… social media, designed to draw off our surplus creativity in the same fashion as capitalism draws off our surplus labor’s value.
… every image and post, while promoting ourselves and creative products, also enriches the media platform where they are seen.
… we lose our hours and uniqueness, to be seen, at the price of commission paid to the media companies; our creative value-product itself.
Having built-up enough volume of foam over the month, I’m ready to start carving back, and get some shape happening. I can see this will take a while. It’s good though to feel the materials and have the pleasure of working them with hands-on and tools. This is, after all, the good part.
For a minute I’d optimistically thought I was half-way on this: that I’d move onto the larger final version sooner. But now I want to take the time to enjoy working on this; what I’d been thinking of as the model, taking on an outcome of it’s own, and experimenting with form, contours, and especially surface details. Can I do both at once? Ooooh…?? I should work out the surface detail now, before I have to do it on the large final version. If I were smart about it. But I’m not. I’m careless , and frivolous, and it appears, unconcerned with technique and process.
Alas, millions must live and die, so that one poet may be revealed.
You know that I fervently deny any purpose for Art beyond the expression of the individual self, and so, I’m heartened to see the new video works by my niece, which are utterly hermetic and personal. A painter, she also works in video; dreamy & iconographic. Like much of this genre, it presents a quasi-narrative and non-sequential format of images and sound. In a word: Montage. Video is not the experimental medium, this form of storytelling is. Releasing from the formulas of drama, and amplified by the ubiquity of video content present everywhere to the young person’s perceptions, the ideas about flow of images and meanings in a constructed artistic expression are altering. There are extremes to this; On one hand I am too familiar with very fat books filled with blurry photographs, whose meanings are particular to the photographer through memory or the momentary, irrelevant to the viewer, with an equal pile of words to mediate that difference; On the other, epic installations, or lengthy and episodic “movies”, that display fantastic production values without need for structure, or reference outside of the elaborate internal logic of the work-of-art.
Her videos, Prisoners of Venus, White Sands, &c. are at: http://www.emmapryde.com/
I went to Portugal and Spain seeking and expecting to see a lot of decorative art applied to things from chapels to architecture to sculpture and streetscapes; instead what I discovered was something more intense than what I usually thought about decoration; what I’ll call Adornment. I may have thought of decoration as something applied to the surface, over something else, and and hiding, or not fully part of, another thing; an afterthought. Adornment means for me the accumulation of detailed elements into a synergizing aura becoming the object itself; there’s no boundary between the adornment and the object; each single part has adornment included in it.
I’m sure I’d like to bring adornment into my work, over-ripe, sensual, vibrant, and rich; Not words I normally use about my sculpture.