Sunday, August 3, 2014
Tuesday, July 30, 2013
human perception is an automatic dynamic biological and neurological function requiring no consciousness of its 600 million year evolving apparatus to define, edit, summarize, even presume the billions of stimuli your body receives each moment.
human perception and human scale were two parallel lines that crossed in recent years. human scale has always been of great interest to my work beginning with rothko's canvas, le corbusier's modular man, da vinci's vitruvian man as well as other applications of proportion as golden mean, etc. human scale has been a manner for man to enter into a work completely or proportionately, like some connective tissue or shared breath of mathematical sublimity. as true in Architecture as in Art., human scale was a scale which pulled upon more sensory apparati than just the ocular, prompting fuller sensory awareness, a wholeness of submersion.
however this definition has only gone so far----larger works would automatically engage human scale and yet rothko eventually felt shut out of his own frames. body as measure brings "object"ness higher in the heirarchy for definition instead of perception itself. this unit whether body or object continues a separatist vernacular---furthering a gap felt between perceiver and the percept. the wholeness of submersion is not a scale of size but a scale of awareness---an awareness of the perceptual system that engages not in the totality of what a something is but a human experience of it-----it is the most rudimentary and simple of points and yet immeasurably true, ones degree of awareness of this is one's human scale.
the function of sensory perception is to bring an unknown into definition. attention brought to the moment before definition suspends the unknown––explores it––however minutely, and gives an experience of the human mechanoreceptive, proprioceptive, somatosensory scale. it is impossible and unnecessary to track the immensity of information our system summarizes but the experience of this scale can be brought to the edge of ones finger [as all senses]. human scale is a chosen moment in the awareness of this perceptive function----this is the works of the Protoist Series, as well as with other works of Art and Architecture.
Monday, December 31, 2012
on a train ride south to the city, i pondered the death and life mask from an image i was reading in the paper--never thinking on it before--i was moved by the sensate communication the mask gives to a comprehension of the individual's life---i was impacted by what is shared in being human. spending time with newton, schrodinger, beethoven, keats, joyce, and marat 's death masks i was moved by the nature their physical body gave as last impression of their living discourse---aspects of the artist's process in making these life or death masks drew parallels to the existing process of my "noumeral" works--it was curious to me then how the steel records the life, the history of the concrete Form much as the plaster over the subject's face. the plaster records the flesh, contour and eerie depth of soul from a human face; steel records the cement's, rendering a smooth depth of almost silence, like a wax cylinder full with yet with no audible sound of thousands of years of human-applied story, even its first combusted deposits 12 million years ago within the earth.
the strange smooth silent mask of steel upon the cement allows similar contemplation of the plaster's folds and creases over the details of a life uncaptured yet recorded by its flesh, the life and death of a medium.
Friday, November 30, 2012
1970 recording of Jorg Demus performing Beethoven's last Piano Sonata (no. 32 in C minor, op 111) on Beethoven's 1825 Viennese Graf. [Bonn Germany]
Train, one of the 1997 recordings from the U.S. Navy Sound Surveillance System (SOSUS) network and autonomous underwater hydrophones. Possible origins of this sound are an iceberg's keel dragging along the sea floor to other vibrations generated from moving fluids, like air blowing through a clarinet, of the ocean water and the right conditions around some seamount.
Wednesday, May 16, 2012
my first visceral connection to art was about age 8 midst classical training on the piano--when i first conceived of the composer beethoven as a man, in the ordinary sense, as a human with one life--with many struggles, joys, but simply one man with one life--i felt this stirring of what a human can give with one life. as with any composer with a body of work, when playing his/her work you feel their person and devotions through the choices of themes, progressions, even hand placement [rachmaninoff crossing thumbs in prelude c sharp minor]
this manner of thinking and playing brought me into a more intimate conversation on the one life, on being human, with each composer--these were my earliest discussions on art--and given that the composers were, well, dead--my imagination, my interpretation of these wordless discussions shaped me deeply and with no obvious arguments rooted singularly as foundations of my own compositions.
decades later, in my brooklyn studio, when listening to classical piano and thinking back to the richness of gray given from such black and white keys--i would await certain pieces, memories from childhood. when the ninth symphony would play, i wondered what it would have been to be seated in the kärntnertortheater in vienna palpated with expectation of beethovens ninth--an anticipation built from his 10-12 year absence on stage, and although it was a premiere, there was no plan for a second performance. there was no way to record it or share or post it other than with one's own body, every available sense to absorb it as memory--a visceral memory, held within the body, shaping the self--
with the body as recorder, the memory dissolves with its device.
the function and question of memory and investigation of the senses in a culture where physical presence is no longer required to participate in an event evolves our definition of being human. perhaps other senses are becoming as others weaken--senses remain our reality makers and define our depth of presence and continue as points of departure and return with my work.
Sunday, April 15, 2012
Friday, November 18, 2011
Saturday, October 15, 2011
Sunday, June 26, 2011
Tuesday, October 5, 2010
“the art to come will give form to our scientific convictions. this art is our religion, our center of gravity, our truth. it will be profound enough and substantial enough to generate the greatest form, the greatest transformation the world has ever seen.” franz marc 1914
while living in my attic studio in sevilla spain, i came across a biography on wassily kandinsky. its author purported the story behind wassily's genesis of what the western world terms the beginning of modern art. after a day of landscape painting, he returned to his studio laying his canvases against the walls to dry. upon entering the studio the next morning, he struggled to recognize one of his canvases because it was oriented sideways (maybe even upside down). it was the nature of the abstract's immediacy, the inner necessity of this moment that began an intuitive, spiritually and scientifically symbolic series of works which thoughtfully developed into what later credits him as the father of western modern abstraction.
if the picture of reality shifted perpendicular to your line of sight, if all the forms you know as reality shifted even a little, all forms then become a choice again in how you assign them meaning. it is this momentary lapse of the conditioned into the permission of the conscious choice that brings the true art of creation as a filter ever-present within our collective/individuated thought processes and conception of what is.