spliced, diced + chopped.

Making a few organic digital wraps on my down-time. When i first heard HML, for some reason Barbara Steele kept looping in my brain. This woman can really do no wrong in my book, she plays the ultimate evil as well as she does the pure virgin. I was working on a site with Bava’s ‘Black Sunday’ playing in the background, and decided to take a break and play with final cut. I’ll be doing more of these, beat editing is incredibly fun if you chop up visuals and make your own sequences.

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Joseph Parra: IDENTITY PORTRAITS

Incredible use and manipulation of multiple techniques and forms of media. Blending of current mediums has never looked so traditional. Parra’s work can be as subtle as an oil painting, and as rigid as a charcoal drawing. His use of line placement to sculpt and portray realism in figures was originally what attracted me to his work. Also, I always praise the idea of making the subjects of each piece life size in order to confront the audience, its almost as if interaction is practically forced upon the viewer by making the piece itself equal in height. It makes each piece seem less like a work of art and more like an actual living being.

From Parra’s artist statement:

“I question the innate desire to capture a person through artistic production. Can you replicate an individual, the components that whittle a form, onto a surface? I consciously displace my ability to portray a person and use this hindrance to develop process. While I physically try to reveal an image, with the intention of seeing the internal, I use multiple layers to reflect the different constructs of being human. Exposing and concealing of an appropriated figure is my tool. This includes, sanding to reveal an image printed underneath multiple opaque and transparent layers, or sanding a print ridding the figure’s physical information and obscuring identity. I incorporate layering with printmaking, digital printing, drawing and painting. The figures are usually life-size because I am interested in the duality between confrontation and connection. In my life-size charcoal drawings moments of landscape, cellular structure, bodily interior, textures and mark making are present. The visual generates a push and pull as the abstract marks create the figure while also diffusing it into abstraction.”
-Joseph Parra

Alberto Mielgo: MUSES.

“Many many things inspire me. People, friends, places, architecture, images, internet, technology…

For many years I’ve been inspired by the most beautiful thing I’ve ever seen. She was the most moving and gorgeous thing to look at.

Sex and eroticism are for me indeed beautiful. It is part of our lives as is eating or breathing. Sexual areas are usually hidden. In painting, when you feel that the model is actually a professional, when you see that the pose is forced, unnatural or when you see the pose is trying to hide some areas, It doesn’t say much to me.

I really like to see intimacy in my paintings, but my intention is not to provoke at all. I just think it’s certainly beautiful when a woman is comfortable enough to just lay down completely relaxed on a sofa, almost innocently. The eroticism is innocent.

Sport is a very important thing for my daily motions too. I need to run, cycle and swim every week. Very personal and intimate sports where I just concentrate on my thoughts and let my body move provide something psychological for me. I need it everyday. It keeps me fresh. The best ideas came to me in action.

Music is also a huge influence and inspiring thing for me. It moves me. It makes my mood change. I need it for work all the time”

culture//upon//culture//upon//culture

In contemporary culture, we can opt to look at the intangible ‘things’ that compose modern times as innovative or a complex challenge. Over the past few years, mass culture has defined our generation as the “information age”. Popular media technologies and masses now have the power to entertain us with infinite loads of information, which some see as the progress or downfall of culture.

Looking at the negative aspect, close to nothing is special/original. Before the age of mechanical reproduction, art for example, was noted as having an “aura”, because of its unique mode of production and tangible value of holding a single/original copy. Today, we can hold/see a printed/digital copy and analyze works as any art historian, theorist or critic would.

This seems to be the theme of the month, originality. Lately, i’ve been noticing more + more the reoccurring themes my generation holds to high esteem are just borrowed pieces of a lost puzzle. We ‘borrow’ everything we can from an endless pool of forgotten + leftover information, in order to create something we can call our own. But is it really?

On a lighter note, Technological advances in new media provide infinite possibilities right at our fingertips. A thirst for discovery is all we need to be as cultivated as our ancestors + create something that can be truly ours. Like Girl Talk, who takes + breeds these lost puzzle pieces by combining new/evolving technologies and creating digital masterpieces. In order to ‘visualize’ this question of originality in relation to the argument at hand, i’ve posted a documentary by filmmaker Brett Gaylor + Girl Talk that touches upon the legal aspects of copyrighted material + the struggles of creating something truly original in our modern times.

What, exactly, do you do?

D I G I T A L V O O D O O

Im aware that I will probably live past the next decade and still have to answer this question. It’s the need to label art as VISUAL, music as SOUND, words as WRITING that pushes the experimental frontiers of my profession towards what most people like to call “Digital Media”. Now, to a person who hasn’t been exposed to the technical aspects of digital media, they immediately tackle the phrase as ‘GRAPHIC DESIGN’, or there’s the all-time popular sentence: “Oh, so you like to edit videos, like, for broadcasting channels” ……………………………………………….No.

Joey Bargsten, one of the most amazing artists i’ve had the pleasure to work with, seems to have compacted the digital-ist in ways i’ve never really known how to express: “The digital – conceptual artist has a number of challenges, primary among them are the frustrating and ever-present questions of “What, exactly, do you do?’ and “Does what you do even constitute a body of work?”….I’m kind of a ‘digital renaissance guy’—a composer, filmmaker, visual artist, designer, web/interactive creator, and writer. Because I do all those things, I define myself as a ‘digital media artist’. But, that term is really difficult to explain to people, even my friends and colleagues who are generally pretty intelligent, and well-informed. Although some are, uhm, idiots”

Thanks to Joey, I feel one step closer to summarizing/submitting an automated response to the one million dollar question “What, exactly, do you do?” His book of short essays on digitalisms can be found in PDF form here:

http://badmindtime.nfshost.com/book/

“Joey Bargsten’s music has been played at Symphony Space (New York), and on International Concert Hall (NPR). His website BAD MIND TIME TM (http://www.badmindtime.com) won awards from Print Magazine and Stuttgart Filmwinter, and his fi lm Sticky NotesTM recently premiered at Zero Film Festival (Los Angeles). He teaches at Florida Atlantic University”

delicate intensities


There is no way colors can communicate like the rise/fall of a line. The intuitive placement of a single line (this can be applied to handwriting as well) can open up a pandoras box of expression. Unlike color, which one can manipulate in shades/tint if mixed properly, lines have a very ‘unforgiven’ way of stating truth and purpose. For instance, they have a way of expressing movement that a detailed photograph bathed in strong contrasts wouldn’t be able to achieve. Lines evoke change and strength, yet have the delicacy to remain unobtrusive.

Lines are life in movement, and often the founding structure of color. At times, some of us tend to believe in color and completely dismiss lines when interpreting intentions. Simply because our eyes can discern and associate certain moods and feelings with a generic/basic knowledge of color theory. If we tried to explain or even rely on the intensity of lines to evoke/communicate a purpose, we’d have to take the time to study its roots; the guts and the worlds within us; everything that we cannot see that marks the intensity and shapes the course of a line.

I stumbled upon Ror-shak a couple of years ago when myspace wasn’t yet a hooker site. Immediately, i fell in love with the visual sounds and structured story lines in their music, so i bought the CD through their paypal store at the time. It is one of the few CD’s i keep in its original case, simply because the case itself is a linear relic. Im not particularly into bold symbolic gestures like skulls and graphic design, but i think the lines in the cover of that CD suits perfectly. I also think if they read this post, they’d probably agree with my linear nonsense.

monochrome ripple

Looking at Each Other
Muriel Rukeyser

Yes, we were looking at each other

Yes, we knew each other very well

Yes, we had made love with each other many times

Yes, we had heard music together

Yes, we had gone to the sea together

Yes, we had cooked and eaten together

Yes, we had laughed often day and night

Yes, we fought violence and knew violence

Yes, we hated the inner and outer oppression

Yes, that day we were looking at each other

Yes, we saw the sunlight pouring down

Yes, the corner of the table was between us

Yes, our eyes saw each other’s eyes

Yes, our mouths saw each other’s mouths

Yes, our breasts saw each other’s breasts

Yes, our bodies entire saw each other

Yes, it was beginning in each

Yes, it threw waves across our lives

Yes, the pulses were becoming very strong

Yes, the beating became very delicate

Yes, the calling the arousal

Yes, the arriving the coming

Yes, there it was for both entire

Yes, we were looking at each other