Some harvest

↓ ”1 for 1” or “Fork by fork”, (? x ? mm + ? x ? mm), mixed media on cardboard.1for1_fork2fork

↓ “Blind anticipation”, (600 x 400 mm), mixed media on MDF.600x402

↓ Untitled work in progress, (332 x 494 mm), mixed media on paper.

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.
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.
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
… and here’s the winner. Congrats!

Postulation? All signs made on cardboard are a social commentary of one kind or another.

Except maybe the ones printed there en masse you might think, but then: not really. It does not matter whether you are picketing a behaviour incompatible with your own, asking for a free ride in a particular direction or soliciting financial compensation for your misfortune. Those are just the actions behind the sign. The sign itself is what you see first: a statement, a bulletin, an intention spelled out as clearly (or misguided) as the designer is intellectually capable of. Find them on the streets, discarded after use or ready at hand, more than often frayed with the incapability to change much if anything. But still and always addressing someones need or willingness to engage in some kind of social contract, to buy, to sell or whatnot and thereby issuing that postulated commentary. Is that reason enough for yours truly to apply artfulness on them? That is as legit a question as anyone and there’s this: as of 2011, fifteen percent ( of this planets human inhabitants still see to their bodily needs in the open.

↓ Title(s): “En Suite: the right turn, our collective values, their shared advantages and the sound of freedom” (365 x 485 mm, mixed media on cardboard, work in perpetual progress)


The right turn:
“I am the light!” she yelled and blew her whistle.


Our collective values:
… that night he kept walking by our windows,
screaming his frustration at his phone: “… but I love you, asshole!”


Their shared advantages:
“Flinging magnetic curses amid the toil of piling job on job, here is a tall bold slugger set vivid against the little soft cities.” (C. Sandburg)


The sound of freedom:
“The Uniform Plumbing Code, section 409.2.2 requires that all water closet seats, except those within dwelling units or for private use, shall be of the open front type.”

Quote of the year, so far.

“I increasingly believe that the desire to create beautiful things, when it is authentic and sincere, coincides with the aspiration to perfection.”

Sophie Taeuber-Arp

K8 (deconstrct) . . . an ongoing architectural project

M9 (deconstrct) . . . an ongoing architectural project

P99 (deconstrct) . . . an ongoing architectural project.

Deconstructed consumerism. 3 receipts systematically re-arranged in order to tell you something equally meaningless. On that account it all adds up to quite a bit of nothing.

Receipt #1, june 2010: 

Fresh apple juice, coldpressed from ’Elstar’ apples. ’Elstar’ is a cultivar from a cross between ’Golden Delicious’ and ’Ingrid Marie’ apples. Known for their sweetness and high vitamin C content. Blackcurrant juice, organic. Blackcurrants are berries native to Europe and extremely high on vitamin C, 302% of the Daily Value per 100g, Growing Blackcurrants is still banned in New Hampshire. Strawberries, danish, unknown cultivar. The common Garden Strawberry was bred from plants brought to France from the Americas in 1740. 2007: 3,824,678 tons worldwide. 245 glyphs on the receipt, including 2 letters of ’Ø’. It is a mono-phthongal  close-mid front rounded vowel. In Danish spelling, ’Ø’ is also a word and means ’island’.

Receipt #2, june 2010: 

For 54 minutes of perpendicular parking in downtown Odense, Denmark. The population of Odense municipality owns a total of 64.837 cars. Skilled drivers may be able to parallel park successfully by backing with the steering wheel turned all the way to the right and then immediately cranking the wheel all the way to the left at a critical point. Inner city residents pay an annual fee of 250 dkk to park. 225 glyphs, including 3 pictograms depicting a swans head correlating to the autobiographical fairytale of ’The Ugly Duckling’ by Hans Christian Andersen, a native to Odense.

Receipt #3, june 2010: 

Harira: tomato- and lentil-based soup also known as ’Ramadan-soup’. ’Fatimas Fingers’: fried rolls of phyllo-dough with tuna. Cold been salad: pilaki-style with couscous added. Chicken tagine with potatoes, chickpeas, cilantro and a little to much turmeric. Dessert: 4 different kinds of sweet phyllo pastries (baklava) and fruit. Coffee: arabian-style with ground cardamom. Boukha: high alcohol volume, transparent and sweet fig-brandy. Tagine: crockery-pot with cone-shaped cover designed to promote the return of all condensation to the bottom part and to infuse the contents during slow cooking. Casablanca is Moroccos largest city. 460 glyphs.

Gallery page added to blog

RAT - 2009, 150 x 100 cm

For now a few select productions to start with. Find the gallery in the MORE menu to the right. Will update as progress happens. In other words: not so often.

Inspired by some roadkill I came across one day while getting lost on my bike, almost squashing through the fresh corpse of a fat grey rat, its pose or rather rigor mortem almost as depicted here giving away a sense of loss but also relief, the mix of impressions talked to me and my memory enough to stay and be put to canvas. The scissors? Have no idea. Looked long and hard for an addition to the rat before this candidate stuck or should I say, cut loose?