Pearblossom Highway near Four Points, East Highway 138 – Palmdale, CA
I have a solo exhibition in November and I am fusing aspects of my most recent body of work, The Cascade – Moments in the Televisual Desert, with excerpts from Last Days (poetry), to suit the space.
Rather than install the Cascade paintings, digital images or videos straightaway, I’ve remixed my own ‘episodes’ to produce an offshoot series, incorporating new research and experiences.
The November installation is entitled Desert (Loss).
I’ve been mining my stills, videos and paintings for images and symbols that can be remixed into a visual discussion (or even dissection) of the eroded, fleeting memory and its tie to the tenuous nature of ‘depthiness,’ truth(iness) and media. Such that the creative speculation we use when recalling television–or when violently, even romantically, pursuing or attempting to possess fleeting memory, becomes all-consuming.
This pursuit, this grab for thin, fading and re-combining elements becomes the basis of our understanding of self and place; the backdrop of gain and loss.
There are similarities between the recollection of events (real or fictional) and the abstract construction of place, moment and self built in our brains, to house our weird collection of experiences, our filtered understanding of things. It’s rather like the memory palace of Simonides, with a twist of media theory and personal loss. In this case, the desert backdrop of Adams.
Many of the elements sifted from my televisual desert have been stripped own and abbreviated. This is a graphic mode of erosion, such that only certain highlights remain, not unlike the white-hot pinpoints we latch onto when recalling an encounter, real or fictional, remembered or repressed:
Martin Milner, who becomes an abstract sheath of black to the right, died Sept. 7. Each image is a monument to eventual loss, and apparently so is the digitally remixed and fabricated: Roland Barthes + The Flaming Lips
Something’s been lost, or maybe he’s got dust in his eyes
Of course, these extracts, are black and white because they will become transparencies for exposing serigraphy screens.
This allows me to duplicate and further erode each moment, using a variety of ink transparencies and tones, letting some fill in and others become partially obliterated by additional layers and text. So, they won’t be straight black and white and they won’t be single-layer.
In addition to mining my existing episode base, I am also gathering new Google Street Views, stripping, twisting and mutating them, or matching them to television sources. They become part of the remix of reality and fantasy–each carefully chosen vignette speaking on multiple levels (I’ll address some of these in a future blog post). I’m also researching other artists (like Doug Rickard) that use Google, both perceptually and conceptually.
Yes, this is along the length of Hockney’s Pearblossom Highway; 138. Or, maybe it’s my highway 138. LOL. This is past Littlerock, CA, looking East.
Los Angeles County Cascades (on the right, see the tank and aqueduct?) plus the definitive overpass leading to Palmdale, Lancaster. Not far from the freeway interchange that fell during the 1995 Sylmar quake.
I’ll share progress shots and images of the finished series in the future. I am still working on audio, new videos and more paintings for the Cascade, but the paintings and videos won’t be part of Desert (Loss) as there is not enough space in the gallery and I adapted the show to suit the location. Audio could play a role, however.
Also, expect a better / deeper explanation of Desert (Loss) and the ideas behind it in coming weeks.