the art object, so what! the artifact itself simply residue of its making like the sound of a word hovering in space as it slowly dissapates after the conversation wans. my walls stand bare of artifacts and trinkification housing only structural breaches to allow in the light. once they bore flattened memories of people compressed there but now those same frames stacked attic bound are vacant of a twenty three year gap of content. but that is another subject. art as object, art as occupier of space, art as aesthetic eye or brain candy, or even tactile sensual pleasure are largely meaningless impotent artifacts and acts. the act of making, of production, is perhaps a method of articulation, of forming and interpreting thoughts and experiences. this method bent dumps me in the category of process artists, yet that doesn't quite fit, is not quite right. the processes and materiality are more about a hunting, a snapping into focus the ideations and processed memories that lay just out of cognitive reach. through the intuitive collection and manipulation of materials within real space, i access what is elusive. yes. it creates an odd portal to my self and opens a lens to the web that connects me to the outer world, that incessant pulsing of the living. making thus functions as an impotus that bumps me over the threshold of a kind of knowing into a space of articulation that i can then perceive. So it is not about voice, but my access and understanding to and of life content. It is not even a how I say, not voice, but what is it i say, not necessarily a talking to other but an unpacking of story, of concept, of processed memory, of feelings, of knowledge for my own use--a use of navigation through and around my histories, a guidance in interpreting the day, and a direction into the passages that splinter at the horizon of my tomorrow.
The art object and its making are irrelevant if it does not lead me into life, into this moment, into connection. (8/12)
Monday, December 03, 2012
Sunday, December 02, 2012
seems like the right thing to do
Saturday, December 01, 2012
OMGosh. 3,250 pounds of rubber unloaded
Friday, November 30, 2012
Sunday, November 25, 2012
sixty nine ready for addition of emptied silent bellows
midday break
Friday, November 23, 2012
Wednesday, November 21, 2012
ummmm. long day, but good
anyhow now is time to kick back, watch the stars come out, scratch the Dopt, and sip my fresh crushed raspberry mush (absolutely NOT gin).
tiny dent in deconstructing domestic thresholds
they said they would cut them girl sized!
bahahaaaa. whatever!!? but I guess the electric company knew what girl sized was cause I got them all loaded. may be feeling it tomorrow!for sure.
Tuesday, November 20, 2012
it is like a Friday
goal for school break: end each evening with fire
hey Dopt (long pause; then beloved human and provider of food says), you wanna go for a walk before it gets dark?
why I love what we've generated here as WASH! it's more than art; it is instead, a way to do life. naturally it includes great art and design, just something more!
this is what I arrived to this morning.
August 24,2012, they did not even know one another's names.<
August 24,2012, they did not even know one another's names.<
Sunday, November 18, 2012
ghosts
I especially love the way each time I read this piece, my brain twists and turns it to a different reading, a different meaning. it is this ambiguity that allows the viewer to enter the work and ascribe their own meaning that makes art engaging for me..
Saturday, November 17, 2012
Friday, November 16, 2012
Tuesday, November 13, 2012
pepì là peeUUUUU met my Dopt today
Monday, November 12, 2012
mr bluebird clutching deadly to the grate
girl all through
and am confounded by what to to with your frozen dead blue frame
not sure you count as fire starter fodder but too chicken to pluck you out
oh I am stymied
this is not a poem!
Saturday, November 10, 2012
ok. maybe I like drawing with my fat fingers on my iPad
ok might need at least a 2x3 iPad sketch surface. I don't do small.
potential tool for sketching tubular artifacts
playing in the morning remnant
ha. and then there is why would I bite into the fruit of a plant of only guessed origin. ends up these are not sweet peppers. mouth on fire. ouchy. welp apparently I've planted a jalapeño bush at the edge of my deck. :) good thing it wasn't a poisonous fruit.
Friday, November 09, 2012
Thursday, November 08, 2012
odd rule of merging
one column political section; one column sports section; two columns aligned to read as one longer column; all direct references to sports and politics removed; unnecessary articles and such removed. poem generated from the remnant now one column, an experiment.
-----—-------—-----—-------—-----—-
one one chance
the most one chance
only to upset
reliable
until and that is if
the day easily
backs
extraordinary
after the amazing remained
that is the talk you hear
despite the unusual results
not so
if hopeful of gain
because to move within one
of an unbreakable
two
we don't have space
-----—-------—-----—-------—-----—-
one one chance
the most one chance
only to upset
reliable
until and that is if
the day easily
backs
extraordinary
after the amazing remained
that is the talk you hear
despite the unusual results
not so
if hopeful of gain
because to move within one
of an unbreakable
two
we don't have space
Monday, November 05, 2012
come on boys! must you just toss the carcass out your truck window!
sickly, I loved the gnarly photo op.
Sunday, November 04, 2012
philosophy--schmalosphy the ongoing refinement of an intuitive mentoring/teaching philosophy
Through the assistance of three friends, I've been refining and codifying with words and reason what it is that I do in the teaching-studio environment. One leaning me toward more academic less my poetic impulse, Two to hunt for research backing to substantiate, and Three just for freaking posting a NYTimes article on resilience which lead me straight to what Two suggested. I've yet to figure how to link it directly to the research documentation, but at least I know the theories of research that corroborate my practice -- social theories of attachment, resiliency, change, responsiveness and flexibility. Oh yea!
ummm. They haven't proofed this pseudo final version and anyone who follows my blog knows that I may be of sound logic, even poetic, but I certainly can and do butcher the English language. Yup.
Art Foundations Teaching Philosophy
Mania of making, mania of the mind, both are worth harvesting, expanding, directing and releasing. As artist educator within foundations, my role in this process is to cultivate a sensitivity to listening. I see this listening as rather all encompassing and enabling of an awareness of self, others, materialities, processes and practice, traditions, physical, social and historical contexts, passions, subject matter, methodologies, and so on. This kind of perceptiveness requires me to equip students with a capacity to dwell inside and alongside of things and thinking so that making becomes a reflection of their listening. Access to the rhythms that come from deep listening allows what might otherwise remain submerged and unseen to manifest in ways that become meaningful. I have taught in the sciences, faith and the arts—each a creative endeavor and fundamentally parallel in the need for this sensitivity to listening, connecting, and acting upon.
Deep listening, connecting and making actually requires a high degree of risk taking, openness to critical feedback and dialog, as well as, exposure to failure. This artistic risky behavior, openness, and exposure are cultivated through a series of communal and curricular factors.
Beginning in the very first studio, it is critical to build in forms of interaction that emotionally tether the students to one another and to their sense of belonging within the program. A resiliency that allows the studio experience of experimentation, tight timelines, heavy workloads and critical dialogue to be pushed further than when students’ function as isolated agents is foster by the development of strong studio peer attachments. Attachments are initially accelerated when classroom norms are disrupted through a series of non-graded tasks that bring the students into opinionated mini monologues about the arts, extremely close physical proximity via a small team task, team performance of task, and laughter, followed with a larger group critical dialogue exploring the discrepancies between team intent and viewer perception. These forms of connections, teams, tasks, and dialogues set the stage to implement an intense curriculum and work practice that peaks curiosity, promotes artistic risk taking, critical dialogue, and physical engagement.
Built into the scope and sequence of the curriculum are the practices of successful artistic deep listening, connecting and making—research, idea development, capacity to harvest from personal passions, critical reflection and discourse, collaborative unpacking of discrepancies between intent and outcome, deconstruction and adaption of working processes, work ethic, time management, opportunities for multiple iterations of a single concept or materiality, attention to craftsmanship, and professional presentation of work. Traditional attention to design elements and principles and craft are attended to but in ways that supports and emphasizes the habits of perceptiveness and process.
These deep listening, connecting, and making habits are not only the key to successful art careers but they are highly portable and will transfer to other potential job/life activities that the artist may embrace to support their artistic practice.
ummm. They haven't proofed this pseudo final version and anyone who follows my blog knows that I may be of sound logic, even poetic, but I certainly can and do butcher the English language. Yup.
Art Foundations Teaching Philosophy
Mania of making, mania of the mind, both are worth harvesting, expanding, directing and releasing. As artist educator within foundations, my role in this process is to cultivate a sensitivity to listening. I see this listening as rather all encompassing and enabling of an awareness of self, others, materialities, processes and practice, traditions, physical, social and historical contexts, passions, subject matter, methodologies, and so on. This kind of perceptiveness requires me to equip students with a capacity to dwell inside and alongside of things and thinking so that making becomes a reflection of their listening. Access to the rhythms that come from deep listening allows what might otherwise remain submerged and unseen to manifest in ways that become meaningful. I have taught in the sciences, faith and the arts—each a creative endeavor and fundamentally parallel in the need for this sensitivity to listening, connecting, and acting upon.
Deep listening, connecting and making actually requires a high degree of risk taking, openness to critical feedback and dialog, as well as, exposure to failure. This artistic risky behavior, openness, and exposure are cultivated through a series of communal and curricular factors.
Beginning in the very first studio, it is critical to build in forms of interaction that emotionally tether the students to one another and to their sense of belonging within the program. A resiliency that allows the studio experience of experimentation, tight timelines, heavy workloads and critical dialogue to be pushed further than when students’ function as isolated agents is foster by the development of strong studio peer attachments. Attachments are initially accelerated when classroom norms are disrupted through a series of non-graded tasks that bring the students into opinionated mini monologues about the arts, extremely close physical proximity via a small team task, team performance of task, and laughter, followed with a larger group critical dialogue exploring the discrepancies between team intent and viewer perception. These forms of connections, teams, tasks, and dialogues set the stage to implement an intense curriculum and work practice that peaks curiosity, promotes artistic risk taking, critical dialogue, and physical engagement.
Built into the scope and sequence of the curriculum are the practices of successful artistic deep listening, connecting and making—research, idea development, capacity to harvest from personal passions, critical reflection and discourse, collaborative unpacking of discrepancies between intent and outcome, deconstruction and adaption of working processes, work ethic, time management, opportunities for multiple iterations of a single concept or materiality, attention to craftsmanship, and professional presentation of work. Traditional attention to design elements and principles and craft are attended to but in ways that supports and emphasizes the habits of perceptiveness and process.
These deep listening, connecting, and making habits are not only the key to successful art careers but they are highly portable and will transfer to other potential job/life activities that the artist may embrace to support their artistic practice.
the awkward stranger danger distancing
walking down the road
with my four legged shadow beast
as is becoming my norm
with more frequency
a truck slows
stops
this one a little nicer than the last
the occupant a smidge older
disposition and acutraments
hint of affluence
one I recognize
for its parallel with my past
as is my practice
I hold my Dopt
keep a safe distance
no Tom Bundys or
car flattened pup for me
a chat ensues
the previous a local
fishing for a name a number
must be the jeans
I give him my first
awkwardly stumble over my words
withhold the last
in its place I spit
oh I've been out her a year and a half
he makes me nervous
he senses it
his distraction with my jeans blinds him
to the fact that in terms of years
though just barely I tell myself
I could be his mom. yuck
he pulls away closing with
it is nice to meet you
kathy living out here a year and half
today more gentlemanly
the garb and mud covered truck
indicative of hunting
so I ask about such
no luck
he discloses it is loosing its appeal
a phase waning
we talk dogs
he seems lost, hints of sadness
he becomes awkward
no names exchange
too gentlemanly to infringe
to make me uncomfortable
clearly his stay and talk tug
I hold my distance
am attentive
he was acutely aware of a certain aloneness of his own
but stranger danger lurks in the back of my mind
I hold as not fishing for a name
he seeks a deeper connection
his sadness, my wary stillness
pulls him away
returning to his big city
he seemed a nice soul
the shadow beast
oblivious to human need
plunges joyfully into the cow tank
for her ritual swim
I blog on as she repeatedly nudges in reminder
to lift my head
my norm, our norm, repeats
with the frequency of the living
with my four legged shadow beast
as is becoming my norm
with more frequency
a truck slows
stops
this one a little nicer than the last
the occupant a smidge older
disposition and acutraments
hint of affluence
one I recognize
for its parallel with my past
as is my practice
I hold my Dopt
keep a safe distance
no Tom Bundys or
car flattened pup for me
a chat ensues
the previous a local
fishing for a name a number
must be the jeans
I give him my first
awkwardly stumble over my words
withhold the last
in its place I spit
oh I've been out her a year and a half
he makes me nervous
he senses it
his distraction with my jeans blinds him
to the fact that in terms of years
though just barely I tell myself
I could be his mom. yuck
he pulls away closing with
it is nice to meet you
kathy living out here a year and half
today more gentlemanly
the garb and mud covered truck
indicative of hunting
so I ask about such
no luck
he discloses it is loosing its appeal
a phase waning
we talk dogs
he seems lost, hints of sadness
he becomes awkward
no names exchange
too gentlemanly to infringe
to make me uncomfortable
clearly his stay and talk tug
I hold my distance
am attentive
he was acutely aware of a certain aloneness of his own
but stranger danger lurks in the back of my mind
I hold as not fishing for a name
he seeks a deeper connection
his sadness, my wary stillness
pulls him away
returning to his big city
he seemed a nice soul
the shadow beast
oblivious to human need
plunges joyfully into the cow tank
for her ritual swim
I blog on as she repeatedly nudges in reminder
to lift my head
my norm, our norm, repeats
with the frequency of the living
Saturday, November 03, 2012
8x8. ouchy on the 64 hand twisted securement
boards hung, installation begun. half way done.
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