code

… it’s done.

↓ ”Time Marks The Spots”, 540 x 600 mm, mixed media on paper.timemarksthespot

(Listening for patterns on “Skeleton Tree” while randomly creating patterns that might lead to some kind of recognition of unknown knowns of coded broken structures. Or not, doesn’t matter, that’s not the goal. Much like abandoning a blind straight path in favor of the next bend in the river and what’s behind it. Why “time …?” asks the reader with wet feet. Because it has to start somewhere; or end? Because it’s not linear, really? … nah … I’m over it. But please, look it up)

Frankly and furthermore, here’s an estimation on the state of our collective being, disguised as an homage to hard sci-fi. Also: more progress to that other piece and some film festival posters.

↓ ”Rhett/Scarlett” or “Road to Extinction”, (430 x 270 mm + 245 x 340 mm), mixed media on cardboard.
Rhett&Scarlet
It started with a ladder, or rather with a vision of a ladder, or more precisely, depending of course on where in the process you believe associative lines of haphazardly firing axons can coalesce into ideas worthy of sticking to the inside of one’s skull, a fantasy of a DNA helix unfurling into a rigid ladder, left with one rail bent out of shape as if it’s rubber or maybe even warped by time, evidently proposing the question: what does that make our ladder; this symbol of progress, Jacobean ascension, abysmal descent, staggered regression, communication between higher and lower psyche, the connection between body and mind, self and ego? Well, here it made for an image worth exploring for a minute and before you knew it, and least of all my own consciousness knowing of it, these roaming hands of mine drew in a few overlapping circles,  suggesting them to be planetary objects held in place by universal gravitational forces and/or ink on a nebulous space of paint splattered, discarded pieces of cheap cardboard (one from a not so innovatively designed packaging holding a somewhat sophisticated designer toaster, the other intended to be a short-lived partition or filler between fragile and empty glass bottles) making me go “hm” and “oh” to a point where I liked where we were going, me and my brain, together pushing more towards an interpretational regimen as opposed to just spilling our babbling beans, thinking “here’s a possible commentary, exploration on the themes of never-ending growth, the incessant urge to reach yet a final frontier never thinking about the bill somebody has to pay at some point”, and a little more meditating on the subject led to the oh so obvious addition of a domino piece, the pips counting three and two, the most sexy and sacred ciphers this side of the galaxy, indicating that behind all this there’s a conduct or code, a cultural key to that particular part of human behaviour. To round out and up that end of the game, there was no other way than to add an obscured text, a secret message (uh!) by the help of a book cipher and since I was already thinking about Arthur’s and Stanley’s thoughts about the same, I used that particular good book to quote a totally different movie classic to word my conclusion to this investigation. To help you just a bit I give you the paragraph you need here:

2001: A Space Odyssey (by Arthur C. Clarke, 1968)
Chapter 1 – The Road to Extinction:

The drought had lasted now for ten million years, and the reign of the terrible lizards had long since ended. Here on the Equator, in the continent which would one day be known as Africa, the battle for existence had reached a new climax of ferocity, and the victor was not yet in sight. In this barren and desiccated land, only the small or the swift or the fierce could flourish, or even hope to survive.

↓ Untitled work in progress, (600 x 400 mm), mixed media on MDF.
600x402
It’s a sprocket. Makes a machine work, like. Somehow it still ended up looking like a flower. Now, we dance.

↓ My contestants in the 2015 Chicago Film Festival Poster Competition, (50 x 70 inches), digital layouts
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… and here’s the winner. Congrats!
The_winner

Spring Collection 2015: still on cardboard, some more complex than others but all investigating patterns and their recognitions. As usual there is a discount when made in bulk.

↓ ”A Prayer And A Pizza” or “Bed With A Vision”, (260 ≈ 360 x 320 ≈ 370 mm, apx and respectively), mixed media on cardboard and parmesan.

view_from_the_room

Yeah. On take-out cardboard mainly. (Thin crust, basil and roast peppers, well done) I had my medium delivered on a rainy day. And while waiting for her to come out of the shower I contemplated her architecture; at hand and out there. Both displayed in front of me for my viewing pleasures, shadows dancing in straight triangles, extending their corners. Then we drew the blinds to the world and tried to see it for what it really is.

↓ ”Grab” , (480 ≈ 270 x 290 ≈ 310 mm, apx and respectively), mixed media on cardboard.

grab

1/φ, 22/7, part of the Fibonacci sequence and a cat called Schrödinger. And why not? Just random scraps in random shapes that you try to sort in random order. Cause if beauty is in the hands of the beholder it will eventually find its way to you, play right in to your yearning eyes. So that piece is best viewed with your eyes closed. Unclenched.

↓ ”Shoulda, Coulda, Woulda” and “Oughta, Mighta, Gotcha” (480 ≈ 270 x 290 ≈ 310 mm, apx and respectively), mixed media on cardboard.

shouldacouldawouldamightaoughta

Some cardboard boxes come with print. That makes it kinda ready-made. This one came in white, magenta and imperative words, full of spoiled surprises. That night I happened to dream I was making tea for a host of waiting people but I kept complicating it for myself, to a degree that it just became utterly impossible. And voilà: a piece on obligation and its pitfalls emerged. Hereby be warned. Adding a little spiritual geometry hopefully will detox it a bit.

↓ ”Autoportrait in Homemade Notation” or “Unfinished song in FM7 or something” (490 x 325 mm, apx and respectively), mixed media on fret-cardboard.

Song_or_Autoportrait

I noodle. Mostly guitar. Start with a weird chord stacked all lop-sided and always end up with a quirky progression and a song that takes me places. Mostly I get lost there, but that seems the purpose of my most productive endeavours anyway. Here I put it on corrugated fibreboard from what seems to have been a moving box once and it kinda ended up visualising that process. This particular piece is best viewed on a somewhat crunchy tube amp and goes well with my fretless bass.

It is well known that when you do anything, unless you understand its actual circumstances, its nature and its relations to other things, you will not know the laws governing it, or know how to do it, or be able to do it well.

毛泽东 (Mao Zedong)

Working title: “Chair, man” (367 x 475) 

367x475367x475367x475367x475

 

“The right foot” has been put down. Onward we go at a steady pace. The soundtrack alternates between Emily Wells, Savages, Steven Reich and some Deftones

↓ “The right foot” (800 x 495) is finished. Good riddance to that and fare well. It was nice to get you out of my mouth.
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↓ Working title: “Chair, man” (367 x 475) Look! 2 penises!
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367x475

↓ (540 x 598) This one’s getting hairy. Literally.

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↓ (595 x 460)
595x460
↓ (600 x 402)
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↓ (425 x 620) I think that dark red field becomes a plinth of sorts
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↓ (203 x 203) Sometimes one’s palette/testing-range gets interesting …
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↓ (300 x 300) Ditto
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Eight boards in progress including a finished “Nine for a Kiss”. That one has had its title amended.

↓  “Damages / Nine for a Kiss” (700 x 425) is finished.
The Danish name for the Magpie (Pica Pica) is “Skade” which means injury or damage. Superstition has many names and in this case it comes with a lovely plumage.

"Damages" or "Nine for a Kiss"untitle

↓  “Nine for a Kiss” Cut-out details

untitleBuntitleAthe_kissuntitle

↓ “The right foot” (800 x 495) So this is getting close to the finish line. Those red things are myelin sheaths. They wrap around and insulate your axons. Sometimes they get damaged and the current gets fucked. Loss of bandwidth ensues etc.800x495800x495800x495

 

↓ (540 x 598) This one’s getting hairy. Literally.

540x598

↓ (595 x 460)
595x460
↓ (600 x 402)
600x402

↓ (367 x 475)
You might still see a penis there. Good. Nothing like Cowper’s fluid hn?
367x475

367x475
↓ (425 x 620) I think that dark red field becomes a plinth of sorts
425x620425x620425x620425x620
↓ (203 x 203) Sometimes one’s palette/testing-range gets interesting …
203x203
↓ (300 x 300) Ditto
300x300

 

 

“Drive” is done. One is almost there, another one has been deflowered, my foot has come down oversized and another 2 are in priming stages. Work progresses as Bowie sings about a hollow tree and Ari Hoenig plays in 5/8th’s.

 ↓ (600 x 402)

600x402

↓ (367 x 475)

367x475

↓ “The right foot” (800 x 495)

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↓ “Untitled” (425 x 620) Yes, those are peony petals

425x620425x620425x620

↓  “Nine for a Kiss” (700 x 425) is close to done

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↓  “Nine for a Kiss” Cut-out details

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↓ “Drive” (760 mm x 635 mm) is now finished 

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Progressive workings: One for sorrow / Two for joy / Three for a girl / Four for a boy / Five for heaven / Six for hell / Seven’s the Devil his own self / Eight for a wish / Nine for a kiss / Ten a surprise you wouldn’t want to miss

 ↓ (800 x 495)

800x495 

↓ (425 x 620)

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↓  “The Kiss” (700 x 425)

the_kissuntitle

↓ “Drive” (760 mm x 635 mm)

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↓ “Listen”  (460 mm x 635 mm)

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Progressive work

 ↓ (425 x 620)

425x620

↓  (700 x 425)

untitle

 

↓ “Drive” (760 mm x 635 mm)

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↓ “Listen”  (460 mm x 635 mm)

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listenlistenlisten

 

 

Progressive workings: nothing is more boring than a blog where some Schmock wannabe artist incessantly posts his ‘art’, without even bothering to explain why he does it or for that matter what the (bleep) it is his so-called audience is actually looking at. Right?

‘Schmock’ btw, is a yiddish word and has most of the same meanings as it has in american english. According to trustworthy sources its original meaning is ‘penis’ (from old polish smok,  ‘grass snake, dragon,’). So being a dick is a true and ancient art form, it seems. It is also interesting that the german  word ‘Schmuck’ means ‘jewelry’. Talk about ‘family jewels’. Of course it is an ongoing discussion which word derives from which. As if it matters.

May I present to you the latest stage of my attempt to portray my ears as something more than exterior listening devices and carriers of adornments. It is also my first floral artwork ever, albeit even that has been disputed. Whatev’ …

listen

 listenlisten

listen

Title: “Listen”.  (460 mm x 635 mm)

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(760 mm x 635 mm)