Categories
Art Practice Writing Practice

Thoughts on making art or being productive during SIP 👇

  1. You don’t owe anyone anything. If you need to rest and step back, THAT is OK. Also, rest is an important part of the work, research, and creative process. Perhaps you’ve been feeling burnt out, well, your body is probably telling you to take it easy.
  2. Productivity is challenging for so many people. Whether you live on your own, with family, and/or a partner, there is a lot of shifting going on. Be open to the shifting that is happening and be still for it (and delve into whatever practices bring you ease and comfort).
  3. If you’re the type that really feels compelled to do or make something, reach out to a friend or someone you trust and discuss your ideas and be open to vulnerability at this time.
  4. Try your best to not feel guilty if you’re making. I’ve been seeing some really negative things out there bashing on folks for creating at a time like this. This is what we say to haters 👋🏾👋🏾👋🏾 and thank you 🙏🏾
  5. Comparing, at a time like this, well, please try to refrain from this activity as it will only cause you distress. Nobody has the skills or experience you have in the particular way you do. So, it’s not that productive to compare yourself especially now.
  6. Create ritual(s) for yourself. Find activities that enable you to ground yourself. These things are equally if not more important than whatever you’re making! THIS IS REAL. Trust. As someone who is survivor of severe traumas, my rituals have saved me.
  7. If you’re just wanting/needing inspiration, try making a list of your favorite things using good ole pen/pencil and paper! Be silly, make it fun, and/or as deep as you want/need. Writing is such an embodied experience that many of us don’t do anymore.
  8. Don’t feel compelled to do what you see on social or any other place for that matter. Just because everyone is doing this and that doesn’t mean you have to do it too. Unless you really want to. Again, you don’t need to do, make, or produce anything as proof of your existence!
  9. Also, making, doing, and producing (AT ANY TIME) is hard AF, but it’s extremely difficult at a time like this. If you want to make and NOT share with the world, that’s OK too. Do what is best for you. But also, see #5.
  10. PLEASE, if you’re experiencing serious challenges, difficulties, and/or distress, reach out and ask for help. Feel free you share your thoughts too and yes, reach out if #10 is where you’re at. I will do what I can to assist, support, and/or connect you to a resource. ♥️
Categories
Art

Writing Process

The Kitty Cat with Lasers and my Notebook

I know this is an art writing blog but I felt compelled to write about my (art) writing process. It’s simple: I journal (everyday).

That’s right, folks, I still journal. Or, keep a diary. I’ve done this since January 2006.

I love the act of writing organically. With technology, the mind processes many bits of information per second. Writing in a notebook may prove difficult if you’re in front of computer for hours every day (like me – that’s right, I have a 9-5 desk job) but it’s cathartic (even if I’m writing gibberish)!

Naturally, I need an outlet and that’s the reason why I journal as much as I can. It’s where I jot down all the ideas I have for essays and write-ups I want to pursue. If I’m roaming through a museum or gallery, my phone is my handy dandy note taker/keeper/recorder but soon after, I dash off to closest cafe and write in my journal. Some ideas get the boot while other musings garner a bit more attention. As the subject line states, posting a day has really forced me to look at my current writing process and what I would like to do to improve it.

For instance, not worrying so much about what the reader is going to think. Much of my fear, like anybody, is that the reader likes what I’ve written. This is not guarenteed and I’m not always going to write something people agree with or particularly enjoy. As a writer, especially in the Arts, I’ve have to accept this fact and move on. I’m starting to realize the more passionate I am about what I write, it shows.

Categories
Art Performance and Conceptual Visual Arts

Proliferations

With the artist’s reception in a large Budget rental truck, accompanied by a performance piece involving libations and black lights, “Proliferations Part 2” was both provocative and engaging. Viewing the show itself meant being escorted by minivan through a security gate to a roll-up-door storage unit, which was brought down once participants had entered. Viewing works in close proximity not only invoked a strong sense of anticipation, but a participatory aspect to the actual exhibition. “Proliferations Part 2” comes from the curatorial collective OFF Space, which is composed of artist-curators Kathrine Worel, Elyse Hochstadt, and Emmanuelle Namont Kouznetsov. The exhibition included works by Alexis Arnold, Alicia Escott, Michael J. Ryan, and Erica Gagsei. The pieces exhibited were constructed from man-made objects, transformed into organic shapes and forms that were then deliberately set against a wooden backdrop.

With their technologically based pieces, artists David Stein and Peter Foucault utilized this confined location to illustrate the dichotomous nature of excess and lack within a space. Michael Kerbow’s Meat Map simulated a pull-down wall map, thus creating a simulacra of memory based on grammar school geography classes.

In comparison, a viewing of “Proliferations Part 1” at Rhodes & Fletcher Wealth Management offices congruently emphasized the various ways in which environment plays a role in our perception and reading of art. Although no special code was needed, “Part 1” required permission in the form of an appointment to view the works. In “Part 1,” there was a clear distinction between art and venue, whereas “Part 2” drew heavily from the environment to provide the viewer context. Artists from “Part 2” palpably incorporated the environment to have each piece function and become experiential. Although extremely different settings, both sites obligated the viewer to engage in a process of perception and valuation. This engaging was as much a part of the exhibition as the work itself, though that might not have been the original intention. Overall, it would be difficult for a viewer to ignore the environment in these exhibitions, as they are so different from the typical gallery setting we have become so accustomed to.

Originally published to Art Practical for Shotgun Reviews March 2010

Photos from Proliferations-Part 2

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