“...from private to public,” meaning to critically perpetuate the inclusive, symbiotic refinement of self-expression for purposes of raising psychophysical awareness unto altruism and its affect, since it is--symbiotically--both wanted (socially) and needed (economically and environmentally), which is apparent in my--independent and interdependent--educational efforts to provide ethical (i.e. comprehensive) conceptual and technical artistic training in the interdisciplinary construction and appreciation of aesthetic experiences as a pragmatic approach to art: a meaningful and enduring way to celebrate varying degrees of clarity and ambiguity in significant (e.g. silent) cultural transmission [attractive or not] especially in light of our xenophobic condition during the advent of hyper-connectivity when and where transcendence is on sale for rent, yet not long before additive algorithms were first outlawed. - 8/28/18 - fin.
Foci: to perpetuate a plethora of inclusive, interdisciplinary (e.g. sights-as-songs-as-sights) approaches for making + appreciating Art + Design that openly challenge relevant conceptual + technical cultural norms for the purposes of expanding psychophysical awareness + altruism via peer-review.
The values that I hold most dear are apparent in my interdisciplinary artistic and educational endeavors as a teaching artist to edit space and time in an expressive and experimental way that encourages close examination of the core balances between individualism/independence and collectivism/interdependence in society today.
Although an “abstract” work of art is the product of an artistic process of simplification, the aesthetic experience it facilitates can be quite complex, especially in regard to how multiple memories and senses can be simultaneously triggered by just one of these catalysts of ambiguity. The apparent absence of “concrete” imagery causes us to become more curious about (and therefore more critical of) content derived from form, subject matter, and non-formal context, especially in today's hyper-connected, media-rich era where our senses are being constantly inundated with advertisements designed to elicit either impulsive “knee-jerk” reactions devoid of reason or a state of physical passivity where active conceptual explorations that seem safer as less meaningful mind-over-matter experiences.
An analogy to the recording artist is useful to understanding my creative process. Music made in a studio setting differs from the direct, unedited kind that is performed by a band or a busker before a live audience. Like the studio musician, my work is the result of successive recordings made in a private professional space using a variety of tools before a final compilation is released to audiences in the discursive spaces of society for appreciation. To construct captivating images, I set a sequence of steps for myself that allow for improvisation to varying degrees. Melodic, harmonic, and rhythmic elements coalesce to ensure an evocative experience that is both compelling and complete. Some of my pieces are made to be experienced as physical objects while others are not.
The following statements are a few of those that are likely to have influence my a-tad-more-monkery-than-monkey-business holistic approach to art:
"All artists want to open the doors of heaven." – Ed Ruscha
"I try to simplify...Of course, the usual fingering conventions are used, but I give very few dynamic markings as I believe that it is up to each player's expressive choice and understanding." – John Williams
"I do not want art for a few, anymore than I want education for a few, or freedom for a few..." – William Morris
“Art is a way to practice at consciousness and self-examination.” – Roberta Smith
“The role of the artist is to ask questions, not answer them.” – Anton Chekhov
“Everything is expressed through relationship.” – Piet Mondrian
"What is done only to pamper a single individual can almost be called useless; only what can be used by everyone will be valued by a future society." – Henry van de Velde
"This, then, is the great humanistic and historical task of the oppressed: to liberate themselves and their oppressors as well." – Paulo Freire
"The point of protesting in artistic work against the ignominy of the ever-same is concretely and specifically to remind ourselves that our lives can be more than mere repetitions, that they can themselves be media of free and satisfying meaning-making, at least in principle and prospect." – Richard Eldridge
“There is nothing more tentative than an established order. What we take to be the most concrete or solid often turns into a concatenation of the unexpected. Any order can be reordered. What seems to be without order, often turns out to be highly ordered. By isolating the most unstable thing, we can arrive at some kind of coherence, at least for awhile.” - Robert Smithson
“Art historical practice constitutes the becoming-visible of the historicality of art. Historicality is an artefact of perspective. Perspective is an artefact of privileging. And the privileging of objects is at once the birth and death of art.” - Steven B. Smith
"That theory is now widely taught in academic institutions is to be commended, not condemned as some sort of squalid capitulation…Its aim is not just to help us to see what literary works mean, or how valuable they are; instead, it queries our commonsense notions of what it is to ‘mean’ in the first place, and poses questions about the criteria by which we evaluate literary art…Without some kind of theory, however unreflective and implicit, we would not know what a 'literary work' was in the first place, or how we were to read it…Hostility to theory usually means an opposition to other people's theories and an oblivion of one's own." – Terry Eagleton
"It is, though, an ironic truth that the moment when art claims to be 'above' contemporary life is always the moment it becomes controlled by it." – Alastair Mackintosh
"Art may seem to be in danger of being drowned by talk...We have neglected the gift of comprehending things through our senses...Our eyes have been reduced to instruments...visual things cannot be conveyed by verbal language...The delicate balance of all a person's powers-which alone permits him to live fully and to work well-is upset not only when the intellect interferes with intuition, but equally when sensation dislodges reasoning…Groping in vagueness is no more productive than blind adherence to rules." – Rudolf Arnheim
DISCLAIMER: Like the abstract, non-verbal series of aesthetic experiences they describe, the following verbal statements are given in hopes of providing more points of access into each of these works of art, especially the non-formal aspects of an aesthetic experience such as addressing the when, where, how, and why questions.
“To interpret a work, it is necessary to be persuaded that it is well done, and to try to approach the spirit of the composer as much as possible.” – Emili Pujol
eXOspACES - neONNOir gameplay abstractions (2017-18)
series of aesthetic experiences
presented as variations on a theme
based on his best mobile jet-fighter app gameplay
to confront the reader-writer
about cultural transmission,
and current aural and visual cultural conditioning practices
as part of an interdisciplinary artistic praxis
in light of peer-review research
to promote inclusive, STEAM-based,
approaches to Art + Design
modeled by the Old Masters
and avant-garde alike
by perpetuating Visual Music and “neONNOir” aesthetics
as a contemporary,
intent on demystifying
and visual literacy
in public spaces
for the sake of civility
in these hyper-connective, highly competitive times
The flexibility of eXOspACES collective frame hopefully invites collaboration with curators since they are scalable, modular, time-based (4-D) digital objects that seemingly alternate between 2-D and 3-D and allow for customizations such as playing on loop; muting to remove or replace royalty/copyright-free music, which I have done to encourage the use of art as a social practice; adjust screen brightness and gallery lighting; project upon other surfaces, etc. Plus, bonusROUND is a series of digital “dRAWings” influenced by eXOspACES that I have made to ensure development in discourse.
TRANSLATIONS - digital art prints (2016)
A great way to innovate is to amalgamate.
As a musician (bassist) and a visual artist, I combine my understanding of Music Theory and Visual Perception to create new kinds of aesthetic experiences through my interdisciplinary approach.
My goal for this TRANSLATIONS series was to take the important "Autumn Leaves" Jazz standard out of its immaterial state as a 4/4 tune in the key of E minor and translate it into a set of visual objects. To accomplish this, I constructed several 44x44 inch studies that separate the key components of the song into still, silent, and simultaneous works of art.
These "Immobile Motions" are based upon recent research related to color mapping melodies that builds on the body of peer-reviewed knowledge focused on finding twelve color equivalents for the twelve notes that are used in Western music.
Contemplation of counter narratives such as these enhances our appreciation of systems and helps us become more objective about seemingly spontaneous artistic acts.
EXURBS - colored duct tape on reflective insulation bricolages (2015)
The exurbs (short for “extra-urban”) are the quasi-rural outlying affluent areas that encompass urban epicenters and their surrounding suburban environments. The EXURBS series is an abstract visual experience that seeks to raise awareness and questions about these new elite establishments such as; in a day and age of unprecedented connectivity, what are the political, economic, social, cultural, and religious factors that have contributed to the emergence of the exurbanite?
Each of the six bricolages that comprise the series is based on a harmony derived from the equilateral color triangle as a symbolic representation of the DIY exurbanite neighborhoods.
FUSIONS - woven watercolor on paper paintings (2014)
For my FUSIONS series, I created two abstract watercolors for each woven work by action painting them side-by-side using squeegees and splashes. I then deconstructed both into geometric strips that intuitively intertwined. In doing so, I was able to unite, reorganize, and augment the visual space of the original organic images, making a total of eight grid-like amalgamations that are ultimately more creative, compelling, and complete.
BIOMES - acrylic on canvas palette knife paintings (2013)
For my BIOMES series, I abstracted environments such as woodlands, deserts, grasslands, and tundras. I created these acrylic palette knife paintings while contemplating the importance of symbiosis in sustainability. Each of the twelve vivid impasto paintings included in this series offer the viewer an evocative haptic-optic experience, making them individually and collectively more memorable despite their diminutive size.
Published by Empty Mirror
Donated to Pullman Regional Hospital Emergency Care - Pullman, WA