HA! Body As Surface #2

See what I mean?

TST Concentration #2 Stages/progress

Since Im far away from everyone, here is a peak at Concentration #2.  It is roughly 5 feet wide by 7 feet tall.  Not done obviously.

Mim,,,,  she sits with me while I draw.  :)

TST 2/22-3/1 Bird entries

BODY AS SURFACE

Ok...  Ive always wanted a tattoo..... A Redwood Tree which spans the length of my spine, the green extending into the shoulder blades, the roots sprouting from the small of my back growing around my rear end (this was when I was younger... Now, that would not be a pretty sight...)

Social status, group affiliation, ritual, what could be more powerful for art?  That said, I found it a little disturbing that and artist would physically alter herself to “reshape her features to resemble those in celebrated works of art, such as the forehead of the Mona Lisa.”  WHAT???? Good grief.... 

Seems to me that when someone is thinking about the body as a surface, intention is critical.  Motivation.  Some of this is permanent after all. This is not a medium to take lightly when it is permanence that is part of the equation.

         I have sometimes played with this idea (not permanence) but henna tattoos, painting tiny scenes on finger nails, etc.  None of this held significant meaning for me...  I grew up with the thought of tattoos being taboo so I didn't stray to far from it as a youth.

   Now, when I am drawing, although it is not really part of the finished product, part of the process for me is actually getting covered in charcoal dust.  After each drawing session, there are marks on my face, lines where I wiped away a hair or had an itch.  My arms, legs (clothes) are covered.  Its almost as if I am ritually coating myself as I draw... HA!  I sorta love that thought.

    Be fun to simultaneously develop a series of photographic portraits which document my face after each session... LOL

ANATOMY

“Getting under the skin”  hmmmmm

I remember vividly, reading with equal horror and fascination, the passages from “The Agony and the Ecstasy” Where Michaelagelo snuck out at night to dissect a human body (if I recall it was a homeless person who died??? Maybe Im making that up.)  I sat there inspired, wanting to know the human form that intimately, yet knowing I would NEVER survive an encounter such as that.  (I cant even have blood drawn with out passing out). Frankly, if I sit and stare too long at the Rembrandt painting I feel a little woozy.

I later solved my need to know by taking an anatomy and physiology course in undergrad, at lease going into depth in pictures was manageable, and I do believe was beneficial to my drawing of the human form.

      An interesting assignment along these lines to do with kids might be to show a contraption of some sort and have them draw how they think it works, draw the insides in action, then if possible, let them take it a part and see the real inner workings.... That would be an interesting lead in to figure work...

BODY AS MEDIUM

Not sure how I feel about this chapter.  I do wish at times Bird went more in depth to help readers appreciate the intentions behind certain things, such as the artist Marc Quinn. (which I may google later) .  I am intrigued yet disturbed by the macabre description of his work and do not understand his intention or thoughts behind it. It leaves me feeling disturbed and concerned for people who may be in his company....  (too many horror movies I guess, which, if I were to broaden my ideas about art, then maybe ICOULD appreciate this more... Hmmm))

    That said, I am familiar with some of the other artists work where the body became more of a tool, such as Richard Longs line, of course, its about far more than that, ritual, space, impact all sorts of larger themes are at work here.

    My own work... I suppose the finger prints left behind might fit here, but it is not choice. I honestly have to sit with this one longer.

TST Artists Statement/Drawing

OK... So, Ive been thinking about my artist statement...  A million thoughts and images come to mind but not a linear sentence structure.  So, as a way to push my comfort zone, (or freak me out a little) I decided to try and create a visual artists statement while trying a new material which has similar aesthetic qualities as the charcoal but most certainly has a completely different spirit and essence.  Here is the result ...  (It may yet evolve more)  This is also MUCH smaller than I usually work, which made it more challenging because when I work larger, its almost like dancing.

Graphite and Gold leaf, 18 x 30 (I think)

TST Chance

Chance

Chance, according to Bird, seems to be a larger umbrella for several ideas which include the "unconscious", Dada, Automatism (a new one for me) and Surrealism. 

     I love the simple idea that behind every art process there is "chance".  The example of paint changing color as it dries or the material in some way having a say in what happens rings true for me. For me and my own work, this "chance" becomes like a dialog between my ideas, movement,  the materials and then then my own responses to all that emerges through out the process.  Engaging chance requires listening.

     It requires trust to relinquish control over what you "thought" you wanted and allowing what wants to be, come into light. I employ this dynamic when I am working with most of my materials especially ones more fluid in nature, glass, (I love that glass is fluid!!!)charcoal, watercolor are prime examples.

    I encourage my own students to embrace the idea of chance and to let go of control.  It frees up space for idea to transform as well as image.

    The more I read the more these are all tied together for me and the harder it is to separate out one idea.  They are all connected for me. In talking about one concept all could be tied to it in one way or another....

TST Allegory

Allegory:

"describing something in terms of something else"  "a link between visual and literary art"  Does this mean a narrative?   Personification. Bird gives us a plethora of examples of allegory through out history, from Ancient Greece to the Statue of Liberty.

   I wonder if it is possible to develop a personal allegory. Seems to me, yes. When I contemplate the ideas Ive spoken to above, I think about my little spirit people which have been growing and evolving in my work for many years now.  They a kind of allegoric representation of the greater consciousness, yet to another viewer, they will represent something else.  These little figures seem to speak to each person individually, hence my intention of representing consciousness,  People will see what their consciousness is working through.  Is this allegory?

Whiteness

Whiteness:

The idea that whiteness might be "imbued with spiritual potency" resonates with me far more that what the idea of whiteness later seemed to embody.  It seems that the more a concept is spoken about the more stories can be made up in regards to "meaning" or underlying "idea", as is the case in whiteness. Neoclassical flesh as.. soft porn?  Really?  That said, as whiteness was expressed in the abstract art movement, I also like the idea of Ben Nicholson's principles " art should clear the clutter from our lives so that we can see what is really important".....  

     Although I am not drawn to his style of art, I am intrigued with the underlying idea of it.  In my own work, which is anything but simple, it inspires contemplation about how I might simplify a composition while keeping true to the other themes I work with.

      Because I LOVE contrast and detail, I wonder if a simplified image using larger areas of whiteness might maintain the intensity I like, but also streamline the message... 

TST #9 Satire.

#9 Satire

     As I read this it became very clear to me that satirical art can be a clever way of making a powerful point, imbued with enough humor, that one might "get away" with making a radical and very offensive point. (Other than poor Honore Daumier, although the description of his image made me smile and was likely poignant! ((and could be used today in varying situations as well Im sure...))))  Its like sneaking in the back door with an important serious story, (narrative...) that when told with humor, gets attention it otherwise might not.

     I have played with satire a little bit in the past.  In my art I have at times made a series of holiday cards (The Frosty Series comes to mind) Where I used to Satire to illustrate the trials and tribulations of being a snowman in an environmentally taxed world.  (encounters with global warming and such) I also have a tradition at my school.  Each year, our graduating 8th grade class hands me over their year books, where I create a satirical illustration (usually with accompanying narrative) which illustrates some event over the years in an exaggerated and humorous way.  I use "tadpole man" (first developmental representation of a human usually drawn by very young children) as the central character and then add the features I am wanting to "satirize" (is that a word?  Im making it one).  The kids look forward to it and its sort of a very sarcastic right of passage.  An example is (and we’re at the point in the year now where the kids are identifying humous events for me to use), one of my eighth graders has twice now, sat on a table and as a result the leg has broken off causing the table to break and fall.  So the kids are laughing knowing this student very well maybe illustrated with a very large rear end (which she does not have, she’s skinny as a rail) standing facing a huge pile of broke tables with an accompanying narrative.

   Since I only sing the 8th graders year books, its always an highly anticipated event.  (One of these days I may piss someone off though!!!  Satire is a fine line!)

TST #8 Inner States

#8 Expressing Inner States

Well, my first response to this is, this is more or less "unconscious" re-worded and slightly altered to fit with in a new context. Bird mentions dreams again as well.

      There seems to be a theme emerging in the reading (well, how I am interpreting it anyway) that for each idea about art, its purpose is to qualify art as something legitimate for a particular art movement or group of artists... I rather think of it the other way, the art was created and then the theme emerged as a result of discussion.  (Which is what art that "communicates", should do).  Depending on the time the art movement was at its Zenith, the language and the culture of the time defined the language used to deconstruct what was happening.  So the ideas themselves are also inherent to the cultural moods, contexts and norms of the time. Its not just about the art....These “ideas” also reflect the peoples “inner states” at the time the ideas were being discussed.

   Art can not help but "express an inner state"  because it is coming from a person, and parts of that person are going to insert themselves into the piece, whether its an image, a brush stroke, a line etc.  (Consciously or unconsciously...  see, it all ties together).  This is broader than the definition Bird uses but I believe just as legitimate.

I realize this is not really the assigned type of response, but it was eating at me so I had to write it down..  I was in essence, expressing an inner state...

      Thats said, as far as my own ideas about this, inner state often is associated with a feeling which is a reaction or response to something I am working through.  So it may have less literal qualities when being expressed visually and may impact how I use  a material.

   Bird quotes artists making connections to the soul and to spirituality. The idea of "inner state" in my work equates to imagery which is imbued with my own spirit. No matter what I am doing... It is influences by my inner state, my dreams, often with consciousness but also the unconscious.

The Unconscious #7

Unconscious Blog # 7

     Hmm.  The unconscious. The history of this as described by Bird is fascinating, the way Freud's theory tied into the artistic process as a way to process trauma makes complete sense.  (the roots of Art Therapy maybe ???)I think really that artists' find the best therapy in their visual expression and may always have (unconsciously ha ha ha ha... or not).

   I dont know that I agree completely with Freud's assessment that the unconscious is "a special region of the mind, shut off from the rest."  Seems to me it would actually be flooded by the rest, especially when I think about the fantastic dreams I have (I am also a lucid dreamer).  I Think that people are not accustom to being still and sinking into that unconscious place, that its there all the time manifesting experiences to get our attention, and with artists, often it makes appearances in their art.  

   I am also intrigued with the parallels made to "dreams".  Although I suspect the dreaming Bird is referring too is sleep dreaming, I would suggest that "day dreaming" is just as powerful and an incredible conduit for ideas.

   For my own art work, this is a treasure trove of imagery.  I make sure that when I actually have a moment to sit, I pay quiet attention to where my mind goes. When I do that and stay out of the way, imagery and story will often weave an inspiring flash of insight which I can then make a quick sketch of or note about and use later to develop into a larger piece..  

   One way I use this with students is sometimes Ill have them sit quietly and doodle ideas...Letting them see what might "emerge" from the lines. Often a shape will emerge which reminds them of this or that or suddenly gives the "a great idea".  It becomes an exercise in attention, knowing your inner self.

TST #6 Multiple Viewpoints

Multiple Viewpoints Blog #6

   Two points particularly stand out for me in this reading, That of  "The realization that seeing isn't usually accomplished by a fixed stare but by multiple takes of the same scene, often from different angles."  and Birds point about cubist paintings adopting "simultaneous multiple view points".

    These stand out for me because although a painting or a drawing is a single captured image, not only is that image being captured over time (be it short or long) but the image is a multidimensional "thing" (on a meaning level and a physical level) and therefore, playing with multiple view points an artist can examine various meanings. 

   This concept wildly excites me!  I'm Imaging showing a progression in a single portrait of aging, wear and tear of life on a face. I have used this idea (multiple view points) in photographic projects where I have a static (sort of... there can be a time progression such as day into night) environment but inhabitants of that environment show up multiple times.  I even tried that with students this year (after loving the process so much myself.)  It has inspired thoughts of also incorporating panorama and having that transform (I wonder if I can somehow incorporate season change.....) its self as it moves from one side to another... OR!  360 degree photo!! Below is one way Ive worked with the concept.  I liked the idea that a space holds infinite activity... packed full of moments.  I was playing with capturing some of this by including multiple events in a single space,....