We are developing our 2013 expo series on the fly for Good Faith Space. One upcoming exhibit we're excited about [tentative mid-July opening slated] will feature the multimedia work of Brooklyn-based artist Dane Rex. Dane has recently completed a zine, "Castrate Yourself," which GFS will be launching. He'll also be presenting selections from his diverse and compelling 2012-13 2D and 3D serial output, comprising a range of content in a spectrum of portable and hangable art on paper and other substrates, including found stuff, like industrial wood throwaways and print material.
Eric Leiser is planning to create a site specific installation at GFS in September. We're talking about what that might look like. Probably the expo will include Eric's remarkable holography, paintings, moving images [sample above], soundscapes by Eric's brother/collaborator Jeffrey and other sculptural or dimensional elements.
Shane Kennedy, as mentioned previously, is leaving for Europe in July to reconvene the Voyage of the Hippo with his pal Clemens Poole and the rest of the Hippo crew. When Shane returns, we are envisioning his next wall painting happening at GFS.
[Look for news on a little cake social happening to close the SftPoCO showcase sometime in the next week or so.]
My conversation with Shane about painting is now going on its 13th or 14th year. I cannot overstate how significant his accomplishment is (as seen in the SftPoCO wall painting). Earlier in the week we traveled together to a Tibetan Buddhist monastery, and one aspect of the trip involved seeing the marvelous wall paintings on view there. The discursive exercise we had on this auspicious occasion juxtaposed traditional Tibetan Buddhist representation with the 4dimensional form Shane is developing as a branch of the discipline. The two mediums, at least in their open-edged, flattened, conceptual lattice framework, are approaching each other as structural similarities, now.
Shane also visited the Metropolitan Museum to view "The Boxer," this week. We discussed the types of detail in that great sculpture, one of my all-time favorites, that do not photographically reproduce from the bronze to the 2D representation (photo/jpg). Shane's wall paintings are appropriating this feature of lossy translation, but re-opening the visual animation of the original content as a projection on top of a projection. The base or substrate projection, the ground, if you will, appears to be static (but isn't). It's a profound innovation, in the manner Shane is dealing with it, even if the model has been experimented with by others previously.
The process by which the SftPoCO wall paintings were realized, as a feature of our BOS2013 program, but as a progression over a time phase too, has integrated wovenform effects in a very complex array of invisible networks, which, in the aggregate, nonetheless evidences itself in a very simple, even minimal, painting, at least in its early stages. Now that a color field/plane has appeared, employing color in representational facets symbolic, sensational and decorative, the figurative design is floating, and the white walls (two of them, incorporating a 90 degree corner, a perpendicular planar device) activate to imply projected background as a full or total, complete abstraction, one that it is possible to suffuse with any static or moving image. It's like a Slider (not the sandwich, the digital widget).
I am looking forward to talking with JN about this. There is an interesting wrinkle to consider, which has to do with Noise and hyper-realism countermanding optic recognition, in patterns or in the contingent or referential. For instance, one can apply the photo below as a "backdrop" or setting for the scene depicted at 411 BFP. It is helpful to recall Mark Tribe's recent landscape exhibit at Momenta here. The key is to be able to permit each element in the "painting" to exist in all its dimensional possibility. Shane has mastered this ability at a young age. - PJM
I would hint that GFS is going to devote substantial programming to mine this seam. The inaugural meeting of SftPoCO seems to indicate that the technology of our individual artistic expression is amenable to sharing, to collective transmission, even recording.
Our organizational conferences, including the artists, admins, techs, staff and supporters, seem to be directing us to consider a standalone environment where food, art, talk, media and music commingle. The models we are considering are diverse.