Sunday, December 5, 2010

a statement

Through my choreographic pursuits it is my deepest intention to reveal honest and
vulnerable expressions that display an expansive definition of technical skill. Working in this
manner allows me to contribute to the field of dance by continuing to embed the democratization
and inclusiveness into choreography and performance. I aspire to present work that awakens the
unconscious/subconscious body-mind and to use the language of the moving body to convey
what might not otherwise be articulated in words.

a statement

Consider it Vertovian of me, but I believe the purpose of art is to do nothing more than imitate or, perhaps, emulate life. This isn’t to say that a realist painting is any more valuable than an impressionist or even experimental work of art. When it comes down to it even works such as Matisse’s blue nudes attempt to display and tell us something about life.

However, it becomes rather conflicting because art will never actually be able to succeed in imitating life, but that’s part of why I continue to strive to do it. That failure teaches us, or at the very least me, about life more than any other great accomplishment could. We learn from our failures and not our successes. I wrote down a memory the other day that will possibly express all of what I’m trying to say more clearly than a strict statement could. It was a memory I had as a child when I felt like God.
My father showed me how to create “infinity” by placing two mirrors across from one another. Of course my mother ruined it by pointing out God created everything that let us have the mirrors at all. But for a little bit I felt like the creator of something. That’s when I started making art. That’s when I devoted my life to trying to feel like God again. And that’s when I chose to pursue a life of intentional failure.

a statement

I am not an artist.
An artist is an enthusiast, someone who creates something intentionally, whole-heartedly.
I create “art” for the sake of a grade, in a class, taught by an artist, surrounded by artists.
I do not make for a feeling, for thoughts or ideas, emotions, or to tell a story.
Just follow the syllabus.
This is not to say that I do not enjoy creating art, because I do.
Does this make me a fake?

I enjoy the process of bringing into existence a new form, a new shape or object.
I do so without an ultimate goal.
I create in the moment, without thought or emotion, no plan.
Only process.
Adding and attaching.
Subtracting and erasing.
Touching, feeling, breathing.
I care only for aesthetic.
Does this make me superficial?

Only skin deep.
My work has texture, pores or facets if you will.
Caves and mountains and valleys and boulders.
This probably stems from being raised in nature.
It is clean and healthy.
Trees and fresh air.
The smell of wood.
Blisters from working the land.
Working the material.

Always tidy, neat, and very particular.
Like my life.
Never messy.
Life is messy.
It is beauty.

It is large and voluminous.
It is bright and obnoxious.
Or white as snow.
It is intriguing to the viewer.
It is secretive and revealing, at the same time.
Yet, has no meaning.

Maybe that means something.

My creations are never gory.
Never dark.
Far from depressing or sad.
Maybe a little dramatic.
Light-hearted and carefree.
Simple objects.
Clean lines.
Obsessive compulsive.
It is maddening.

I am creative.
I do not want to be an artist.
I want to be surrounded by artists.
Surrounded by creative minds.

a statement

One could imagine that the shapes on this page can align minds.

a statement

I am an artist to evoke emotion in others and to share beauty with those who cannot find it in their everyday life.

a statement

Art for me is a genuine chance for me to be me. I love to see other people’s art just as much as
creating it because, if you know the artist has a reputation for being honest, you get an inside
look at their deepest feelings and thoughts. I do video for my profession, but it is i for a major
fashion company and there is not much opportunity to be creative. Where I am always open to
show my creativity is in my music. When I am finished composing something new, weather I
create something in relation to my mood at the time, or interpreting a story, I know that the time
and hours that I have dedicated to that piece is the most genuine time of my life that I spent

-Drew Love

a statement

I am a visual communication designer. I chose to go in this direction because I like beeing creative. I think beeing a designer gives you something back, other jobs can´t do in this way, e.g. to put effort in a special work and create something new and see the endproduct and especially if the person I made it for is really happy with it, makes me happy and I know why I work for it so hard.

I try to orientate more in the digital direction learning to work with film, animation, movies, projections and touchscreens, so more the digital media.
For me this is important, I think the digital media is our future, like touchphones, laptops and so on are already. You can spread digital media much wider than a printed Object like a flyer or a business card. 
I love watching film and I love working on it, it´s my passion. I like the media film so much, because everyone can understand motion pictures it´s a worldwide thing and it connects people in different ways. If it´s only that they have the same interests in film or its a topic they can connect with... I want to create things like that, media where people can indentiify with and talk about.

a statement

Currently I am inspired by the limitations of the human ear’s ability to filter and
decipher content when it is overloaded with many audible sources simultaneously. When
we have too much discernible information that needs to be translated at once, momentary
confusion is created. We become unable to distinguish the origins and definitions of sound
as they begin to overlap and pile up. Could you detect your friend’s voice through the
soundtrack of 5000 commuting people in a subway station during rush hour? Amid any
auditory chaos we begin to listen for something familiar so that we can focus on, and find
relief in, the recognizable, like sailors searching for a lighthouse from the deck of a
battered ship lost in a stormy sea.

This year I began to record, edit, and mix, languages and sounds into abstract
compositions. This kind of sound composition is known as musique concrète. Musique
concrète is a form of electroacoustic music that utilizes acousmatic sound as a
compositional resource. The compositional material is not restricted to the sounds derived
from musical instruments or voices, nor to elements traditionally thought of as "musical"
(melody, harmony, rhythm, meter, and so on). While making this work, I have been
thinking about isolation, transparency, eavesdropping, observation, and the overall
misinterpretation of familiar sounds. I have become interested in removing definitions from
the words, and the origins from the sounds, that I use to compose these sound pieces. My
intent is to exhibit an auditory emotion that exists within the phenomena of audible chaos.
These “sound environments” are a result of simultaneously overlapping multiple languages
and sounds to create momentary confusion when listened to. I hope to entice listeners into
attempting to translate the unidentifiable. I want them to find a connection to the emotional
content that exists beyond the literal definition and identity of the words and sounds they
are hearing.

Some of this work exists within the space of handmade clear glass capsules that
need to be investigated by using a stethoscope. These compositions are intended to be
listened to one person at a time, in order to simulate the isolation of thoughts inside one’s
head and give each viewer an uninterrupted chance to connect with each work. I make the
physical forms in clear glass because the material is unassuming, transparent, and has an
honest quality about it. What you see is what you get, or so you think. Most of the time,
sound cannot be physically seen, is relatively invisible, and is usually only recognized by
the vibration of our eardrums. The clear glass mimics the invisible/transparent quality of
sound that you cannot see, but it also acts as an window or separator, which I intend as a
way to physically replicate what I call “immediate vicinity isolation bubbles” or IVIBs: those
zones of imaginary privacy that seem to surround people as they nonchalantly talk about
their private concerns in public while using cellular phones. The glass physically separates
each of the works interior audio narratives from each other, thereby allowing each
composition of musique concrète to coexist in the same exhibition space without detracting
from one another. Utilizing this material allows me to build a transparent environment that
can diminish, or erase, the audible from the viewer without isolating their visual
perspective, thus creating the false sense of privacy that one has inside a phone booth. An
exchange of private dialogues take place and where every passerby is witness to the event
of that conversation even if they cannot hear it. I am giving the audience permission to
penetrate this separating layer and granting them access to a private interior where they
can eavesdrop, one person at a time, and indulge a momentary fascination.

Robert Lewis

a statement

What do I believe art is? If someone were to ask Anthony, "Anthony, what is art?" I wouldn't do a fine job of telling you; I could show you though. To me art evokes response, emotion, and thought. A broad definition I know, but I mean, what is art? It's subjective isn't it? It sure seems that way when one skims over the history of art in the public realm since the dawn of culture. Is it practical? Is it useful? Is it offensive? Is it just awful? Is it not art? Art is what I make of it. Out of the hum drum of everyday life, or out of the inner workings of my own mind. Art is in the mind. My Art and my concepts of art are mine alone.

a statement

As an artist who takes pictures, I feel obligated to document experiences that
describe our temporal nature, known more commonly as life. As humanity reaches
new heights of exploration, of discovery, creation and invention—some may argue
that today humans are better than the day before. Like the prescribed recipe for
evolution, we are designed to operate within social norms, to produce a better,
smarter, and stronger generation—for the betterment of mankind. I am interested in
illustrating this cycle of preservation, our attempts to remain fossilized in an
environment which will always prevail in our erasure.

I am jealous of those who believe in the afterlife. For those who do not
believe, we recognize that the true reality is consciously unbearable. A trip to
blissful heaven is a clever disguise for an eternity of nothingness, but better yet
proves to be an elegant example of checks and balances derived by those in power.
It is this idea that gives me anxiety; it is this idea that keeps me awake at night. My art serves as a catharsis—freeing me from my fear of the inevitable.

Through contemporary photographic processes, the photograph operates as
a document to the performances that are shown before the camera. Viewers are
perceived as unaware voyeuristic participants of the bizarre rituals shown. My
performances, often including the manipulation of the body surface, become the art
itself. The fear of suffocation, the tangibility of the material, or the feeling of the execution of an unknown action is what I find most interesting. Through the
photographic window, viewers are invited into these intimate illustrations of the