The forms of appropriation I’m interested in working with are a means of controlling(influencing) the visual (and symbolic) narratives that I am surrounded by.
different forms of visual memory
as a deconstructive and poststructuralist device
I’m interested in working with material that already has “meaning”.
It acknowledges that we are implicated in vaster and more complex networks of culture, meaning, and identity than we know and is a means of navigating and directing those networks with some agency.
This is a post-internet(?) post-appropriation approach to art-making. Meaning that it assumes “appropriation” as an artistic working methodology and seeks to continue that dialogue within the realm of cultural production.
The desire to work more directly with forms of “found” material is a recognition that I am surrounded by an endless amount of amazing material that can have be more meaningful when put into direct dialogue with other found materials.
These found materials come with their own significance (or absence of?) and their own histories, and these can be re-articulated by the artist.
One possible outcome or approach is hybridization. This can be as simple as showing two pictures together toward a different meaning, a combined significance.
“Theft” and (re)deployment of visual codes.
Theft is interesting to me in this situation as a means of directly accessing the means of power. This then becomes an anarchist issue? Rather than jumping through all of the hoops and red-tape of labor and getting a job and paying taxes, etc. the thief goes directly to the source of value. I am interested in this approach as an artist, within art, as a realm of gray areas and tricky questions.
in addition to this element of theft is also an element if disrespect for (paternal) authority and authorship
Meaning is perpetually shifted from specific images/works to the context and “atmosphere” of those works. I am interested in engaging with culture and meaning at this level through a digital artistic praxis.
stack(s) / pile(s) videos
of images, GIF, .MOV
vocal (audio) + text (visual),
text works half as sub-title and half as some kind of counterpoint
modular in a way, sequential, rhythmic?
running in tandem, parallel, but not identical,
“credits” included in text component of USB
also counterpoint between fiction & reality
with so many facts, with so much data, disinformation becomes attractive, powerful, softening the distinction between the two
…& the possibility that an exhibition not be consumable in one visit, rather for the exhibition to be an ongoing engaging experiment.
polyphony, multi-centered composition
multiple associations and arrangements possible
non-hierarchical field of images today
grouping intuitively and with keen direction, creating visual realms for viewer
archive and reservoir of information, with seeds for the future
videos that create their own space
By experimenting with space, interiors and the conventions of the gallery space, challenged the traditional experience of the gallery space.
(re)construction of the space,
interested in something beyond the autobiographical, (autobio +)
symbolic, as well as fictional,
(self-)conscious culvation of meaning and symbolic value
and fiction in contrast to data upon data and facts we are surrounded by
ambiguity in contrast to the expository
powerful to communicate in a coded language, successful when the code is known by viewer
bridging between comprehensibility and understandability of “pop” imagery and complexity of “art” imagery
world is saturated with objects, images, art, data, ideas
meaning is confused spatiality framed
de/re contextualizing things
stability, comprehension, through framing
creating relationships between things, rather than some notion of “the new”
introducing other possibilities
mise-en-scene of a kind of tension between common & serious, made & found
encounter complex/extraordinary narrative and the unknown in a familiar environment (+ own thoughts and reality)
fictional enters our memory and ideas, hybridizes with the real and actual
succession of images
imposition of images (implant)
(penetration & embrace)
art has to be about the real, but it always turns the real into a kind of fiction
makes the real a question
images (/materials) as cognitive tools?
postmodernist appropriation of material
intersection between appropriation and subjectivity
there is something interesting for me about the “theft” of imagery as it relates to appropriation.
having grown up very lower-class /working-class (until puberty, basically, then just lower-middle-class) I am interested in the direct lines to value/wealth. from a young age I idolized Robin Hood and Jesse James.
outlaws like this go straight to the money. they keep the money at the bank, so you go straight to the bank to get the gold. Conversely, while less risky, jumping through all the hoops and red tape if getting a job and paying taxes, etc. seems ludicrous.
first project involves itself with making a world, cultivating raw material based on historical form or circumstance. the world grows from itself, the material continues to be combined and complexified
effectively present in a very straight-forward way, as a montage/slide-show
pair/group images, write some kind of narrative / fiction for them
emphasizing that the relationships between are more important than any single image
realm of freedom vs. realm of necessity
ecology of possible narratives in contrast to “the story”
different views of the same world vs. an entirely different world
“…partial and ephemeral realizations of a true mythology of difference (extremely difficult)”
producing the/a world, producing a representation of the world, a subjective view … the world as a “picture” ( / spectacle that we are audience of ) as defining the postmodern?
the “framed” picture, we want to shape this subjectively
the works contain their own space, and spaces within spaces,
performance of printed materials half-improvised script, based on materials
recorded (with bright lights) –> more images added in post-production
Possible future developments include using the material from the USB-drive as raw material for set of videos that explore how multiple readings are possible from the same material, through exploring different formats for this video presentation.
A next-level iteration, growing from the videos, would be to present the videos, plus printed versions of the material as a half-choreographed and half-composed live performance focusing on the mediated self.