Ohrwurm? Hirnwurm! ||: Was zuhanden ist - Körper, Zeug, Zeit. Nochmal: eine Vorgabe, eine bestimmte Zeit, ein bestimmter Ort, der eigene Körper, greifbare Objekte, Selbstvergessenheit. Kinderspiel: Strohsterne; zuschneiden, 3 auswählen, übereinanderlegen, Faden abschneiden, Mitte umwickeln, Aufhängerschlaufe binden. Nochmal: Sterncollage. Vorgehensdiagramm. Kommunikationsstruktur. Nochmal: Gelesenes, Gefühltes, Kunsthochschule, Atelier, Skulptur: Äste, Draht; übereinanderlegen, Mitte umwickeln, Schauen. Gips anrühren, Messer schmieden, Hinzufügen. Ausstellen. Oh, Augenhöhe! Nochmal: "Model for Spheric Theme", Auseinandernehmen, Mitte ausschneiden, Scharniere montieren, falten, fotografieren. Nochmal: Treibhaus. Bromelien. Nasse Mitte. Luftaufnahmen. Nochmal: Konferenz, Notizen, 3 Themen auswählen, übereinanderlegen, 3-Line Matrix. Fractal 3-Line Matrix Template. :|| Verstehensmuster Bildung. Topologie. Epistem.
As a visual artist, my work is concerned with creative practice, taking my own experience as a base line. Recently, I found artifacts from my childhood that offered (ambushed me with) a possible key to unlocking the significance of formal repetitions occurring throughout my work, appearing in many modalities, most recently in the ways I choose to represent content: conversations with other artists about working, art-based arts policy research, conference summaries. To non-intentionally repeat is a common artistic experience. I believe that it points to artistic abandon, also known as flow, or acquisition under diffuse attention, a coveted state that I find to enact Karen Barad's concepts of intra-action and agential cut that dissolve the knower of preceding, representationalist systems, along with things and words, into matter and apparatus. Thus, I am now exploring Karen Barad's understanding of the "conjoined material-discursive nature oconstraints, conditions, and practices" as a model through which to read art practice, in part given through the example above, from a performative, practitioner's perspective.
Abstract , Wissenskulturen im Dialog, Conference, Vienna, September 2016
Seen + Heard: Treats. Chicago Art Department, 2015
I just returned from Philadelphia, where I attended the GIA Support for Individual Artists Preconference as an artist respondent, and then introduced the image below at the main conference, on a panel that centered on communication between artists and grantors, with Sean Elwood, Caitlin Strokosch, Paul Tyler and Sasha Yanow.
This diagram was commissioned by Esther Grimm for 3Arts. The initial premise of the commission was to discuss with artists how not winning a grant might impact them. This expanded to a larger catalog of questions about how artists engage with grant writing.
It is a multi-dimensional visual thinking tool. A field descriptor. An oblique coordinate system, or a scenario matrix on steroids. A topological device meant to breathe and stretch.
How to use it: In any given discourse, broadly determine 3 prevalent categories. Assign an axis to each. Then name the outlying positions and mark the end points of the axes. Spin the axes around, play with the ordering. Allow affinities and associations between the end points to emerge. Within the field thus sketched out, place other pertinent points. Is the background filling in densely, are hotspots emerging? Can the elements stand to stay in one place? Are they itching to move? What happens to the axes now? Are they starting to oscillate, bend towards each other, grow tentacles, narrow, widen, become more fluid or rigid? Is a field getting established? Does it oscillate? How can it be navigated?