*the top piece is a drawing i did a few weeks ago that i’d really like some feedback on. jed, it kind of makes me think of you and the project you mentioned re: rehabilitation/recovery, so i’d especially appreciate your thoughts. one really basic question i wanted to ask is, does it look better as one unified piece (the first image) or broken into two (the second two images)? it’s four panels that i originally planned as one composition, but i think the composition is particularly weak because of the way the space is broken up in relation to the horizontal page break, so i thought maybe taking the pieces apart would help? i can’t tell.
*the next two are round drawings (try to imagine them without the constraint of a square) that came about as offshoots of the first piece. i’d like to continue working in this vein — i’m not through exploring the experiences/issues that i’m approaching in these pieces, and so far none of these three feels entirely complete or successful — which is why i’d really value some feedback and direction.
p.s. Jed, how is that piece coming along? And Sturg, thanks for asking about my show… it went well, though I’m glad it’s over with (I get very nervous having people look at my work). I may post some photos soon, but unfortunately, I couldn’t get any good ones of the installation due to terrible lighting conditions (and poor photography skills).
Amazing. I thought that they were cool, then I clicked and saw them big, and felt inexplicable wave of emotion, loneliness of pharmaceutical situationalisms. I finally, at last, feel that you are expressing an Inga that I recognize and therefore can’t help but feel that you’re hitting on real issues here. There is tremendous honesty in this series. The snakes are definatly the center of signification in these for me. I like the two panels together, because I think you want to make the connection/juxtaposition as close as possible.
I have pages and pages of fantastic raw materials about Z and the system he has been inhabiting. There is a lot more to gather. I am struggling with the form of the piece. I want it to be schizoid and yet comprehensible enough to be massively politically functional. Also, he is not yet in a place to be comfortable with people reading it, esp. people he knows and loves, so it will be a few years on both ends before the piece sees daylight. Which is frustrating, but also Real and unavoidable. He’s doing as well as he possibly could be, though, and though it may not seem like it, he will find himself Liberated soon.
Jed, that’s good to hear about David and the raw materials. It seems like a really important story to tell, or untell, or whatever you would say. I think it is also good to have some time to let the project shift (and Flow) and take on new directions. Coming out of an academic environment, we’re accustomed to producing work all at once over a period of 72 hours and then letting it forever rot in some dusty folder. But there’s no reason to work in that paradigm any more. Anyway, I also think that it sounds like motion images might tie into the Work at hand quite well, there. Especially animation, shadow puppetry, green screen action packtion. I’m so sick of documentation.
Inga, I love the block-print/cut-out (/shadow puppet) perspective of your work here. That’s not really getting at what strikes me about it, but it definitely has to do with almost folk-art style, to put it badly. Also, the dangling legs. They remind me of that Manet, Bar at the Folies-Bergere - check the upper left corner. http://bp2.blogger.com/_w4YCxUIoPrE/RjJ-r7qLm8I/AAAAAAAAAAU/oC5kCPS9hOw/s1600-h/Edouard_Manet_004.jpg I kind of agree with Jed that the two sets need that juxtaposition, but then again I like the separation. I think they maybe should be separated a bit, but almost touching. And definitely not side-by-side. What’s the material here?
Also the circle ones are awesome. Something about circular frames gets my platelets Flowing.
Inga, I never feel capable of giving you productive comments on your art. I’m also in awe of what the other two fellas here say. Visually, I only know how to look at a thing and say I like it or I don’t. So I’d just like put it out there that I love this stuff. And that it reminds me of Paul Klee.
No actually I do have something to say. The top one, definitely keep it together. What throws me off is that top left portion of it. It unsettles me to be on the floor looking up at that set of cabinets, unable to see more than two sides. But then, reading left to right and top to bottom, the dimensionality is increasingly… construed. And then there’s snakes because sex is always around the corner. So in the beginning it’s just simple. But it doesn’t quite work somehow. I want the top left to be different than it is. Not sure how. And I guess I don’t comprehend the butterfly effect with the little white star in the lower middle. But I love the checkered floor. I like how he goes to work and does drugs in the room where he usually treats patients and then sex is happening on the floor. And of course a crease in the wall turns on the ceiling fan. Just like The Trial. Well there are a lot of spatial things happening here, I just don’t know how they go together. The way the bottom right schizzes before it gets there. Anyway, it’s fantastic to look at, I’d stop at it in a museum.
*the top piece is a drawing i did a few weeks ago that i’d really like some feedback on. jed, it kind of makes me think of you and the project you mentioned re: rehabilitation/recovery, so i’d especially appreciate your thoughts. one really basic question i wanted to ask is, does it look better as one unified piece (the first image) or broken into two (the second two images)? it’s four panels that i originally planned as one composition, but i think the composition is particularly weak because of the way the space is broken up in relation to the horizontal page break, so i thought maybe taking the pieces apart would help? i can’t tell.
*the next two are round drawings (try to imagine them without the constraint of a square) that came about as offshoots of the first piece. i’d like to continue working in this vein — i’m not through exploring the experiences/issues that i’m approaching in these pieces, and so far none of these three feels entirely complete or successful — which is why i’d really value some feedback and direction.
April 7th, 2008 | #
p.s. Jed, how is that piece coming along? And Sturg, thanks for asking about my show… it went well, though I’m glad it’s over with (I get very nervous having people look at my work). I may post some photos soon, but unfortunately, I couldn’t get any good ones of the installation due to terrible lighting conditions (and poor photography skills).
April 7th, 2008 | #
Amazing. I thought that they were cool, then I clicked and saw them big, and felt inexplicable wave of emotion, loneliness of pharmaceutical situationalisms. I finally, at last, feel that you are expressing an Inga that I recognize and therefore can’t help but feel that you’re hitting on real issues here. There is tremendous honesty in this series. The snakes are definatly the center of signification in these for me. I like the two panels together, because I think you want to make the connection/juxtaposition as close as possible.
I have pages and pages of fantastic raw materials about Z and the system he has been inhabiting. There is a lot more to gather. I am struggling with the form of the piece. I want it to be schizoid and yet comprehensible enough to be massively politically functional. Also, he is not yet in a place to be comfortable with people reading it, esp. people he knows and loves, so it will be a few years on both ends before the piece sees daylight. Which is frustrating, but also Real and unavoidable. He’s doing as well as he possibly could be, though, and though it may not seem like it, he will find himself Liberated soon.
April 8th, 2008 | #
Jed, that’s good to hear about David and the raw materials. It seems like a really important story to tell, or untell, or whatever you would say. I think it is also good to have some time to let the project shift (and Flow) and take on new directions. Coming out of an academic environment, we’re accustomed to producing work all at once over a period of 72 hours and then letting it forever rot in some dusty folder. But there’s no reason to work in that paradigm any more. Anyway, I also think that it sounds like motion images might tie into the Work at hand quite well, there. Especially animation, shadow puppetry, green screen action packtion. I’m so sick of documentation.
Inga, I love the block-print/cut-out (/shadow puppet) perspective of your work here. That’s not really getting at what strikes me about it, but it definitely has to do with almost folk-art style, to put it badly. Also, the dangling legs. They remind me of that Manet, Bar at the Folies-Bergere - check the upper left corner.
http://bp2.blogger.com/_w4YCxUIoPrE/RjJ-r7qLm8I/AAAAAAAAAAU/oC5kCPS9hOw/s1600-h/Edouard_Manet_004.jpg I kind of agree with Jed that the two sets need that juxtaposition, but then again I like the separation. I think they maybe should be separated a bit, but almost touching. And definitely not side-by-side. What’s the material here?
Also the circle ones are awesome. Something about circular frames gets my platelets Flowing.
April 9th, 2008 | #
Inga, I never feel capable of giving you productive comments on your art. I’m also in awe of what the other two fellas here say. Visually, I only know how to look at a thing and say I like it or I don’t. So I’d just like put it out there that I love this stuff. And that it reminds me of Paul Klee.
April 10th, 2008 | #
No actually I do have something to say. The top one, definitely keep it together. What throws me off is that top left portion of it. It unsettles me to be on the floor looking up at that set of cabinets, unable to see more than two sides. But then, reading left to right and top to bottom, the dimensionality is increasingly… construed. And then there’s snakes because sex is always around the corner. So in the beginning it’s just simple. But it doesn’t quite work somehow. I want the top left to be different than it is. Not sure how. And I guess I don’t comprehend the butterfly effect with the little white star in the lower middle. But I love the checkered floor. I like how he goes to work and does drugs in the room where he usually treats patients and then sex is happening on the floor. And of course a crease in the wall turns on the ceiling fan. Just like The Trial. Well there are a lot of spatial things happening here, I just don’t know how they go together. The way the bottom right schizzes before it gets there. Anyway, it’s fantastic to look at, I’d stop at it in a museum.
April 12th, 2008 | #