Drawings from the studio.
Things remembered from certain places one has inhabited, can be re-imagined (fragmented) to transform the physical reality of the thing remembered – into an idea or ideas. The meaning of this fragmented and transformed reality, now becomes ambiguous. It allows for experimentation, opens new trajectories while still carrying traces of the original memory. The heaviness of nostalgia is made lighter.
This year (2014), Craftswoman House in partnership with Hinterculture organized an event called “Squaring the Circle” to celebrate the 100th anniversary of the founding of the Llano del Rio Cooperative Colony, a utopian socialist colony established in 1914 by Job Harriman, in Southern California’s Antelope Valley. The desert, as it always seems to do – proved to be a place to start anew, the barren lands allowed for new and radical thought and the cooperative was established as a social experiment, to give its people an authentic understanding of a socialist way of life.My interest in this project stemmed from the need for a more “morally conscious economy” that is based on personal values. In an evolving culture that finds itself constantly reevaluating its values, the proposition of an ethics driven society today, is a difficult task. This project encouraged a personal experience in a communal space. ‘Viewfinders’ were provided at certain vantage points for the viewer to look through and compose an image of their choice, within the given parameter of the size of the slot. This process also assisted in fragmenting the complex totality of vision, which at times muddles our perceptions and hinders our capacity to adapt and transform. A focus on individual images, values and ideas nurture an inclusive society, as opposed to one that assigns gender roles for people and flounder in preconceptions. The remains in Llano Del Rio stand as a strong voice, attesting to inclusivity.
Here’s a link to the expedition map.
Parking area is at the intersection of HWY 138 & 175th St. Look for the Winnebego (photo courtesy AV Media) See you tomorrow!
A preliminary visit to the site of the first socialist colony ever to be established in the United States. It was a beautiful drive from Los Angeles to the Antelope Valley desert – to our destination in Llano, California. The desert, both dead and alive at the same time, opened my eyes to how differently and beautifully, ‘life’ adapts and thrives in very diverse conditions.
The realization of any big project is dependent on the success of its smallest detail.
Drawing as a way of seeing;
Realities questioned as objects rupture
Hidden and obvious details surface,
Forms transform, adaptation ensues
Endless possibilities and unfamiliar sources
Only to distance the specifics once more
Familiar forms, seeing transpires.
“The body’s footing feels so secure that the mind naturally interprets the daily bobbing up and down of the Sun, the Moon, the planets and the stars as motions entirely external to the Earth”
People….ought to remember that if there were as great a scarcity of soil, as of jewels or precious metals, there would not be a prince who would not spend a bushel of diamonds and rubies and a cartload of gold just to have enough earth to plant a jasmine in a little pot, or to sow an orange seed and watch it sprout, grow, and produce its handsome leaves, its fragrant flowers, and fine fruit. It is scarcity and plenty that make the vulgar take things to be precious or worthless; they call a diamond very beautiful because it is like pure water, and then would not exchange one for ten barrels of water. Those who so greatly exalt in corruptibility, inalterability etc. are reduced to talking this way, I believe, by their great desire to go on living, and by the terror they have of death. These individuals do not reflect that if men were immortal, they themselves would never have come into the world. Such men really deserve to encounter a Medusa’s head which would transmute them into statues of jasper or of diamond, and thus make them more perfect than they are. – Galileo
“Indeed we should accept misfortune not only in thanks, but in infinite gratitude to Providence, which by such means detaches us from an excessive love for Earthly things and elevates our minds to the celestial….” Galileo Galilei
Thinking of rail roads, subways/metros as drawing….
Anyone who has played a game of pictionary knows how drawing can act as the most basic element for visual communication. A whole idea, part of an idea or the form of a subject can easily be revealed through a set of lines that interconnect or disconnect. Drawing can be a metaphor for all things basic, everything minute, everything trivial and overlooked but also what is vital in our understanding of art, culture and our individual lives and how they are all connected. Just as a network of transport will take us through the scenes and sites of a city; hiding things, revealing things, always leaving traces and memories, open to interpretation and always in the moment.
My interest in paradoxes that manifest as objects, events, spaces or places is explored through a dual existence of a grotto that is found on the grounds of the Mansion at Strathmore. It occupies a very particular position at Strathmore, one that is both physical and conceptual at the same time. While this coral structure exists physically in the backyard, it also exists conceptually as a reminder of what the mansion’s function was (home to the Sisters of the Holy Cross) at one point in time, leaving a trace of its open history. The meaning this grotto once held is de-contextualized and forgotten while the Mansion itself has transformed and adapted to different functions.
The installation re-contextualizes the grotto by integrating the drawings into the architecture at Strathmore, giving it a new meaning by way of adaptation, intervention and interaction with different elements including the window structure, the sky and landscape in the background and the architecture on the inside and the outside.
The residency program is now open to the public starting today July 16th. Weekend hours at Strathmore are different from regular working hours, in case you plan on visiting, please call ahead of time.
The opening for the show is on July 22nd from 7:00pm – 9:00pm, stop by and take a peek at the work! Some photos of the installation process below:
Still have a few more drawings to finish, but nearing the end of making drawings for this particular installation for the residency. Above is an image where I have photoshoped the drawings into a photograph of the window panel that I will be installing my works on.
At resident musician Ted Garber’s CD release party, the resident visual artists at Strathmore, contributed by exhibiting some of their works from the past and some current work. The installation work out of orange fencing is by Wilmer Wilson IV.
“A melodic fragment, heard alone, makes a particular impression; but when the fragment is heard simultaneously with other melodic ideas, or combined in unexpected ways with itself (as in a canon or fugue), greater depths of affective meaning are revealed. Through development of a musical idea, the fragments undergo a working out into something musically greater than the sum of the parts, something conceptually more profound than a single pleasing melody.”
A study on making multiples of an image by tracing. Each drawing is different from the other. Certain basic criteria are imposed on the process, such as materials: Black ink, blue transfer paper and watercolor paper.
The process reveals natural limits for the number of ways one thing can be duplicated, given the imposed criteria. The process begins with a deferred image from memory.Every tracing made out of this deferred image then, is further removed; differing in meaning and constitution.
The process of replicating an image from a photograph furthers my exploration of images as metaphors, symbols or signs. The act of tracing from a photograph exaggerates the idea of substitution or a “supplement” and a continuous transformation and adaptation in its ‘meaning’. The old grotto from the grounds of Strathmore, seems misplaced in a transformed function of Strathmore as a music, arts and education center. This de-contextualized object (grotto) is deconstructed by processes of tracing (supplementation), displacement (the dualities of outside and inside) and re-contextualization (the installation being site-specific).
A quick first exploration of the grounds at Strathmore. The mansion has gone through a number of transformations, not just physically but in its functions as well. This is very interesting to me in how I think about the residency here – the adaptation and transformation, the additions and subtractions – to explore the nature of intervention and alteration.
Some of the ideas being considered either separately or to be combined:
- Intervention, alteration and memory
- Logic of signs and the impossibility of consistent meaning
- Topology and homeomorphic formations
Faster than fairies, faster than witches,
Bridges and houses, hedges and ditches;
And charging along like troops in a battle
All through the meadows the horses and cattle:
All of the sights of the hill and the plain
Fly as thick as driving rain;
And ever again, in the wink of an eye,
Painted stations whistle by.
Here is a child who clambers and scrambles,
All by himself and gathering brambles;
Here is a tramp who stands and gazes;
And here is the green for stringing the daisies!
Here is a cart runaway in the road
Lumping along with man and load;
And here is a mill, and there is a river:
Each a glimpse and gone forever!
Robert Louis Stevenson
“In one line, nothing gets together, nothing scatters” – Kazuaki Tanahashi, known for his one-stroke paintings / calligraphy
Kazuaki Tanahashi – Dot
This work is a study that informs the ideas of ‘recurrence’ -of images and places – and continuity. The small drawings inform each other: they are traced from each other, opposites of each other and transformed as a result of this information from each other. Work done at the IHC in Delhi, India.
Works at the IHC sponsored by the Welcare Hospital, Kochi.
The work at Power House Road was transformed and adapted to fit the nondescript spaces at the India Habitat Centre’s Experimental gallery. The source images acted as points of origin for this work. A balance between the temporal parts (that would only remain in documentation) and the nomadic parts (drawings that would be transportable) and the transformation of the temporal parts, became ideas for further exploration.
Works at the IHC sponsored by the Welcare Hospital, Kochi.
Temporary installation in a rented room in Kochi, India. This space was old and had very hard surfaces. Fortunately, we had access to NZ online casino list by onlinecasinokiwi.com via wi-fi. But the doors were old and falling apart and the deceptive security these doors projected were in contrast to the solid surfaces that this place was made of.
As part of the continued research in adaptation and transformation, the installation at MAP was transformed in this installation to adapt to the Towson Commons space. The framed drawings of pipes are to scale of the original installation at the MAP. Drawn lines on the wall at times extend into space, taking the form of a thread. The installation responded to the space and was dismantled after the exhibition.
Studies for paradox, adaptation, transformation