Monday, December 22, 2008

re:re:re:re:



"Every idea, these days, seems to have passed its critical phase. It is a generally accepted fact that abstract notions about mankind have all been eroded imperceptibly by the investigations they have undergone, that human light has infiltrated its rays everywhere and that, as a result, nothing has escaped this universal process which is subject, at most, to revision. So we have the spectacle of the world's philosophers incapable of tackling the smallest problem without first going through the routine of recapitulating and refuting everything that predecessors have had to say on the subject. And by that very fact their every thought is inevitably the function of some previous error, based upon it and inheriting some of its features.

-Luis Aragon, Paris Peasant

The text inspired a method of resampling and layering degraded copies of open source footage into a sixty-second movie clip. Manipulating formal elements of resolution, scale and tempo creates a mesmerizing, visual reinterpretation of the text.

Figure Studies



Thursday, October 2, 2008

Love Hurts

Just saw "Intermission." The opening scene begins with a flirtatious exchange and ends in a sucker punch. Funny and naively revelatory, its basic message seems to be Love is All You Need, but really, if you're gonna get dumped on (both figuratively and literally), is it worth it? This Irish tale of love, loss and pain says, AY.

Oddly enough, the project I completed for Core Samples earlier that day touches upon similar themes.

Monday, September 29, 2008

I'll be your mirror

A nod to Botticelli, but Currin's Venus, instead of embodying sublime beauty, is wall-eyed and anatomically incorrect.
Contorted hand gestures signal ambiguous messages. Why is she pointing at her left breast?
And this one here with the inverted peace sign. Is she throwing a gang sign? And, why is she leaning on a cane? You'd have to break a hip with that pose (see New Yorker, "Pixel Perfect," May 12, 2008 issue)
Pam Anderson?
Maude never looked hotter.
Jenny Saville's take on the odalisque archetype.
Francis Bacon's portraits capture faces in motion, usually screaming, and displaying the violence velocity has on form.
Motion distorted, twisting figures imprisoned with ambiguous architectural space.

If all art is a reflection of society, what are these examples saying about humanity?

The faster we spin, the more distorted our sense of humanity. Time clips in the face of technology that is ever upgrading, ever expanding. Circuits burn around the clock, raising global temperatures every nano-unit towards overheating

How much space can you see ahead of you if life is perceived as a race toward oblivion?

Modelling the mind

If you could make your mind a tangible object, what would it be made of? How would it feel? What colors would you use? Is it static or in motion?

What adjectives would you use to describe it? In a word or phrase, describe how your mind works.

Saturday, September 27, 2008

Dick Avedon and things at face value


The layering of B-roll audio:
Voices fade in and out of each other
Linked by a word, phrase, idea.
A river of shrill and sonorous tones,
ascending then descending the line of silence.

I am drawn to Avedon's portraits because of their startling mix of sublime beauty and grotesque reality. He captures the essence of a person through the microexpressions on the face: the subtle crease in the beekeeper's brow; the heavy lidded eyes and pensive mouth of Marilyn Monroe; Dovima appraising herself in the mirror, wrought both with glamour and insecurity. What surprised me most was how Avedon engaged his subjects during the shoot. He would ask them questions to elicit a response, usually an emotion he was after.


-A series of portraits based in a relaxed state
-get them to tell their stories.
-record the twitch at the corners of mouths
-the manic whites of eyes.
-record the surface expression of emotion.
-Find universals, common threads, shared hopes and fears
needs, wants.