memory also experiences a sharp increase in retainable information, people will be forced to have higher processing abilities to digest the abundance of information. In other words, when our capacity to know is exceeded by our intake of information, we must find a way to distil information down to a lower value. And moreover, information can be quantified by measurements of ordered patterns, but how is amount of knowledge grasped? It’s common to speak of knowing or not knowing in objective terms, but there currently exists no objective form of evaluating knowledge. These issues and concerns which my project faces would likely not be brought about if it weren’t for the dramatic increase accessible information.
Another lesson to be noted is the connection between amateur and project. On first thought, both are recognized as being part of a developmental stage. The amateur aspires to master his or her skill set, often facing an unforeseeable journey to mastery. Likewise, the project implies a lack of completion as it’s defined by being in progression. On page 10, the amatur is claimed to mix “subjectivity and objectivity” in a borderline “manic” and “high-minded” fashion. Such elements fuel the project, making it able to sustain its perpetual journey. In that sense, the journey needs the amatuer in a sort of symbiotic fasion. The amature sustains the journey while a person is able to be called amature because he or she is on a journey. Once the journey ends or, similarly said, the project finishes, the armature becomes a master, and the project becomes a polished work.
From this reading, I gained awareness of myself, my surrounding culture, and the art I hope to make.
Erik Ravelo Art in the News
Huffington Post on Erik Ravelo.
http://www.huffingtonpost.com/2013/09/10/erik-ravelo_n_3900061.html
Fabrica
http://www.fabrica.it/
Los Intocables
http://www.fabrica.it/projects/los-intocables/
http://www.huffingtonpost.com/2013/09/10/erik-ravelo_n_3900061.html
Fabrica
http://www.fabrica.it/
Los Intocables
http://www.fabrica.it/projects/los-intocables/
Monday, October 19, 2015
The Art of The Process
I'm noticing that people are very reluctant to make art, and especially around others. That there always seems to be a stigma of whether their work will be 'good' or 'bad.' I say, "compared to what?" The natural tendency for wanting to feel accepted is a deterrent from the process of making art; as opposed to viewing art for its ability to open your mind, to explore your thoughts in new ways, to play with the physics and chemistry behind mixing pigments and solvents, to expand local consciousness, to express yourself, to just have fun completing a lighthearted task, or heavyhearted if thats what it becomes for you. Art speaks so loudly through the nature of the process. The product is only just a work in progress anyway...just trying to capture a moment in time...but time keeps moving, and so must art.
This realization has made me even more excited about spreading the creative outlet to the masses. Why shouldn't you make art? And don't tell me it's because you can't. I believe that there is art in everything, so then, saying that 'anyone can make art' is the same as 'anyone can make.' We all know that anyone can make. A baby makes a poop, a mechanic makes a motor, a clean freak makes a tidy atmosphere, a cook makes a meal, a doctor makes a person well, a cat makes a meow. All of these products are reflective of the maker. Whether 'good' or 'bad' is not the issue. The endeavor itself speaks. This, in my opinion, is all art. Because the process of having a vision and seeing it through, no matter whether it turns out the way you intended or not, is art. It definitely won't always turn out how you intended. And, with practice, the process is able to get you that much closer to the original vision each time you set out to make. But art is always there, it just depends on the way you choose to view what's around you, what's inside you, or what's not. Art isn't about judgment. Its not about right or wrong. Art spreads ideas, introduces the new, the different. It is surprising. It is the inter-workings of the mind unveiled through a process that the person who is making sets up all on their own; and most of the time, without even realizing. It is a medium to which you speak in very subtle ways and, in turn, it speaks back just as softly; but don't think that it doesn't have the ability to get loud. Art is binary with nature. It is powerful; art teaches, art heals, art understands, and most importantly, art has the astounding ability to covalently bring people together in sharing wonderful experiences. Art is life.
It is for these reasons that people should have no fear in sitting down with others to look through their creative windows together. And maybe also this will encourage the imagination whilst alone. There is beauty in the bigger picture of art, no matter how the smaller marks reflect what is 'beautiful' for anyone around to see it. And furthermore, just because you don't 'like' it, doesn't mean its not beautiful. Your process is your own. No one else has to understand, but art already does.
This realization has made me even more excited about spreading the creative outlet to the masses. Why shouldn't you make art? And don't tell me it's because you can't. I believe that there is art in everything, so then, saying that 'anyone can make art' is the same as 'anyone can make.' We all know that anyone can make. A baby makes a poop, a mechanic makes a motor, a clean freak makes a tidy atmosphere, a cook makes a meal, a doctor makes a person well, a cat makes a meow. All of these products are reflective of the maker. Whether 'good' or 'bad' is not the issue. The endeavor itself speaks. This, in my opinion, is all art. Because the process of having a vision and seeing it through, no matter whether it turns out the way you intended or not, is art. It definitely won't always turn out how you intended. And, with practice, the process is able to get you that much closer to the original vision each time you set out to make. But art is always there, it just depends on the way you choose to view what's around you, what's inside you, or what's not. Art isn't about judgment. Its not about right or wrong. Art spreads ideas, introduces the new, the different. It is surprising. It is the inter-workings of the mind unveiled through a process that the person who is making sets up all on their own; and most of the time, without even realizing. It is a medium to which you speak in very subtle ways and, in turn, it speaks back just as softly; but don't think that it doesn't have the ability to get loud. Art is binary with nature. It is powerful; art teaches, art heals, art understands, and most importantly, art has the astounding ability to covalently bring people together in sharing wonderful experiences. Art is life.
It is for these reasons that people should have no fear in sitting down with others to look through their creative windows together. And maybe also this will encourage the imagination whilst alone. There is beauty in the bigger picture of art, no matter how the smaller marks reflect what is 'beautiful' for anyone around to see it. And furthermore, just because you don't 'like' it, doesn't mean its not beautiful. Your process is your own. No one else has to understand, but art already does.
Sunday, October 18, 2015
New Developments in Process
New Criteria...again:
Work with others from different disciplines: Neighbors, (micro community), musicians, anyone willing to make small art doodles, paintings, drawings..etc.
Participations between subject and environment: encouraging the act of making art with neighbors and others within my environment.
Small assignments: preparing various small bits of material for others to make art on, collect as many small artworks from others as possible, these artworks will then make up a larger collaged image that is also going to be collaboratively constructed. Because I enjoy the act of making art with others, as well as doing nice things for others, the collaboratively constructed art piece will be a gift, and backdrop, for my neighbors band at the end of the project. A communal art piece that speaks to the nature of friendship, community, and collaboration.
Expeditions, surveys, investigations: In order to get enough artworks to construct the larger collage, I will be bringing my art making/supply kit along with me (everywhere) to neighbors homes, krishna lunch, work, and other outings where I may be able to get people interested in briefly utilizing the creative part of their brains together with others.
Use different kinds of senses to obtain knowledge: Music, art, and community as mediums of healing.
photograph, document, collect
YAY!
Work with others from different disciplines: Neighbors, (micro community), musicians, anyone willing to make small art doodles, paintings, drawings..etc.
Participations between subject and environment: encouraging the act of making art with neighbors and others within my environment.
Small assignments: preparing various small bits of material for others to make art on, collect as many small artworks from others as possible, these artworks will then make up a larger collaged image that is also going to be collaboratively constructed. Because I enjoy the act of making art with others, as well as doing nice things for others, the collaboratively constructed art piece will be a gift, and backdrop, for my neighbors band at the end of the project. A communal art piece that speaks to the nature of friendship, community, and collaboration.
Expeditions, surveys, investigations: In order to get enough artworks to construct the larger collage, I will be bringing my art making/supply kit along with me (everywhere) to neighbors homes, krishna lunch, work, and other outings where I may be able to get people interested in briefly utilizing the creative part of their brains together with others.
Use different kinds of senses to obtain knowledge: Music, art, and community as mediums of healing.
photograph, document, collect
YAY!
A rough sketch of what the final larger collage piece will look like.
Painting with neighbors on my front porch.
Thursday, October 15, 2015
Project 2 | Development 1
Project 2
Process & Ideation
Update 1
Mini-presentation to the class of progress and ideas.
https://drive.google.com/file/d/0BwPWi7RpqCgkaEh6T2xZTjBaZW8/view?usp=sharing
Process & Ideation
Update 1
Mini-presentation to the class of progress and ideas.
https://drive.google.com/file/d/0BwPWi7RpqCgkaEh6T2xZTjBaZW8/view?usp=sharing
Project 2 restrictions update
Adopt various professional roles;
I have become a paleontologist, animal behavioralist, and scientist, and will become an educator
Go for expeditions, surveys, investigations:
I have visited the FL Museum of Natural History, the Ornithology Department at Dickinson Museum, and will be recording/photography my birds and others pets birds behaviors
Create participations between subject and environment:
This will vary from food/toys/ environments the birds are placed in (NO animals will be harmed)
Create "small assignments" for yourself along the way:
Goals/tasks as exemplified on the calendar--like due dates. Example: meeting with people for certain tasks to be completed like other bird owners
Work with other people from different disciplines:
Working with printmaker Bob Mueller--learning about soft ground techniques, and Eddiel Dominguez in ceramics--using sodium silicate to create cracks on ceramic surface.
I have become a paleontologist, animal behavioralist, and scientist, and will become an educator
Go for expeditions, surveys, investigations:
I have visited the FL Museum of Natural History, the Ornithology Department at Dickinson Museum, and will be recording/photography my birds and others pets birds behaviors
Create participations between subject and environment:
This will vary from food/toys/ environments the birds are placed in (NO animals will be harmed)
Create "small assignments" for yourself along the way:
Goals/tasks as exemplified on the calendar--like due dates. Example: meeting with people for certain tasks to be completed like other bird owners
Work with other people from different disciplines:
Working with printmaker Bob Mueller--learning about soft ground techniques, and Eddiel Dominguez in ceramics--using sodium silicate to create cracks on ceramic surface.
Sir Antony Gormley
Here's a link to the article's I presented last week, along with the artists' website. Will update soon with my own notes to my presentation.
http://www.bbc.com/news/entertainment-arts-32702277
http://www.bbc.com/news/uk-england-dorset-34338003
http://www.antonygormley.com/
http://www.bbc.com/news/entertainment-arts-32702277
http://www.bbc.com/news/uk-england-dorset-34338003
http://www.antonygormley.com/
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