Liz Roberts, Linda Diec, and I are doing a video side project called earcatcher. The video above is our December edition. For this clip I was the audio & video editor. You can find out more about the project here.
Just had my mind blown at the Wexner Center for the Jordan Belson retrospective shown in 16 mm. This clip on the internet doesn’t do it justice. For more information about Jordan Belson, Oskar Fischinger, and other artists who worked in abstract animation, visit the Center for Visual Music‘s website.
Friends: Rockmill Brewery tasting & great art. Need I say more?
Ticket prices are as follows:
Preview Party, Friday, Nov. 2, 7 – 8PM – $100 per ticket / $150 per pair
General Admission, Friday, Nov.2, 8 – 11PM – $50 per ticket / $75 per pair
I’m finding that it’s easier to point to what my project isn’t than what it is. There is a lot of research out there on how to psychologically torture someone, deprive him of his senses and perhaps his humanity. There is surprisingly little research on happiness, despite the plethora of self-help books and crunchy-feel-good-baby-boomer-bullshit. I think that Stefan Sagmeister was alluding to this with his Happy Show exhibit (and film).
The Happy Box is no longer a box but a room. My mentor Michael Goodson and I discussed the idea of a box that one would climb into; the verdict was that this sterile environment would in no way be conducive to happiness.
Here are some sketches I made:
I guess it’s irrelevant now since I’m not going to use it.
I will continue to do materials tests until I find the thing that will satisfy my requirements: easy to work with, streamlined, light, flexible, modular. How will the placement of the body in the space affect the experience? I’m thinking of setting it up so that you lay on your back to experience it. The feeling of surrender.
Robert Pirsig said, “You point to something as having Quality and the Quality tends to go away. Quality is what you see out of the corner of your eye….” That gave me an idea about lighting. Instead of affecting the lights in the space with gels or colored bulbs, why not give people special glasses to wear in the space? I remember 3D movie experiences at amusement parks when I was a kid. Even then the plot-less movie clips seemed dated and crudely executed, but I loved it. It felt like something special to put on those 3D glasses.
What I’ve been reading:
Space and Place by Yi-Fu Tuan
Personal Space by Rober Sommer
Phenomenal: California Light, Space, Surface by Michael Auping
Bruce Goff: Toward Absolute Architecture by David G. De Long
Animation can be so evocative, almost tactile. I wish I had the patience for making it. See Fangela by Here We Go Magic, video by Snejina Latev.
These are some preliminary sketches for my first semester project. I’m an MFA candidate at CCAD. Don’t steal my ideas or I will hunt you down while you sleep.
In response to the question below: Olafur Eliasson is a big influence on me. His exhibit Take Your Time at MCA Chicago fundamentally transformed the way I thought about art. James Turrell, Yayoi Kusama, and Bernhard Leitner have also made important works–ones that make people feel something. I’m also influenced by films such as Beyond the Black Rainbow, a weird Canadian psychological thriller, and film noir.
Right now I’m reading Phenomenal: California Light, Space Surface (Edited by Robin Clark), Personal Space: The Behavioral Basis of Design by Robert Sommer, and too many books on the psychology of color and light.
Because when I go there I am in my element. If you like to make things, you will be too.