THE PEOPLE IN THIS PERFORMANCE SHOULD DO THIS TYPE OF THING MORE OFTEN, WITH THE INTENTION OF LOOSING THE PRETENSIONS OF THE NARCISSIST THAT USUALLY CROWDS THE FRONT OF THE BAND THEY HAVE ALL BEEN INVOLVED WITH. ACTUALLY, THE EFFECT THAT JOHN FRUSCIANTE HAD ON MUSIC BY LEAVING THE MONEY MAKER TO PURSUE WHAT HE NEEDED TO PURSUE HAS BEEN MORE SIGNIFICANT FOR POSITIVE REASONS THAN WE WILL KNOW IN THIS LIFETIME. AVANT GARDISM MUST BE ALLOWED TO SWIM UPSTREAM OR IT CANNOT SPAWN FUTURE GENERATIONS. THE EFFECT JOHN’S SOLO ENDEVOURS, IN ALL OF THEIR FORMS, WILL HAVE ON KIDS IN THE NEXT 25 YEARS SHOULD BE AS SIGNIFICANT AS THOSE OF JOHN CAGE, TO USE A WELL KNOWN NAME IN THE EXPERIMENTAL REALM OF MUSIC AND COMPOSITION. I WISH I COULD BE AROUND TO HEAR WHAT HIS INFLUENCE WILL HAVE ….
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
This is what insects sound like when they get jobs touring the outlying countryside as circus performers that wear elaborate costumes and put on shows that last for a whole month for the other animal species and some plants which you can hear in the dopler background.
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.