The Lab

  • A Lesson in Subtle Racism

       While carving a paintbrush today, some of the lettering for 100% Natural Bristle Made in China was left at the tip of what was the backside, leading me through a spincycle of thoughts. Somewhere between Titian and Manet's paintings with black servants in the background, homonyms (made - maid),
    idioms (Made/Maid in the Shade), and our current newsworthy racial divides, I began realizing I'd been unwittingly co-oped into a certain kind of subtle, submerged racism through the art I was taught to admire.

    It's easy enough to point fingers at an art history which well documents the visual pushing behind and away of non-western figures, which are left in the background to lurk, wait and sometimes fully disappear, like in Artemisia Gentileschi's painting, Esther after Ahasuerus. But to realize, outside of myself, my painting vocabulary is essentially Caucasian and Western, never having painted other races, though "exotics" and black slaves have always appeared in backgrounds of famous western works. This is the subtle racism that I was shocked to encounter within myself. It is in not paying attention to the many possibilities (Other) - that I have unconsciously, somewhat shockingly, been contributing to a certain perpetuation of a high frequency, under-the-radar-kind of white-washing.

    Something to be more conscious of as I move forward.

  • Super NoVa

    When things just don't fly (no va) and then somehow, strangely do. . . . Having my own issues with North Korea today in studio.

     

    Manipulating No Fly Zones.

  • Zaha Hadid on Perspective (context: museum exhibition design)

    So I'm a little late to the party, but better late than never to be more informed about my own work. 

    Working with a proverbial No Man’s Land.  Not attached to sense of belonging, borders. Working with resonant silences, pregnant pauses.
    Interested in a space of unofficial and informal architecture.
    A transformative synthesis that is at once BE-coming and UN-becoming.
    Work that explores notion of community, play, chance and exchange.

    . . . people took them to be pictorial or visual representations, but what it did was to challenge people's perception of how to present architecture, in what mode, but also how your eye travels on the wall, because there wasn't necessarily one point or corner view. This led to the idea that there isn't a singular view, there isn't a singular corner, there is a multiplicity of views. And it implied a kind of organic organization that is not a closed system. The most important thing for me is that these systems are no longer about completeness; they are incomplete compositions, and also no closed systems of organization. All of this has to do with porosity in organization; the idea of absolute space shifted to the idea of different adjacencies where you can see things more than once. I've always found this very interesting and intriguing because you can never see the same thing in the same way.

    ~Hans Ulrich Obrist interview with Zaha Hadid in August 2001

  • {Found} Sculptural Moments

    Came back into the kitchen to find this little happening: a small "fire under my ass" (seems the chair had fallen off the window sill)

  • Light Conversation

    a bit of light conversation before heading to studio this morning. . .

     

  • Roadside Attractions

    Fork in the Road

    Studio on the Street. Interesting how just parking in a different spot at studio can shake up your perspective.

    Ice Cream Fleurish