Saturday, July 30, 2005

Transitional connections

Checked out You, Me, and Everyone We Know last night. It's a small, quiet film centered around relationships and transition. It takes place during a time of major and minor upheavals in the lives of most of the characters.The film seems to exist neither here nor there but somewhere in between. By the end, there are revelations but not much in the way of resolution; the future is an open book for these characters. It's very 'artsy', which is no surprise since it's written and directied by Miranda July, a performance artist and filmmaker. Her take on what some artists go through with their work and getting it recognized is fairly dead on. This is the first non mainstream summer movie I've seen this year and I'm glad I took the time to take a break from the usual brain candy.
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I felt a connection with the transitional aspect of You, Me,... as it relates to one of the foundations of my artwork. I began using abstract imagery years because I wanted to explore a similar ambuguity. I needed to use imagery that was not recognizably 'this' or 'that' but existed someplace in between. It was the logical thing for me to do in adopting a visual vocabulary that went beyond the established symbolic meanings associated with representational images or objects. Abstraction or Non-Objectivity freed me from the constraints of meanings readily placed on recognizable subjects; I was now able to construct images that could possibly have infinite levels of meaning for viewers.

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What does it mean to have an image exist 'in between'? In between what? In between where?

At the end of a long work day, my mind rapidly begins to 'empty out'; it starts to drift and wander here and there. I'm well aware of my surroundings, but I'm also turning inward a little. As my mind quiets down from the overstimulation and demands of work, I begin to hear my own footsteps as if for the first time. I'll slow down and think about things such as all of the minute and grand things that are taking place as I take each step. Not only that, but what's happening as my other foot is making the move forward-the heel of my sneaker rising, my foot arching, the heel touching ground again. How much do you think has happened in those couple of moments? All over the world, trillions upon trillions of events have taken place and we are only consciously aware of a tiny fraction of them.

Any event I might think of as 'in between' really isn't really that at all. I think it's nearly impossible to define what's 'in between'. So why try to capture it at all if it really can't (as far as I know) be captured at all. There's the quandry-how do you capture something you aren't even sure exists? Especially with a static medium like paint on canvas. Can it even be defined as an image, sound, or combnination thereof? Who knows? Maybe...However, that leaves me with one thing: the challenge of the chase. I know I'll never really capture or own 'in between' in any manner whatsoever, but I can use my limited understanding of it, along with what I know of my interactions with my surroundings to construct a visual narrative. Thinking back over the years of work I've done, I've always returned again and again to various incarnations of my fascination with the spaces between things, places and events.

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Spent some time painting today. I can't say I had the best concentration. I had to take care of some pre-show stuff which included dropping off drawings at Seven Arts framing. Bridgette's going to pick them up on Saturday, Aug. 20th. We also set an installation date: Monday, August 22nd. The show opens on Wednesday, August 31st and the reception is on Friday, Sept. 3rd. I'll go in and work some more tomorrow evening.
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