wabi sabi 41 / some kind of manifesto

what can we know in three seconds? (how much? to what extent? how accurately?) a (set of) very good question(s) posed to me by a curator yesterday. 

still trying to puzzle out this fascination with remnants and discards. below are a series of accidents - well, arguably the third isn't so much accident as consequence - but i would argue that almost no one has given each incident three entire seconds. but when they are scooped out of context and pasted in a viewfinder it is easy to give them three seconds and then some. my interests these days lies in glorifying the overlooked and my mission is to make the viewfinder an unnecessary mechanism. what would be different about us, our neighbors, our communities, our environments, if we were able to fully give ourselves over to looking, contemplating, receiving the impact of the fierce beauty around us? what muscle would it exercise? would that kind of visual training allow us to look at our non-human world with a different kind of empathy? would contemplating the state of politics and the larger contemporary human condition cultivate universal compassion?  and would evolving in that way help the people and places around us to receive (from us therefore) support and camaraderie and bolster feelings of well-being? arguably it could.

magnificently and accidentally composed. and then run over. in an alley. 

magnificently and accidentally composed. and then run over. in an alley. 

beautifully and accidentally drawn. and then reported to maintenance for repairs.

beautifully and accidentally drawn. and then reported to maintenance for repairs.

cast in a fit of festivity of some kind. and then very difficult to sweep up. now possibly causing digestive distress to the birds who forage by the dumpster nearby. but very sparkly.

cast in a fit of festivity of some kind. and then very difficult to sweep up. now possibly causing digestive distress to the birds who forage by the dumpster nearby. but very sparkly.

 

studio snaps

Starting to pull together elements for the star atlas that will be included in the upcoming show at UMOCA in the spring. The Forge, The Gibbous, The Heron, The Oilcan. Taking monotypes off a large scale gelatin plate I rigged up in an old photo developing tray. 

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magpie altars 2

the power of things arranged

incidentally...

incidentally...

...and deliberately.

...and deliberately.

 

wabi sabi 40

arctic landscapes and a variation

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1b

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2a

2b

2b

 

wabi sabi 39

seeing constellations everywhere, working on assembling the mental map before embarking on the physical one

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wabi sabi 38

drawings that move

analog hashtag

analog hashtag

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wabi sabi 37

urban omens?

graphology, the floor, pizza place

graphology, the floor, pizza place

astrology (stars cast by a truck backing out onto the driveway at top speed), the studio

astrology (stars cast by a truck backing out onto the driveway at top speed), the studio

fructomany, the fallen red fruits that have withstood the fall and early winter, gravel lot, behind the studio

fructomany, the fallen red fruits that have withstood the fall and early winter, gravel lot, behind the studio

rhabdomancy and hitherto unknown runes, the driveway, home (although arguably, that's a fairly literal hagalaz or, hail, in the runic oracle: "the precipitation")

rhabdomancy and hitherto unknown runes, the driveway, home (although arguably, that's a fairly literal hagalaz or, hail, in the runic oracle: "the precipitation")

 

wabi sabi 36

a painterly collection.

a floor masked off from paint at the printmaking studio.

a floor masked off from paint at the printmaking studio.

an immaculate masking off of something unknown

an immaculate masking off of something unknown

more of the above

more of the above

and more still - with one overblown, sun-desiccated weed haunting the bottom right

and more still - with one overblown, sun-desiccated weed haunting the bottom right

a familiar one - but it grabs every time

a familiar one - but it grabs every time

the most classic kind of Incidental Drawing 

the most classic kind of Incidental Drawing 

blue lightning, a broken lamp post, Main street

blue lightning, a broken lamp post, Main street

years of taking out the glass bin, an alley, Denver

years of taking out the glass bin, an alley, Denver

 

wabi sabi 35

seeing the Drawn in all things. In the chitonous flanges of lost, leaping limbs...

who mimic so soundly the inscriptions in our own outer husks.

who mimic so soundly the inscriptions in our own outer husks.

in the more explicitly drawn as well. But here, the drawing was made (as is so often the case with the very young) purely for the resonant feeling of chalk worn down on a clean chalkboard, using the shoulders and torso to move the line down the surf…

in the more explicitly drawn as well. But here, the drawing was made (as is so often the case with the very young) purely for the resonant feeling of chalk worn down on a clean chalkboard, using the shoulders and torso to move the line down the surface, neither noticing nor judging the quality of the line. And then placing, for reasons of her own I am certain, the magnetic letters at important junctions. Who knows what kind of scribe's magic has been assembled here?

...in those fleeting and beautiful remnants of walks that are most beautiful when wet.

...in those fleeting and beautiful remnants of walks that are most beautiful when wet.

...and, importantly, in the secretly and swiftly drawn. In the uncontrollable need to claim and leave evidence. The most vital kind of fevered drawing - unloaded and then escaped.

...and, importantly, in the secretly and swiftly drawn. In the uncontrollable need to claim and leave evidence. The most vital kind of fevered drawing - unloaded and then escaped.

 

wabi sabi 34

small jewels, and things that need washing.

urban treasure

urban treasure

curb paint, incidentally drawn

curb paint, incidentally drawn

truck dirt streaks

truck dirt streaks

 

wabi sabi 33

two settings for comparison

whose is this? it fits in very nicely.

whose is this? it fits in very nicely.

cloud brothers

cloud brothers

 

studio snips II

Continuing the star atlases, which have undergone some metamorphoses. Backing off a two dimensional sense of what firmament might imply, and trying to think about a pooling theory of time. That theory suggests that we live our stories in groups, with meaning, consequence and trajectory snarled and entwined, one upon the other. It is the loose ends that join these concentrated periods of meaning-making, not the conclusion and states of closure within each singular story.

 

magpie altars 1

a museum is a temporary environment - sort of. it is a vacuum wherein things are composed, arranged and curated to convey meaning, feeling, exaltation, imposition and movement. the museum composes value, it dictates what is useful and important.

prior to being shuttled inside, objects that are displayed in a museum are brought forth in a state of dynamism, and embody the possibility of limitless changes of identity. the museum takes them in, stills and quiets them, and enforces a kind of sterile stasis- things there rest, breathe, crystallize. they do not expand, shift, rearrange or metamorphosize. they might of course be knocked askew during their showcasing, or damaged during their installation, or in fact decompose, decay or slump while on exhibit. but these things were built-in. all anticipatory or planned. in effect, in actuality, the pieces lose their free will once they are installed in a museum. (perhaps not permanently, but for a time at least.) and in some ways, this means that it doesn't matter what they look like, what they have to say, or what they could become. when the museum has shepherded them in, housed and hung them, polished the hooks - this is the moment of volatile momentum, the jurying in. the choosing.

therefore, if what is in the museum (the gallery, the foyer, the bathroom) has already been steeped in values imposed by a curator, we are really deferring our own opinions to their skilled choosing. we exalt the moment objects are voted in or out, not what those objects happen to be (though, if they are visually interesting, they will absorb us after the fact).

enter the Magpie Altars, conglomerations of things arranged and composed. Mostly typically comprised of discarded materials, evidence of travel or trappings of experiences, the Magpie Altars are built on frameworks that invite inspection based on the richness of their materials, and the diagnostic skill in identifying each item's provenance. They demand (or subtly rend) a discourse of origin, value, necessity, beauty or use.

 
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wabi sabi 32

some very painterly snaps along a much-loved industrial walk in west-central salt lake city.

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wabi sabi 31

the smallest haystack, lindsay gardens, slc

the smallest haystack, lindsay gardens, slc

vernacular architecture, urban bivouac, lindsay gardens, slc

incidentally composed, the sidewalk, home

behold, the sentient doormat, home

our bower materials, home

what is sacred, what deserves attention? pollen, discarded paper samples, sunflowers that lived only briefly indoors.

 

wabi sabi elsewhere 4, boston

Boston, solitude. Thinking about collections, considered and accidental.

looking at whale bones through mezzanine bones

noticing how whale bones look like mezzanine bones

the shadows of 400 species of hummingbirds

the shadows of 400 species of hummingbirds

not just a necklace, but a necklace of bones. not just any bones but pelican shin bones. and not just pelican shin bones but flutes. a necklace of pelican shinbones turned into flutes. perhaps every exhale is musical? perhaps they are the flutes of conquered pipers?

of all the sidewalk minutiae, please take note of this hole. we have made the relevant area visible with blaze orange.

which constellation is this?

painted, telegraph hill 1

painted, telegraph hill 2

composition with straw.

 

trappings

the museum effect, lately. wondering about what happens when we isolate something from its natural home and put it behind glass. under glass, behind ropes, doors, walls.

yes, the experience changes the viewer, asks them to consider the object isolated from habitat, but what does it do to the artifact? what is it like to be celebrated and seen? what is the view from onstage out into the bright sea of lights?

in so many ways museological artifacts seems like caged creatures -- captives in aviaries, zoos or aquariums. is the nature of these things meaningfully changed if they are pinned and presented? what if they're collected but left pinless? 

 

studio snaps 2

clouds indoors

lot Argo reversed

something that's been here a while

two walls in one

omens for sure

 

studio snaps

Trying to make sense of the fine line that separates the mundane from the sacred, and the discarded from the exalted. Below are pieces of finished drawings cut up (valuable! precious! considered!), scraps from monoprint stenciling (discards, oversights, mistakes), paper bones, actual bones, clay fetishes, and bits of wadded masking tape that look a lot like teeth. All together the most easily recognizable things carry the day -- when we identity one part in a collection we drape the veil of meaning over it all.

remnants on table

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wabi sabi 30.2

 

incidental constellation

a beautiful crunch

doublestain

foot constellation

geological collage

pole

yes, please.