Tag Archives: autobiographical media

Desert (Loss) Studio Shots

Here are a few shots of the pieces for Desert (Loss) at various stages of layering, on their way to completion in September and October.

My intent was a combination of flatness and density, like strata of information, memory or sensations that converge and entangle as a kind of information overload. Only certain shapes escape the mosaic chaos. The geographical, imagined and supposed become concurrent events.

Landscape  itself is neither completely geographical nor entirely theoretical. Historian Simon Schama suggests “landscape is a work of the mind. Its scenery is built up as much from strata of memory as from layers of rock” (7). This is vital to Desert (Loss), as well as the larger body of work Desert… spawns from (The Cascade…), as ambiguous, digitally-informed landscape ruptures and re-contextualizes the nature of location, by way of a strange elasticity. Time, perspective and distance are contingencies in my manipulated topography.

In this case, I sampled my videos, media and screen caps and flattened them into graphic strata. Layered like transparent sediment, they suggest the way pinpointed moments and memories freeze with a fictionalized quality, yet remain transient and insubstantial (yet hardened as iconic distillations). until built up with other layers of memory and experience (additional strata), forming a relational network that allows the viewer to understand.

An earlier phase:

And later phases:

View the finished works here and here.

Last-ish Mentor Meeting

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Still from Rental (Requesting Backup), 2015.

 

Oliver and I had a meeting this week. Highlights included: a bee attack and a tuxedo cat.

I refer to it as our ‘last-ish’ meeting because we’re keeping communication flexible for the remainder of the semester. If we decide to have a formal meeting before the final report is due, we’ll do it, otherwise we’ll just have ongoing Q&A. Oliver feels I’m in a good place, with a solid body of work (he has no outstanding concerns or worries). Now it’s just a matter of getting there and finalizing the installation on site.

Things we discussed:

  • Oliver felt the Margaret Atwood poem I posted to the blog is relevant and intriguing–the tone even references the layering of the voiceovers in the newest edit of Rental (Requesting Backup). He also found it interesting that the poem was written around the same time as the beginning of the end of the Hollywood western, and at the height of pre-cable TV culture. Atwood’s characterization of the landscape is coexistent with the works I’ve sampled…
  • In fact, Adam 12 itself is a ‘western.’ Most of the programs I’m using are conceptually and territorially ‘western.’ The wild west is Hollywood.
  • The new edit of Rental (Requesting Backup) maintains the same sense of panic, incoherence and anxiety, but flows much better and the voiceovers are more consistent now.
  • It might be interesting to consider presenting the paintings with a glass or plexi surface, using L-clips. The slicker ‘screen’ could perform well in the installation.
  • He said I should anticipate a few questions about nostalgia, during the defense or the talk. Consider what I like about the works I’ve appropriated, what 70s nostalgia means, why is it so easy and seductive in the 21st century. What are the personal memories and is nostalgia intended?
  • We discussed Sigmar Polke, David Salle and James Rosenquist, all artists I’ve looked at, but which did not get covered in my thesis or talk. I lamented our inability to address all of our major influences with the respect and coverage they deserve.
  • He suggested I can finish the newest painting(s) and video(s) or not. If they happen, they happen. If not, I have enough material already.
  • The thing that keeps returning to Oliver as the most interesting aspect of the work is the different ways this TV landscape is viewed and received. He said he’d especially like to see me hone in on the way TV landscape was foreign to viewers like him (or Matthew Meyer and others I’ve talked to), but that it was a real place to me. This is ripe for more exploration, maybe even with more autobiographical meat. Since our program downplays the biographical, I am more free to dig deeply into this in future iterations of the project. He also sees the project as ongoing, taking new forms over time. Where the personal or biographical intersects with landscape is interesting. There is a distance between the way viewers like Oliver saw this landscape and the way I saw it… He has said several times that I need to return to these places myself, in the future, and do more work with images and landscapes born from these encounters. Specifically autobiographical could be okay.
Still from Rental, Requesting Backup, 2015.

Still from Rental, Requesting Backup, 2015.

The most current Google Street View of the fire station. From 2014. The one I cited in my thesis has now been displaced to our cultural archive...

The most current Google Street View of the fire station. From 2014. The one I cited in my thesis has now been displaced to our cultural archive…