Belay away you prickle me like an unfinished scissor, unaligned sharpened soft, meant for meat but barely capable of a white eight by ten
Construction paper slit alongside winter fingers, their layers peeled dry enough to believe I’m seeing raw tendons open there pumping right under a hangnail
wow inga. i don’t know visual art except by the most immediate visceral reactions. and i would be happy and would stop if i saw this one in an art museum.
this really .. um it makes me happy to think about it, its so good. (new mum album cover?)
I love the texture, the quadrant framings, the black open back wall (for that matter, the part of the bed? rectangle that crosses the woman on the bed), the telephone pole crosses (silent linkage - i’ve wanted to make a film for a while that traces telephone wires and shows vignettes along the way, i love buzzing liquid ether… but i love more how these poles are frumpy and loose and dishevelled and simple), sketch, which looks almost like a tracing of a photo (is it?). it really is an interesting take on photography to be honest, thats what it makes me think of, at least in parts: the girl smoking in the lacy unmentionables on the bed (in the bed? in the crack?) has a nan goldin atmosphere. Also, the quadrants show a sense of temporality - interestingly in separate spaces - (with the disappearing legs), and the girls dress is the same material as the bed, which suggests dress-bedness.
wow, thanks for such positive feedback. to be honest, I really liked this piece when I finished it, but it didn’t get much attention in crit because I had two “more powerful” pieces up at the same time (which really were not more powerful, just bigger and bolder), and I convinced myself somehow (well, based rather directly on the teacher’s comments) that this piece was more about design than anything, which is simply not true. so i have to thank you for affirming my suspicion that there is something worth taking a second look at here. no one in crit even noticed my favorite part, which you hint at, sturgeon, and that is the unmentionables-mirror-ness. it was a bit disappointing. to answer your question: yes, the figure on the right is in fact a tracing of a photo (by mary ellen mark), and it certainly has a goldinesque air about it. i clearly make no effort to hide it, but i’m surprised that you so quickly picked up on the fact that it was traced from a photo.
easier to read if you click to enlarge
January 28th, 2007 | #
those be some hip shits
January 28th, 2007 | #
Belay away
you prickle me like an
unfinished scissor, unaligned
sharpened soft, meant for meat
but barely capable
of a white eight by ten
Construction paper slit alongside
winter fingers, their layers peeled
dry enough to believe I’m
seeing raw tendons open there pumping
right under
a hangnail
January 28th, 2007 | #
[not touching
but joined in astonishment as two cuts lie parallel in the same flesh]
January 28th, 2007 | #
“Guess they’re waiting to inherit the earth,”
she answers him in English
with a little rough laugh that he thinks about all the rest of the day.
January 28th, 2007 | #
wow inga. i don’t know visual art except by the most immediate visceral reactions. and i would be happy and would stop if i saw this one in an art museum.
January 31st, 2007 | #
Carson nerds! and yes this one I love
January 31st, 2007 | #
this really .. um it makes me happy to think about it, its so good.
(new mum album cover?)
I love the texture, the quadrant framings, the black open back wall (for that matter, the part of the bed? rectangle that crosses the woman on the bed), the telephone pole crosses (silent linkage - i’ve wanted to make a film for a while that traces telephone wires and shows vignettes along the way, i love buzzing liquid ether… but i love more how these poles are frumpy and loose and dishevelled and simple), sketch, which looks almost like a tracing of a photo (is it?). it really is an interesting take on photography to be honest, thats what it makes me think of, at least in parts: the girl smoking in the lacy unmentionables on the bed (in the bed? in the crack?) has a nan goldin atmosphere. Also, the quadrants show a sense of temporality - interestingly in separate spaces - (with the disappearing legs), and the girls dress is the same material as the bed, which suggests dress-bedness.
January 31st, 2007 | #
wow, thanks for such positive feedback. to be honest, I really liked this piece when I finished it, but it didn’t get much attention in crit because I had two “more powerful” pieces up at the same time (which really were not more powerful, just bigger and bolder), and I convinced myself somehow (well, based rather directly on the teacher’s comments) that this piece was more about design than anything, which is simply not true. so i have to thank you for affirming my suspicion that there is something worth taking a second look at here. no one in crit even noticed my favorite part, which you hint at, sturgeon, and that is the unmentionables-mirror-ness. it was a bit disappointing. to answer your question: yes, the figure on the right is in fact a tracing of a photo (by mary ellen mark), and it certainly has a goldinesque air about it. i clearly make no effort to hide it, but i’m surprised that you so quickly picked up on the fact that it was traced from a photo.
February 1st, 2007 | #
Honestly, I didn’t (consciously) notice the unmentionable mirror, but that is delightful now that you point it out.
February 1st, 2007 | #