Monday, October 14, 2013
watch time pass/see space change
http://www.youtube.com/watch?v=8ew3SQiFGR0
painter for the future.
secrets. being held in the hues of paints in circles and symmetry. Being a woman as being a secret for the future because being a woman in the present is always casted out by bigness of our male counterparts.
http://www.youtube.com/watch?v=xPAat-T1uhE
I am struggling to interview people. To talk to them. I feel like I need to go drink beer at Telegraph with a sign that says I am interviewing people about their stories of psychedelics.
I feel behind in my project. I miss the studio. I miss space with other movers. I made some of the biggest mistakes of my life in the last few months.
I feel very isolated as an artist right now and I would say most of it is self-imposed.
painter for the future.
secrets. being held in the hues of paints in circles and symmetry. Being a woman as being a secret for the future because being a woman in the present is always casted out by bigness of our male counterparts.
http://www.youtube.com/watch?v=xPAat-T1uhE
I am struggling to interview people. To talk to them. I feel like I need to go drink beer at Telegraph with a sign that says I am interviewing people about their stories of psychedelics.
I feel behind in my project. I miss the studio. I miss space with other movers. I made some of the biggest mistakes of my life in the last few months.
I feel very isolated as an artist right now and I would say most of it is self-imposed.
Saturday, September 21, 2013
2 DOTS AND A LINE
I figured out a title for my current proj: God Sees Everything
this is thanks to United Airlines playing Great Gatsby on the plane.
http://www.youtube.com/watch?v=BTruPQDa_vc
also, look at this:
http://ceruleanorange.tumblr.com/post/38984081707/feministrepublican-white-privilege-is-being
some of my recent research/work/stuff for GSE
“The key, I think, is to acknowledge that we are part of the physical causal fabric of the world, but to also recognize that we are the part capable of acting with malicious intent. That’s the hook of praise and blame.” -Manuel Vargas
this is thanks to United Airlines playing Great Gatsby on the plane.
http://www.youtube.com/watch?v=BTruPQDa_vc
also, look at this:
http://ceruleanorange.tumblr.com/post/38984081707/feministrepublican-white-privilege-is-being
some of my recent research/work/stuff for GSE
“The key, I think, is to acknowledge that we are part of the physical causal fabric of the world, but to also recognize that we are the part capable of acting with malicious intent. That’s the hook of praise and blame.” -Manuel Vargas
2 DOTS AND A LINE
“Ambiguity is important not just for design or science. it’s also central to art.” -tversky
“ambiguity is a source of ideas and pleasure.” -tversky
gestures can show action effectively.
16/9/13
...FOUND ME
YOU FOUND ME.
NONOS FOUND ME
KOOTIE FOUND ME
THE COYOTE FOUND ME
ARTISTS FOUND ME
BARRYS FOUND ME
ANNA AND HENRY FOUND ME
OBEA FOUND ME
KRISTINE FOUND ME
THE ROOST FOUND ME
ONA FOUND ME
THE BEACH FOUND ME
TREES FOUND ME
THE SUNLIGHT FOUND ME
SCIENCE FOUND ME
DANCE FOUND ME
BACKWARDS FOUND ME
PHOTOS AND LIGHT FOUND ME
SLEEP FOUND ME
PILLS FOUND ME
CHOCOLATE FOUND ME
FAKE GRASS FOUND ME
AGE FOUND ME
TIME FOUND ME
DEATH FOUND ME
PAIN FOUND ME
ABUSE FOUND ME
FRIENDS FOUND ME
MIRAGE FOUND ME- HEAT FOUND ME
NUDITY FOUND ME
SPARKLERS FOUND ME
PAIN FOUND ME
RED CAFETERIA CUPS FOUND ME
BAD ART FOUND ME
ARISTOCRACY FOUND ME
POVERTY FOUND ME
DEBT FOUND ME
EDUCATION FOUND ME
ICE FOUND ME
RAPE FOUND ME
EXIT FOUND ME
RUNNING FOUND ME
I FOUND ME
LOVE FOUND ME
FAILURE FOUND ME
Sunday, May 26, 2013
work: activity directed toward the production or accomplishment of something.
I think the ways in which life works on us is one of the most sacred ways in which beauty is instilled in our bones. Life has this way of acting on our bodies. Life has control we don't have. It does things to us. Recently, I have been rubbing almond oil all over my skin when I get out of the shower. Skin- that outermost layer of the body, the largest organ, the entrance. Skin is the part of the body we have most accessible to look at, study, feel, touch. There are so many other changes going on that we are not visually aware of. When I sit there in a towel and my underwear and massage my skin, I notice the markings of life like small bruises and ingrown hairs, the shifting and coming and going of weight and fat and muscle, the paleness of winter months and the sun kissed color of summer, the softness and roughness, wrinkles, thinness/thickness of skin, pronouncing veins on my hands, the cellulite on my thighs, the freckles along my arms, the size of my bones and my organs having grown from when I was a child, watching my breasts grown down, surrendering to the pull from the center of the Earth. It is endless and I am always so inspired by all that is happening in and on my body at any moment. It informs me. It is my teacher.
My hair is darker. When I was a child it was white. I hope one day I come full circle.
I am listening to Patti Smith. She is someone who seems to have embraced the life's doing to her. She just let it all happen to her and it is from there that she made work. It's possibly why we all love her work so much. So much of society these days is about fighting life's doing, about taking that control back in an obsessive way-
God forbid we are strong AND weak. God forbid we are fortified by the strength of our own beings and our own power and simultaneously softened and humbled by all the shit that is thrown at us within a life time.
And if god forbid it, then call me a sinner because I want it. I want to be strong and healthy and vibrant and powerful. I also want to experience weakness, failure, pain, scars, and the ever-increasing proximity to death. Because, to me, that is as beautiful as I can possibly be. And ya'll know I LOVE BEAUTY.
Friday, April 26, 2013
Friday, March 15, 2013
transformation
I have been thinking a lot about transformation within performance art. How it matters to me. I have been thinking about work that involves discomfort; work that induces a shifting of the viewer's internal constitution has the immense power to be quite a transformative experience. This in many ways is optimal as far as my work is concerned.
Just a couple of days ago I took part in an audition. Within this context, another participant and I had to create a small duet. In short, we chose to leave the end of our duet to be in the hands of everyone else in the room, knowing that there was a time limit within the audition and eventually they would need to stop our performance.
It was successful and impactful, at least for myself. I began to think about responsibility of transformation. It truly is divine when the universe almost knows more of what one needs than that person themselves. What I mean to be saying is, sometimes, god bless, life just takes your hand and guides you through something that irrevocably changes you for the better in ways you could never have instigated nor understood yourself. But so often, life just does Part I: life hands your lemons. And it is you that must make lemonade. It is you that steps over the line from crisis to catharsis. From plight to peace. These self actualized maturations build character and layer strands onto the rope of wisdom that becomes one's backbone. And so, who am I to take the hand of my viewers through to the other side? Who am I to even know how that is done. Who am I to reinforce the constructs of passivity of the viewer?
Maybe what is more useful is to offer space and time to that transformation. To say, if I hand you lemons and nothing else, will you, in your dedication to life, make the most refreshing lemonade? Will you go home with curiosity and power? Will you respond to what is happening in the room with you? Will you find those limits in yourself and then take the appropriate action as an equal, as a participant?
So... I don't think in all this reflecting that I should now go on to make work that generates crisis and not offer suggestions of transformation, but I do want to invite you (whomever you ever are who witnesses my work) to engage and respond and to be equally curious as I in the work and how it relates to you and to this world.
Just a couple of days ago I took part in an audition. Within this context, another participant and I had to create a small duet. In short, we chose to leave the end of our duet to be in the hands of everyone else in the room, knowing that there was a time limit within the audition and eventually they would need to stop our performance.
It was successful and impactful, at least for myself. I began to think about responsibility of transformation. It truly is divine when the universe almost knows more of what one needs than that person themselves. What I mean to be saying is, sometimes, god bless, life just takes your hand and guides you through something that irrevocably changes you for the better in ways you could never have instigated nor understood yourself. But so often, life just does Part I: life hands your lemons. And it is you that must make lemonade. It is you that steps over the line from crisis to catharsis. From plight to peace. These self actualized maturations build character and layer strands onto the rope of wisdom that becomes one's backbone. And so, who am I to take the hand of my viewers through to the other side? Who am I to even know how that is done. Who am I to reinforce the constructs of passivity of the viewer?
Maybe what is more useful is to offer space and time to that transformation. To say, if I hand you lemons and nothing else, will you, in your dedication to life, make the most refreshing lemonade? Will you go home with curiosity and power? Will you respond to what is happening in the room with you? Will you find those limits in yourself and then take the appropriate action as an equal, as a participant?
So... I don't think in all this reflecting that I should now go on to make work that generates crisis and not offer suggestions of transformation, but I do want to invite you (whomever you ever are who witnesses my work) to engage and respond and to be equally curious as I in the work and how it relates to you and to this world.
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