★THE SUPPOSED DIFFERENCES BETWEEN THINGS OFTEN EXPOSE HOW SIMILAR THEY ARE – ALWAYS ASSUME THAT A RELATIVE OPPOSITION IS IN FACT THE TRUTH – STRUCTURAL SIMILARITIES CREATE PARADIGMS WHILE THE DIFFERENCES IN WHAT THEY ARE IN MEANING CREATE SYNTAGMS – IT IS THESE ALGABREIC CODES THAT CONSTRUCT ALL MEANING AND IN DOING SO REVEAL HOW ARBITRARY, DYNAMIC, AND CONTROLLABLE THEY ARE: DON'T BE A DICK/FOOL★
Formally speaking, collage is a term that denotes cutting or tearing pre-printed images from multiple sources and rearranging them into a new field of composition with some sort of adhesion to fix the various pieces of newly assembled image together in a new image. This type of collage is often a marked reveal of the inherent issues with formal images and representation. It is a way to simultaneously address the often overlooked fact that printed images/photographs are not what they represent and how not so obviously flawed image representation is. But in order to get down to the real issues of representation we would be calling this a preface to a much larger and (hopefully) less interesting dissertation on representation with footnotes choking each page half, if not two thirds the way up in a threat to break down the fortress of information by its own references.
What to me is uniquely #collage in the #contemporarycollage of today’s #contemporary is a seriousness in the absurd content that redirected forms conveys when placed by the eye/hand of the one reauthoring the images. Most things that are considered #art in my vernacular have a peculiar way of making me laugh. Not from direct intention of humor, but in a sudden presentation of something that is weighted with #truthiness, which could be argued is the definition of humor. Successful comedians often say that the funniest moments are moments that approach the truth about something that is normally too taboo to approach or something that no one is willing to say that everyone is somehow thinking in such a way that makes them acceptable and comfortable, if at least in that moment. Essentially we get to the facts of things however uncomfortable or obfuscated they are more easily through humor because it is the opposite of threatening. Again I would have a rather large text if I went on about #truth and #facts, so I will just say that there is a definite difference between the truth and what is a fact. Truth is dependent on so many factors and each person has their own unique truth, but facts are universal and can be in direct opposition to truths, which is a societal dilemma that we have not approached to my knowledge and has been thrown for a complete loop in the current American governmental political administration head. I would not like to say that there is a war on facts, though there may be, because I seriously hope that this was all a nightmare that happened only by illegal collusive means which will be soon discovered by the current investigations into just that.
My collages are an attempt to gain a closer look at the facts beyond the truths and I hope they do exactly that or at least piss off a few brainless #trumptards.
As i step into a wriggling pile of misfortune, I am guided by the power of the incidental juxtaposition of objects made linguistically viable as it’s own vernacular creates itself as I facilitate it to do so by not interfering with what it wants or needs to say. The digitization of images and the development of portable network graphics files that can sit on a background of transparent nothing all around the internet, just waiting for something to search for them and to begin combining them into situations which might just be possible enough to believe. Even if the representation is completely absurd it is completely dependent upon theoretical politics, which are not understood by most American people, even though they are pushed, pulled, and dragged around by it while saying they “don’t like politics”. I often correct their use of the term hoping a light would go off as it did for me at the point when I realized that all things that require other people in order to function as what they are are political by their nature. Many people or a few people, it doesn’t matter. I’m not specifically siting governmental politics, which may appear in these collages, but only served to prove that the most accessible culture in this country is that of its governing bodies. everyday politics and the politics of the digital image are much more relevant with these pieces, but in an effort to point out the layers of politics at play, I will include that for the vast majority of the individual images I use that incorporate within the format, other people took the photographs and prepared them as transparent png files, thus forming a vital political relationship between each other, myself, and the audience. Perhaps the main reason I am comforted by this is that authorship is highly overrated.
Somewhat creepy are a few of the collages I had just finished in the week before Hurricane Harvey in their quasi-precognitive depictions of surreal waterlogged narratives.
Not to suggest that any of them are anything more than a continuation of the content and form on my primary Instagram that just happened to incorporate unsplashed backgrounds depicting large to medium sized bodies of water, and considering that the earth’s surface is nearly 80% water there should be nothing worth noticing as driving a paradigmatic relationship beyond that.
However, when the particular image that bears a similar title to that found in the heading text is placed as a focus in relation to the hurricane and it is understood that it was completed without any knowledge of a tropic storm or storm of any kind anywhere nearly a week prior to Harvey’s landfall, its content lends itself to a dynamic which suggested that pre-cognition of TheDonald’s first (and hopefully last) natural disaster response as POTUS. There was no clear message or intent involved with the collage as it was constructed like all of the others, relying heavily on the forms themselves to complete the composition. There is often very little to go by in terms of drawing meaning with pure syntagmatic relationships fighting to construct significant meaning out of very thin structural relationships created by simple repetitive motifs (if the Japanese artist Korin had copy/paste or duplicate capabilities, those Irises would have been on rice paper partitions across the world).
PRE-COGNITIVE FLOOD COLLAGE (incl. Karl Marx as the United States Congress)
MOTHER PFIZER INVERTEBRATE FATHER (Catch and Release)
OUT WITH THE OLD AND NEW, IN WITH MORE OF THE SAME
EVERYBODY’S DOING IT
So at best a coincidence that we will say is a coincidence until I reveal all of the other pre-cognitive visual and didactic events that have been happening in my crusty world over the past few years. It could be that the autoimmune condition that struck without warning was so traumatic that it knocked an extra sensory location of the human brain loose – freeing up axons and neurons to connect to events in the future as other neurons and the mylan that protects those peripheral neural pathways were destroyed by my own macrophages. It would be nice to think so considering that the experience of feeling your white blood cells consume your nerve endings like millions upon millions of electro-microscopic hammerhead sharks gnawing into white-hot electric fire that is your feet and toes as they twitch and arch in slow agony by themselves, but probably not. It’s all probably something more related to the Pfizer brand squid that is thrown back to the ocean and reclaims its deep trench single squid family home from the in laws that forced him out when they got frustrated because he got sick with an auto-cephalopodic tentacle twitch.
A new collection of work is coming down the pipe. Somewhat of a departure from the SNAKES AND EGGS Collage work I’ve been doing, these newer pieces are rooted in the ideas of writing, language, graffiti, and the postmodern practice of using a pre-existing image or material that carries a weight of signification that is altered or alters that which is applyied over it.
these are the first two in the series with many more completed and even more planned after that. Though they remain in a digital state, they were created with the intention to print.
check back or follow to see the new work as it comes out every week
I have been on some thing about hammerhead sharks for about a week or so now and still can’t break down the semiotic equation into understandable, relatable signs. Perhaps it’s their pre-historic shaped head that has had no need of evolving or maybe it’s the way they congregate in giant vortex swimming patterns in the pacific ocean for mating purposes .. or for more sublime purposes that have to do with the other reason I believe I have been drawn to them .. their use of the magnetic field of the planet for more than we should assume we know.
But that is what contemporary art essentially is .. the working of a content problem through paradigmatic and syntagmatic signs in a closed system (a canvas or virtual canvas) with illusory borders that indicate a framework for the set of variables in the equation…. that’s painting. At least that’s part of what painting should be.
lots of new things in production. spending less time posting to iG abd Vine and more time with static visual series work root in abstraction departur, where an initial painting or other 2D piece is reworked with digital tools for a linear progression into something that is more purely retinal and whose original source image is only evident with key framed pieces that show the transformation.
the first painting is titled DIGITAL ICARUS complete with a small narrative about flying too close to the iCloud, which causes data to rain from within and the loss of all in-app purchases causes social turmoil, famine, and boredom … a post-allegorical allegory for the digital age.
in a process that essentially squeezes the histogram and color palette of an image into a circular form, the form is then further pulled and stretched to its limits and beyond.
in contemporary art history concerned with American Art post WWII we see a shift from n the various movements between the 1940s thru the 1970s that concerns itself with self-referential totalogies where abstraction sought to widdle down painting to its materials and nothing else … canvas & paint. Acrylic paint found an emergence in this time frame as the ability to apply paint directly to a surface without first priming it made the minimalist movement chirp. this of course did not stop as the move into conceptual art which brought with it a stripped down acceptance of what could be considered art, which at times had no concrete form (a moment in the history of art that suggested the division between artists and audience was often not one of respect). however we also saw work that was incredibly complex with its documentation of process becoming just as strong as the final product.
these pieces are perhaps more about the minimal transformation of pixels across one digital piece to another with many in between, without the need of much more than one single application within one single app(lication.