I just saw the work iterated to finished in a\u00a0vision, the way it shimmered and made itself so easily beautiful. I remember once thinking into how these works look like microscopy images, giganticised. Like all specific ideas about it, I had to drop it and run for the work\u2019s life.\u00a0\u00a0 But the valuable takeaway now is clear, that these things I am making are giant bodies with parameters made known with the light.<\/p>\n
I made the walls of the fortune fort as a wire and screen container.<\/p>\n
I couldn\u2019t freak out when the time got tiny toward the open studio, since I needed to be in the meditation mind, where hurry smells like vinegar.<\/p>\n
Getting more practical and less ecstatic, i came to the page for two walks, two finds: the shampoo, already geezus, and also to prepare for the crit on Monday, which surely will announce itself more easily if I am not bunched up fretting.<\/p>\n
Find what\u2019s easy, find what works, find the way through ease \u2013 not eddy haskel ease, faked slow movements, but with real ease, because it\u2019s your<\/em> life. What works, and then I see it, the screen bodies and the optical work as its details. this work just arrived and it made me cry, I burst into ecstatic tears. I could nevuh say it in words so let\u2019s see into the work a little more, in order to inventory what needs to be made, and then shampoo and then next day makity make make knotting the wire and sculpting the screen \u2013 would be so great with blow torch<\/p>\n And then the visions of the new work, the stacks of screen with the images projected onto them will knock socks off even myself<\/em>.<\/p>\n As far as the crit goes, it\u2019s tell the story of the work in a whatever it\u2019s called format, the various components as I see them about reflection and the wire work with Bucky and Vitruvius and a one liner about each component I\u2019ve been working on, and how each has been a discrete body of work, the weird early borthworks of shifted perception. The borthworks. The birthworks. \u00a0Mythologist, and the opening of the examination of the pre-rhetorical mind, as the creative force of the Self. and not that i\u2019d go into it ha but i see that i could work my whole story backwards as a creative journey toward this work, these lightweight materials being a direct reaction against the most difficult element of clay work: its weight, I used to order 4 to 6 tons of clay a year at the height of studio operations. And I was a daily, key maker in the studio, schlepping.<\/p>\n And now all these components of the work become one thing. This All One. ALL ONE. \u00a0The screen and the wire and the optics having been made possible by earlier mindshifts that resulted in text based cursive works and quickly jumped to reflection, where refleciton was in my face like optics at the Elmhurst show, and the screen and the shadows. \u00a0A giangaintic body that interacts with an alternate version of the same space. That is to say, the work addresses the space in an unusual manner, for example, it does not adhere to typical use or traffic pattern, and does not confine itself to the human eyeball level. the painting-hanging space. \u00a0perhaps it regards the building \u00a0as tiny vis-a-vis itself, and only a small segment of itself is iterated in the exhibition space; or perhaps the room is a container that just barely fits, and takes advantage of different possibilities of itself in changing light, in\u00a0different times of the day and qualities of the light..<\/p>\n The components, thewire, screen, lights, shadow, optics, maybe the painting on the wall as an unresolved component, and movement and sound. \u00a0The body of it, how it makes itself a thing in space, appeared this weekend, makes itself clear now, as I sit with the finished iteration and reflect into it. after a most recent journey stripping the work to only its essential wires, beginning with Black Square, and becoming most\u00a0recent work \u00a0and what\u2019s the fortune telling, I will one liner it as interactive authentic performance piece in an area of the installation that is open for public use when I\u2019m not there reading. Seeing. telling.<\/p>\n reading. seeing. telling. The whole suite. Now I want to sleep again. \u00a0the work has come to earth, and, being light, it only makes sense that it arrives before sound. More reading is necessary and soon the space will open for it because I think I\u2019m iterated and can get into the papers soon, the grants and the ecstatic and on my own terms research, because I don\u2019t work inside parameters of any field, i just work for the work.<\/p>\n Open my mind to the whole room, i think of the installation ]on Monday, how the segments will be discrete and also complete and fully composed, pulled together. The work has me now, not the words that only overfroth and don\u2019t make a shape.<\/p>\n","protected":false},"excerpt":{"rendered":" I just saw the work iterated to finished in a\u00a0vision, the way it shimmered and made itself so easily beautiful. I remember once thinking into how these works look like microscopy images, giganticised. Like all specific ideas about it, I had to drop it and run for the work\u2019s life.\u00a0\u00a0 But the valuable takeaway now … Continue reading get down to it anyway<\/span>