Material Experiment

How did I transformed space and 'transform things into other things':
As far as physically transforming space, I didn't have to do anything. These objects (or non objects) already exist in space and time and already take up whatever percentage of volume in the air. They transform space by just remaining.

When it comes to actually transforming one thing into another, I didn't really approach it as literal as some might. A little late in the project, I came to realize, after the useless hours of brainstorming, that I didn't have to transform the objects physical status or juxtaposition to another objects. I had been thinking how I could manipulate the environment to make my images stand out and look cool, edgy or unique. But the more attention I gave the object, the more I noticed it started to transform into a different object on its own. My pieces were starting to change how I perceive them in the first place, and they became a lot more delicate and perplexing. My objects had become more meaningful to me and that is how my things changed into other things.

Images:
I didn't really want to overload my images with every characteristic, or even more than 3. I didn't really want my pictures to look soo much like an assignment, and I didn't want to overload them with so many themes. Eight of my pictures have just two characteristics in them. Simple and sweet.
Without further ado, here's they be!

Assigning Meaning. mixed media. variable

This is my little buddy, Mr. Jiggles Copperpot. Sadly, I think it got fried by the powerlines... either that or some weird fucker skinned this poor creature. Either way, it exemplifies = One must be alive or have been alive at one time.

Kit Cat Clock and drawn impression of Kit Cat Clock = One must be fleeting and temporal + One must be smeared.


This next photo wasn't really of objects that I gathered, but they are objects I captured. This is a cemetery just outside of Salisbury up I85. Years ago, real live pirates were buried here. You wouldn't be able to tell that from the names on the headstones though, because there are none! It was considered to be such a disgrace to be a pirate back then, that they didn't even offer the deceased a proper burial. Not even family members of the pirates would have enough gumption to claim the bodies, so they were just buried and skulls and crossbones were etched into the stone. This image = One must be buried + one must be wicked. Below are some close ups of the graves!

Ask me how to get there if you are interested.


My favorite picture yet... my little piggy spilled her guts all over my sheets! One must spill or be able to spill + One must be soft.


I like the composition here. One must be wrapped + One must be scattered + One must produce an unexpected sound.


This is the most awkward thing I could make. I decided to blast my naked body with ice cold water, photograph it, and then show all of you, my classmates! You will never see me the same... One must be cold + One must be awkward.


This is the birthday cake my fiancee made for me last week. I didn't take it for this project, but I thought it worked out well... The letter candies were gritty and gnarled feeling. One must be gnarly + One must be edible.

Now this is ASTONISHING! I didn't take this picture, but it exemplified the most amazing thing I have seen in a while. I accidentally stumbled upon this banner on the internet advertising these. This is Stephanie, and she is one of many. She is a sex doll that you can buy from Realdoll.com, for a little over 7 G's. Go check it out!
I personally didn't know that they got this real. I want one really bad. And not just to have sex with, but to startle the shit out of the guests, businessman, Jehovah's witnesses, critters and loved ones that come to my home!! One must be astonishing + One must be distasteful. (I don't really find any distaste in it, but some might.)
This one I took during the Great Snow of 08'. I love this piece. One must be transformed by the wind + One must be luminous.


This is the last one. I'm sure many people had trouble once they got to the end of the line, with just two characteristics they had been putting off. My most unfavorite ones were stretched and smelly! One must be stretched + One must smell.

Thoughts On My Accumulation Thus Far...

I don't think this is going to work. I really want people to cooperate with me... I mean come on, it's only a tiny bit of the essence of your being! I thought about how to present it more. I started thinking about how Vito Acconci documented his stuff, with multiple pictures to accompany the words with his documentation. I don't think the signed contracts would be very interesting by themselves.
I started thinking about how religious people in Haiti and the D.R. don't let you take their picture if you are touring the area. They think your camera is lifting their souls right out of their body. I think it will be necessary to capture the images of my participants, regardless of whether they want me to or not.
Also, still working on the contracts. I've never written one before, so it's taking a little time.

What this class is really about...

The course description in UNCC’s catalogue for this class could read:

This class will help to teach the students how to B.S. their way through art school. Word manipulation lessons will prove vital in the art world when a) working to counter arguments against controversial pieces with subject matter ranging from religious defecation to homo-erotic sex practices, b) validating crude or immoral artistic philosophies, c) allowing and rationalizing the lacking consideration of another individual’s ideals or beliefs, as well as the teacher’s given assignments. Students will view degrading and obscene images of bitches holding horse cocks, as well as other images they never wanted to see in their lives for the purpose of expanding their understanding of what art really is. Students will also learn to articulate their very own sob-story to tell possible clientele at possible gallery openings.

This is the conservative in me coming out! But I’m awfully cynical at the same time. If this was in the catalogue though…, I would still take this class.

Art Cash

Loved the McColl Center… it was oodles of fun and enriching. I was amazed at how much money is distributed among the art community. I didn’t think the government really cared that much about us. As an educator, you constantly hear about more funding going to science and math programs. At the same token, I constantly hear about new funding programs for the arts in the public school systems as well, whether it be music or dance or just visual arts, whatever. But sometimes it just doesn't feel like there is enough. I'm just not seeing the kind of support or financial backing that I think these children need to grow into more cultured individuals. Sure their getting art supplies out the ass… and the fundamentals are there too (roygbiv, gradation, space, shapes, etc.) but kids aren’t getting a proper understanding of the history behind it all, the wars that have been fought over freedom of artistic expression or who are the greats and what were their philosophies. In grade school, I was one of the top students in the art classrooms, but none if mattered because there was no passion behind it, because there was a limited amount of information. When I got to college, I learned the concepts that made me understand why art was important and that was what affected me the most… the ideas that start a work in the first place, not the finished product. This is going to be one of my primary focuses when I start teaching.

Accumulation With Reading

For the accumulation project reading, I have chosen Shan Raoufi (opinions) and Presley Martin (gum).
I chose Mr. Martin because I found his work aesthetically pleasing, as well as cheeky. It invites you to get close, even though you don’t want to… because chewed gum is icky, and it sucks to step in it, or worse sit in it at the picture show… and you think of all the nasty germs that are in peoples mouths - which incidentally is where this gum at one time use to be - and then you see that he pulled this diseased shit out of the murky, shitty, San Fran harbor and you start thinking about all the nasty fish pee and ship greases that soaked into this ancient stick of trident and you start to back away. I thought his exhibition piece was innovative and original. I like that it makes people frown when they see that it’s petrified gum. I also liked the way that the lights kicked all the different shadows around. The colors are rich, the textures are ample and the overlapping shadows create a nice feel of depth.
I chose Shan Raoufi because I think that his accumulation project gave him a better understanding of how the world around him interacts with and among itself, how he relates to those around him and how he views himself in accordance to his own ideals as well as societies. This is ultimately what this project (or art in general) is all about - establishing some understanding of how we cope with or influence our environment. I really liked the quote from the “Larry Clark kid” - “Shit, man, that stuff is all in your head. It doesn’t matter.” - I’m sure Mr. Raoufi knows he has a perfect body, and I’m sure this is what he was getting at all along.
The thing I found most interesting/influential about Mr. Raoufi’s work is that he was daring in sacrificing his body to the outside elements. I also thought him ballsy for approaching as many people as he did. He wasn’t afraid to put himself under the scrutiny of others, even when those people could have just beat him to a pulp for being a half-naked loon walking around Manhattan. Northerners ain’t got none of our Southern hospitality.

As far as my own accumulation, I have thought long and hard. I will be collecting bits and pieces (small percentages really) of individual’s souls. My work focuses primarily on what people cherish. I work to create a stronger sense of adoration and gratitude for those things that people hold dear. In this piece, I will explore how various individuals view and hold dear the very essence of their lives.
No documentation yet though. I’m currently working on the contract that establishes custody of these souls under my name. If you would like to give me a piece, please shoot me a comment with your email and we can work something out.

In The Making

I am an artist, this is true. And like any individual who is passionate about creating artwork, I have asked myself these questions before – Why am I an artist? What is art’s function in society? The truth I have come to understand is that there are no real answers, or formulas for equating success rates or ways to determine whether or not your art with impact anyone at all. Linda Weintraub doesn’t even give any real answers to the questions in some of the articles I read. They were just long, drawn out commentary on what the artist was trying to accomplish and what the viewer/reader should feel. I felt like she was just pushing her thoughts onto me the entire time I was reading, and was very disheartened by it. I would even be as bold to say that she doesn’t act like she really gives a damn to explore these questions in the least (from what I have read).

This reading also made me feel like I had very little impact on the civilized culture around me, which is true, but nobody likes to be knocked off their high-horse.. On page 122, she goes on to say that sources of inspiration can be everything, can come from anywhere, yield artwork that can be made by anyone, anytime. And if it isn’t art in the first place, people can call it that and transcend their normal role in society to the level of the profound artist (When I first heard of the Duchampian concept of ‘pictorial nominalism’, I was blown away. I could use this idea to help channel my inner turmoil and angst in my artwork as well as gain a competitive edge in art school. I think now after this reading, that it is more of a weapon used by the irresponsible and unpassionate pseudo-artists to gain acclaim). I feel she is dumbing down the role of the artist. By saying that art comes from all places and is inspired by all things, you could likewise argue that it also comes from nowhere and is inspired by nothing (if you would like to argue this, please comment).

This reading is 110% rubbish. And I'm sorry if you found it compelling; I mean that's cool, but I just spotted too many issues with Linda Weintraub's philosophies on what art is all about and how it needs to be accomplished. I don't feel the need to 'understand all the essentials' behind making contemporary art. I enjoy being lost. I enjoy all the jargon. And I enjoy taking the long short-cuts home.