Thursday, October 24, 2002

Daylight Savings Time

To spring back and fall forward or vice versa is as a misquote the question. Harry Boris a long time ago suppositioned that walking, scientifically speaking, is simply a matter of controlled falling. This in itself constituted enough material for Peter Land to videotape as a body of work pertaining to how outside forces affect the body. But midway through a fall, descent is frozen as if the hand of God interceded. The expectant and resultant onomatopoeia to conclude said action then becomes a gerund suspended as syntactical pause. Or a burp if you will signalling finally the halfway point. Somehow to indicate time moving ahead or backward as a physical pratfall appropriately encapsulates kinetic theory as perhaps something filmic.

So it seems that Eadweard Muybridge guides my current path, however circuitous its route may be, one frame at a time. At last count, only fifty or so frames remain.

Saturday, October 19, 2002

Notes on chinoiserie

First things first is to tie up loose ends literally. Too many unresolved ideas and too many dusty objects lounging about just sit unattended, ignored or forgotten in the proverbial waiting room too exhausted or too injured to glumly stare back. But the inexorable march does happen and finally the mountain stops because Mohammed uttered Simon says.

That said, maybe continue dissecting the lariated stool legs into digestable drumstick portions just by way of stretching out the form. Its minimalism is oddly enough too empty and requires multiplicity. To julienne further divides and doubles, triples if not quadruples that which already exists. Not a bad idea considering that gnawing feeling of this piece being unfinished or rethought.

But do check off repairing the broken cleaved segments because stick it with a fork, it is done. Prepackaged wood dowels predrilled exactingly allowed for the disconnected sections to be glued and biscuited for added strength. Designing a reusable crate for freight of said work, though, is another story.

And what of the hexagonal lamp carcasses?

Thursday, October 03, 2002

Notes on the art of the cut

Enter the dragon, part two

Three slashes across the canvas surface to emulate and reference Lucio Fontana. Puckered slits perhaps bleeding crimson or Francis Bacon dripping reflected by tiled mirrors as diptych. Or curved extended plane. Or mismatched screen, each panel with a possible total of ten lengths in descending order, tilted to snake out.