Crippled Cow Studio » Inspiration

Projection Trials

naliyat23 — Fri, 11 Apr 2008 21:03:04 +0000

Ritual – Ceremony – Sacrifice – Dignity

naliyat23 — Tue, 01 Apr 2008 02:51:12 +0000

Just some quick thoughts trying to think about what the purpose of the event will be…

Thinking about it as a ceremony or ritual that will heal the flow of qi, I was looking for some thoughts about how to go about this. I ran into some descriptions of gods/goddesses, etc. One that caught my eye was the goddess Durga who, from what I could glean, was the woman who could destroy man. As a ritual the “trinity of men” would go to the river, asking her to save their civilization. When she rose from the river, they knew they would be safe. Following onward, I ran into a description of ‘lemures’ which in Roman belief were evil spirits of the dead who wander about as noctural bogeymen. On November 9th and May 13th, households would hold a feast and at midnight they would go out and, making sure they kept their faces turned away, throw black beans to the lemures as a peace offering.

I was talking to Don about the 4th wall… which is when the audience becomes the exhibition, unknowing participants. This carries into what Chris V is working on and what Taizo was talking about with creating this sort of input (assuming video / audio of the audience) / becomes distorted output (projections / sound) becomes new distorted output (more projections / sound)…

Just talking to Spencer about ritual and sacrifice… what is it that we (the audience) are sacrificing? What can people sacrifice to restore the flow of lifebreath? What about sacrificing dignity (images distorted into something ridiculous like throwing beans)? What other “things” could we sacrifice? How do you sacrifice yourself? Is there some sort of measure of the sacrifice? When do we know that we’ve restored the flow of qi?

eve ingalls

nicolasa — Sat, 29 Mar 2008 23:59:59 +0000

running straight to her website after yuanman found her exhibit in soho – these images are exactly the kinds of things i was hoping to emulate – this energized form coming from the ground.

——eve explaining her work:

During a residency in Berlin I turned to Sculpture. It allowed for a more direct investigation of our interaction with the natural world than painting could offer. Urbanization is stripping us of our awareness of natural habitat. While working in the studio, I imagined that the natural world was gone-erased-except for the bit of landscape left at the edge of my body (perched on my shoulder, caught between my arms, or stuck in the triangle that holds my feet to the ground). Using my body as a drawing tool, I recorded in gypsum the gestures which allow me to reach out and bring back a world in which it is possible to exist. These are primarily gestures seeking shelter and orientation.

Currently I use both paper and metal for their ability to record the intricate effects of wear and tear on the cultural and natural fabric of our contemporary world. Among these effects are the boundary shifts that are being caused by global warming. Entire sections where form once existed feel erased, burnt, or gnawed away. The remains evoke parts of the human body and elements of the nature/culture battle that seek to survive destructive forces. References to the human body and to human scale unite to produce the unsettling effect of implicating a part of the viewer’s body in the survival effort that is being enacted in each sculpture. It is as if a part of one’s body is being used without one’s consent.Throughout the papermaking process I set up conditions that mirror natural forces. Pulp and water are allowed to participate actively in the shaping of the paper. For example, I often let the drying paper twist the internal metal rods on which the paper is supported, much as the drying out of the cells of a dead tree causes its trunk to spiral in one direction. The active collaboration of the process brings a sense of added life to the work, by making forms feel as if they are pinched and pulled and moving before oneÕs eyes. The result is the impression that an event is in process of unfolding, forcing each sculpture to change location, structure, and shape. I intend my sculpture to feel uncomfortable, as if it has come from another place and is merely passing through the gallery on its way elsewhere. Wishful Filaments (a play on Freud’s dreams of ‘wish fulfillment’) suggests an accordion book that is pried loose from the earth, stretched open, and held up to the sky by marionette wires. It forms a stairway that allows the thought of flight along a vertical axis.My sculpture is also charged with ironic humor and narrative twists and turns. In A ‘Quick’ History of the Western World, a tablecloth-like piece of handmade paper serves as a draped stage space. It is inhabited by a group of figures that simultaneously evoke ancient Greek philosophers engaged in dialogue, biblical prophets addressing believers, and soldiers preparing to charge. These three narrative strands confront each ‘ther, diverge, and rejoin to suggest that the implications of what seem to be ‘facts on the ground’ can be painfully clear as well as exceedingly elusive and complex.

Processing

Chris — Fri, 28 Mar 2008 05:19:00 +0000

I have been researching the stuff Casey Reas talked about in his presentation, and it is awesome. I started to use the software and it is very sweet. Anyway, I think we can use this for our installation, we could program the lights and/or sound to be interactive/reactive.

Video Artists

naliyat23 — Wed, 26 Mar 2008 07:30:22 +0000

A halfway interesting article about some video work of a few artists… some of the descriptions seem a little too familiar to what KBen was talking about…

I thought the work of Diana Thater was particularly interesting – at least in the process of how she filmed using 6 cameras at the same time which inevitably catches the other cameras, crew, etc. The projections are positioned so that the spectators become part of the exhibition, blocking and obscuring parts of the vids.

Five Video Artists

Las Pozas

t4649 — Sat, 22 Mar 2008 17:35:58 +0000

I looked for a preceding surrealist garden on the Internet, and this was the one whose name I saw most frequently. A book about this garden is also available at the library.

http://www.eyeconart.net/mexico/pozas.htm

http://www.mexico-with-heart.com/places/edward-james-las-pozas.html

Antipodal Mapping

naliyat23 — Wed, 12 Mar 2008 22:04:50 +0000

If anyone has cool pics of “So’s Your Face” post ‘em! It would be great if we could put up a page about it. If you feel like putting together a spread, you can get it to me and I’ll put the page together.