Sunday, October 4, 2009

a statement

I am interested in this, that and everything in between. I wonder why that guy is wearing two different socks? Who kicked over that port-o-potty? Was there someone in it? Why did they use two different types of pavement to build that new road? I always want to understand more about the decisions people make in this world which in turn affect everyone in one way or another.

My day job is a photojournalist, so my instincts as a photographer is to document the daily life of people. It is hard to push away from that at times. In my art photographs I try my best to break away from my standards of a photojournalist by at the very least looking for something that is not normally covered for a newspaper. Many of my art projects are still a documentation of daily life (like photojournalism), but I tend to focus in on the small topics of life that go without notice.

I am in the middle of documenting tip jars and the personalization of them. Some places have simple jars, while others have large tubs with cute or dumb sayings on them to entice the customer to toss in their spare change. Another project is the documentation of what is very close to most people but goes unseen: underground tunnels, area's above ceiling tiles, etc.

Artists Statements seem to be hand in hand with art in general. Always changing, always staying the same. I could look back on this artist statement in 10, 5, 2 years and be somewhere else completely in my mindset as an artists, but to me, that is such a big part of art. Some artists can go about doing the same style and be successful for a lifetime, while other artists always have to adapt and re-think themselves to propel their creativity. I don't know which mentality I will follow, but I doubt many other artists know either.

a statement

It is true that 2-D artworks are objects, but they have traditionally been noted less for their flat qualities and more as a window into an illusionistic world. For this reason, 2-D work has always been of more interest to me than 3-D work. 2-D works present spaces and things that are both there and not there. While 3-D works also present representations, they share the same physical space as our bodies. 3-D works can also be regarded as bodies or subjects in our space. Audience members cannot enter into a 2-D space in the same way. While our bodies can share the space of a 2-D work, we cannot physically enter the spaces that are also represented or implied.

I have also been drawn to 4-D video practice. Video documentation has the ability to capture moments and events. Once captured, these framed moments can be relived from the cameraperson’s viewpoint. While videos share our space on a television or screen, the people and places captured are not actually there. As with 2-D work, we cannot enter into the represented space. It is only an illusion of movement through a progression of still frames.

This complex relationship between real/representation has been a persistent thread in my artistic explorations. My current artistic practice involves documenting how people interact with and relate to spaces using mapping tools. My work is also interested in interaction between the past and present in spaces. Ephemeral interactions are marked, traced and mapped. I want to imply absence and accentuate space through the dashed line, and yet accomplish this using a very physical, non-precious thing. I hope to highlight and also collapse perceived space using 2-D drawing strategies in a real space. I aim to facilitate drawings in and on the space, the objects and subjects.

a statement

I make art in order to explore and communicate about the nature of reality. Art allows me to make visible, tangible traces of strange moments of confusion, awe, and speechlessness. It creates the opportunity to engage in criticism of the severe disconnectedness of modern life. I am interested in art that creates the opportunity connect the mind to the sweating, substantial presence of the human body and the earth's natural processes of synthesis and decay.

a statement

My intent for the quarter was to create a fully interactive presentation of panoramic photographs taken within the Knowlton School of Architecture. I would classify the results of this project as only partially successful. If the goal of interactive media is full immersion of the user, a user interface should offer self-directed exploration across the appropriate topics as well as self-directed immersion in these topics at a depth decided by the user. If one school of motion picture editing emphasizes the invisibility of the editor, one school of interactive design similarly emphasizes the content and tone of the information while de-emphasizing the method needed to navigate across information.

I was able to achieve some degree of interactivity, including bi-directional scanning across the panoramic photos as well as the ability to choose from two magnification levels; however, this type of interactivity is far simpler to create using Quicktime VR technology while offer far more robust user control and feedback. The use of DVD Studio Pro to accomplish a similar level of interactivity required the creation of nearly five hundred programable menus, each with three to five hypertextual links. A more transparent and convincing navigation and visual feedback system would have required the addition of video tracks resulting in greatly increased programming, bandwidth, and storage requirements.

It is my belief that interactive technology affords an opportunity to create learning, entertainment, and art environments that allow users to engage in media in more effective, and for the moment, less traditional ways. The hope is to allow users to synthesize information in novel, unpredictable ways. Perhaps in this respect my project reached modest levels of success. I approached the creation of the photographs in a manner similar perhaps to that of axonometric drawings—that is, I attempted to create graphics rich in visual information (in this case spatial, lighting, and material) without introducing author-imposed bias, tone, or direction. In other words, my intent was to provide the user with enough information-rich data to come to their own conclusions.

a statement

The basis of the portfolio was to try and related all of the artwork that I have done over the years to the overall interface and style of the DVD. What all of my work trails back to is the concept of basic character analysis. Video Games, Comic Books, and various styles of Animation, (which are my influences when it comes to making artwork) all have one thing in common, iconic characters.

Whenever a genre of art is being recognize, there is always some sort of character or figure that best represents the genre as a whole whether some might believe it or not. Depending on the experience of art exposure to an individual, audiences may generalize painting the Mona Lisa, or generalize painting to the Old Rococo paintings of France. For video games, it could be Mario from Super Mario Brothers, for Comic Books, it could be Spider-man, and for Animation, it could be something from Pixar or Japanese Anime. In all of my artwork, I have a certain character that stands front and center out of everything else in the image or video. The character is relative the environment he, she, or it resides, it has a certain personality that can be shown by gestures lines, shadows, and placement or perspective. The purpose for my artwork is to entertain and enlighten the viewer to character-based situations that’s abstract and sometimes random to the overall influences I have as a developing artist. It may derived from a video game or comic book, but I try to stay as abstract to my own experimental ideas as possible.

The reason for the loose-beatbox DVD formula is to show randomness, but simple entertainment to my audience. My beatbox has a character of its own; it’s just as improvised and character-developed as Kirk Whalum on saxophone or Stevie Wonder on piano. I wanted my Image and Video buttons to move in the menu to show that they individually had personalities to relate to my own thought process of creating art in the first place. The overall choice of the dvd is to make sure the viewer understands that I am a person that has a range of ideas and character-based thought processes, whether it be completely random or not.

a statement

Eight Sentences

1. My work engages visual difference through the physical building
and juxtaposition of paint surface.

2. The techniques by which I generate these surfaces are only
important insofar as they can be deduced from a specific painting.

3. I employ a variety of techniques with no goal in mind and no end
in sight.

4. The paintings that interest me most have irreducible structures
that are arbitrary and complex.

5. My work forces no images. The arrival of the image, however, is

6. Whatever is unadvoidable is also an end.

7. Work takes place within the physical and mental limits of my

8. Painting's time, limitations and doubt make it appear outdated
to many people. These are in fact painting's assets.

a statement

As an artist, I hope capture any ideas that come to my mind: good or bad. I believe that art is a reflection of us and others. I hope that the art will speak to at least one person. If I have done that, then I have I have accomplished my goal. I will not be limited to the conditioning of the experience of my life and my past. I shall embrace the thoughts and ideas that come before. I think that part of being an artist is to not be biased of what in my work. I want to capture what exactly comes from my mind and even from others. In the past, I have limited myself to the art that can speak to all person. I believe that I must be happy in the things I create and that is the only way to produce the best work. As an artist, I will also try to understand the work of other artist to participate in the circle of creativity.

On this day this is my artist and I accept that my views as an artist may change and hopefully evolve into something greater than it has become.

a statement

To be honest I don’t feel very creative this quarter. I don’t know what it is, but I feel like I’m in a rut. There’s just, so much going on out in the art world that it overwhelms and belittles me because I’m scared. Scared that one day all my creative juices will cease and I’ll never be able to make work that will get people to stop and look. I know that it’s just part of being an artist by questioning your work and accepting the fact that you’re not always going to have fantastic ideas pouring out of you at every waking moment and that there will be times when you feel like this. I also know that I will overcome this road block and realize that what I need to do is just relax and breathe. It’s like what I’ve said in most of my other art statements about stopping and enjoying the simple pleasures in life and to not let the negative vibes get me down. I want to create something, even though I might not know what it is yet, but just the passion there in my bones gives me the motivation and hope to know that I will achieve what I intend to do and that is create.

a statement

“If I don’t create, I cease to exist.”

+ Ingmar Bergman

Perhaps my most influential filmmaker couldn’t have said it any better. Existentialism is by far an area of philosophical study that I’ve given the most attention to in the last couple years of my life. Who are we? What makes us human? What makes me individual? These are the questions at the core of my existential quest. What I’ve discovered there has led me to the path of an artist.

The most fundamental truth that I’ve learned is that what makes us both human and individual is creativity. When we are being creative, we are being both original and individual. If we are not being creative, we are being robotic and mechanistic, just operating off of rehearsed input/output functions. Throughout the course of history, cultures and populations have thrived and ultimately perished. However, the art that they’ve left behind has survived the longest. This is a clear example to me of the power of art. Within each artifact is encoded information about the culture and the individual who created. For me, this is the blending of the two modes of existence in life, the individual and society. It is incredibly important for me to express my existence in this society. It is of existential necessity that I pursue art.

Another secret I’ve discovered lying in art is it’s evolutionary capabilities. Throughout history, the people who have progressed the mental capabilities of their society have been philosophers and artists. In today’s world this has not changed. So with this in mind, I have dedicated my life to the blending of both art and philosophy. Both have proven to be excellent investigatory mediums for the discovery of reality and existence.

In conclusion, I have discovered what Ingmar Bergman discovered. If we are not creating, our identity ceases to be known. So, for me, my outlet for creating takes the form of video. This has proven to be the medium that I gravity mostly towards. I’m still exploring the possibilities with film, and when one is in a constant state of exploration, one is also in a constant state of discovery.

a statement

In this video, as in my work in general, I play with images and concepts of power, sexuality, and identity. My work is an effort to stand outside the traditional boundaries of gender and family to create visual experiences which empower through self-definition, personal narrative, and re-imagining the worlds within. I use the figure as an anchor to re-channel emotion, to illustrate internal conflict, and to connect the viewer viscerally with changing experiential states.

I hope to construct a kind of springboard for personal mythology, embracing an internal struggle often set in or represented by abandoned or decomposing environments. This embodied collection of emotional memory lives somewhere between the figurative, the symbolist, and the surreal, and reflects influences such as Sally Mann, Bill Viola, and Robert Parke Harrison. The images are a catalogue of states, feelings, and histories skeptical of all personal and societal meta-narratives, even themselves.

A Statement


Attitude affects the perception of our surroundings. I investigate the attitudes that are the desire to change the landscape, and the understanding of a particular place. My work combines images of contemporary urban areas on the verge of redevelopment as a point of comparison to romanticized representations of the American landscape, topography, and historic ideals. Though the images document areas of American on the verge of disappearing, the finished work is not a direct homage to landscape before or after industrialization; rather, it is an assessment of the nation's seemingly limitless potential. Ambiguous in tone, the works can be read as a glorification of development or as a reminder of the price of idealized progress.