My work has consistently focused itself on how to have a poetic relationship to life. Finding stories from the headlines, front page back page, personal narratives, dreams and the artist’s connection to nature. I attempt to find ways of representing how meaning is made. Of late a special focus has been placed in creating work in situations where the image or object is found in a process of conversation with a viewer or visitor. This act of stripping away of personal authorship allows me to focus on the many choices of how something can be represented. Using this method of production reinforces a belief I have about the nature of art, and how an artwork when existing as a physical object becomes a souvenir of a thought.
I am very aware of how printmaking as an art form has changed over time and am excited by its continual relationship to conceptual matters of choice, and technique.
This was observed, so it should be viewed as truthful?
Practice of art:
We prepare ourselves for a phone call.
We research the migration of birds.
To make the choice of where to place the birdhouse.
Making it useful instead of lonely.
These are mine.
I’ve chosen them, honed them, and shown them.
Sometimes things prove themselves to be false.
The beat-side of freedom is backwards: weiv/view.
I generate things, sometimes on paper, other times as encouragement to others.
This stuff takes stuff to make the stuff. The heart of it is built with the heart of other’s activities, and thusly their hearts.
Putting to words:
Writers go first, burn quickly, enter doubt before others, and have the hardest time just being there, waiting.
What happened to the space between light and drag?
The un-finish of one becomes a finish for many, representing the collective, a motif as connector.
Rays of sunshine
What makes up a decision?
Being, finding, making, and showing
Showcasing only the shown?
I’m drawn to how things become meaningful to me.
I look for the outward people, the lovers, and the givers.
I accept the thieves and the takers, but focus my attention elsewhere.
Allowing the authorship to be from another puts the act of creating it into the second and third form of gift giving, causing it to attain a meaning (value).
That succeeds in skipping or _________ the personal.
All I want, seems to return to, all I need, examines, where I’ve been, extorts, what it’s not.
I’ve sat in this chair, close to, why I’m here, before.
In that spirited lack of blood, tingled time.
Responsive to the many I’ve never known except through their letters or actions.
Who have shared with me, not time but place.
Looking to create excuses to dwell, live well, in the freedom, they forged.
Being creative in public:
Sidewalks, walking, standing vendor tables
Café , table, kitchen
Store, counter, lunchroom
Park, blanket, bench, table
If I walked around it forever, I would have walked around forever.
Can I represent who I am?
Always a re (ly) ing (2) of life.
Passing on the gift, I received it, it compelled me to create this, take it now as the gift it is, ideas, stories, and understandings, something to stand on.
Making Moral Fruit
Gifts in motion: Broke, lost, pierced, used, burned.
Like the voices at the edge of sleep
Paraphrased from L.Hyde’s words on folklore
The power of the gift is it’s perpetual movement, never stopping, never becoming capital, I have avoided making for market, though the act of letting it go has always been special and desired.
How can this understanding of gift be put to service in the creation of art.
Completing the action, timeframe, start/stop, restart?
How does process build upon process?
Does the adding up to, add up to anything?
When does one own one’s words?