mediums include film photography and negatives, video, music, sculpture, oil and acrylic painting, fire, and readymade objects.
on tuesday during our final class, alex and i are going to set up a multimedia installation for our final project, with several videos, a photostory, paintings, and prototypes for our concept. it will be in the blackbox in magnet from noon to 8 if anyone is interested in coming to see it, but there will be a 360 video that you can watch to get the experience, as well as all photos and videos from the installation.
this story of a safe, boring, and comfortable 2038 is told in a series of film exposures. here is the outline for the film photos that will be taken.
1. asleep in bed.
2. waking up.
3. climbing down from bed.
4. brushing teeth. out of habit?
5. getting dressed.
7. looking at a screen.
8. clicking mouse.
9. smoking a cigarette.
10. sitting on roof.
12. walking down stairs.
13. playing video games.
14. in the bathroom.
15. watching tv.
16. a deep and dreamless sleep with the tv on.
this hi-fi prototype is made from the body of a vaporizer with a straw as the inhalation piece. the body has been coated in a rainbow-anodized film.
this is the prototype for the conceptual medical device that prevents any illness or disease.
it will eventually be made by repurposing and reskinning parts of a vaporizer device so that we can have faux functionality.
[instructions: highlight the following passage. right click. click speech, and then click 'start speaking']
virtual, free, healthy, comfortable, homogenous, mandatory, consistent, medicated, patched, fixed; dystopia is a cliche associated with boring young adult sci fi novels that need an easy setting. strip the political undertones OR drop the post-war/crisis world OR just don't be bad. have good taste. is it so hard? i'm starting to think it might be. the only future that won't feel dated in 5 years is an abstractly complex one; a deceptively thin one. leave the holes, leave the missing pieces out; don't even think of them. you wake up twenty years in the future. it is 2038. you get out of bed, pee, and brush your teeth. you go to work. you come home and watch slightly better tv than you had twenty years ago. you eat. you go to sleep. repeat each day for 120 years. still not sick and withering away? how boring.
one designer shares:
the lessons shared in this piece are remarkably similar to the lessons david o'reilly has shared that alex and i included in our essay and documentary. my goal for this future dystopia is to remove any elements that don't tell the story i am trying to tell.
preface: i hate black mirror, save for 2 episodes: the first episode where the prime minister fucks a pig, and the season 3 episode 'san junipero'. i rewatched these so that i could better explain what i have learned from black mirror. i'll start with the positives. the first episode is brilliant. the pacing and navigation of tension is incredible, and there are so many moments that perfectly capture the original idea of black mirror, before it became all about how technology will always be used for evil and shouldn't be invented. a standout moment for me is the quietness that happens when the prime minister finally does the act, and people watch, shocked at their candidness about it before, as they realize what disgusting creatures they've become. my other favorite episode, san junipero, i enjoyed because it broke from the mold of black mirror, and was no longer about dystopian sadness for the sake of it, and actually tried to use its format to make an uplifting, positive episode. there's nothing technically excellent about this; it takes a lot from eternal sunshine, but i see it as an attempt to break away from the mold of the show. that's what i learned there; there's no reason to make something dystopian and awful if there's no reason for it. the episode could have had a background of strife and oppression like every other episode, but just this once they realized it didn't serve the plot.
i love the idea of making the paintings come alive to tell a story. i've actually done that before (admittedly way more glitchy and experimental than i'm sure yours will be), and you can find that here if you want a reference: https://vimeo.com/254247276. the sound design really sells this animatic, and it makes me excited to see how the visuals will be enhanced by the sound when they are finished.
my constant output work is under "constant output" to the left if you're on desktop, and above if you're on mobile. some of it is also on my instagram:
my process for creating work is not unlike what is described in 'everything is a remix', though i guess that's the point, given the title. a lot of my film work would fall under the term 'knockoff' outlined in the first episode. specifically, a david lynch knockoff, where i add my glitchy, fucked up data aesthetic to a variation on lynch's tone (more like his mulholland drive/rabbits tone than his twin peaks tone; see below for an 'original' film of mine that's pretty lynchian). i often use lynch's twin peaks technique of reversing voices to sound strange and alien. it's a legal remix, because it's different enough that i haven't lifted pieces directly from his work, but it's definitely similar. my painting style isn't specifically ripped off from any artist, but my digital paintings often start with material from other artists that i damage enough to be unrecognisable. watching the series, i think i gained a little confidence about what i lift from other works, considering everybody else has done it forever. but it also kind of makes me want to reject the trend and be as original as possible, though that might even be a ripoff of duchamp's style (see the essay below). i'll probably end up continuing to do remixed work and trying to create very original work.
marcel duchamp has always been an artist who i looked to for inspiration. to me, he speaks to the idea of letting go of traditions, taste, and anything that gets in the way of getting across his idea. his approach to conceptual art being not primarily or even necessarily a thing of beauty was revolutionary, and still is to a certain extent. some people are still angry and repulsed when they see his work at the moma; a shovel hanging from the ceiling, and a stool with a bike wheel on it. 'i could do that' is a phrase thrown around often in front of works by artists like duchamp and twombly. of course, the obvious response is 'well, you didn't, so shut the fuck up'. this points to duchamp's thought that the idea and concept of a work is the only thing that matters; that beauty and aesthetic are not additive to a work. sure, you could have done the work he did, but it's not about the execution; it's about the idea that he had, that no one else had thought of. marcel duchamp's rejection of beauty as a required component of fine art has been very influential to me, as much of my work is glitchy and dirty, and to some people, unwatchable. i also have taken direct inspiration from duchamp, using readymades in my art shows (see below; the car, pill bottle, psvr, iv pole, and bape hoodie are barely modified in my work), i aspire to ignore trends, conventions, and tastes in my work in much the same way that duchamp did.
vinyl record of ok computer by radiohead. the vinyl copy of ok computer is filled with art that enhances the experience of listening to and analyzing the album. the art on the front cover is a particularly inspiring piece to see printed in a large format, with its digital composition and intricacies made more visible. the art on the back cover informs listeners of multiple alternative orders to listen to the album in, if you look closely enough. on the inside of the record, the lyrics to the record are spread out and composed out of order, with song lyrics typed out in multiple orientations. each song’s lyrics have a spacing composition that informs the listening of the album, and is reminiscent of the structure of carl andre’s poems. owned for 8 years. helps me remember how important aesthetic surroundings and small details are, even if most people will never notice.
murakami flower by david lister. one of one signed watercolor painting by david lister, inspired by the flowers in paintings and plush toys by takashi murakami. the 4 by 4 watercolor is a gridded and segmented breakdown of the original murakami concept, showing it as disparate squares. the piece is signed and dated by lister. owned for 2 weeks. given to me by my father. first original artwork i have ever owned. reminds me that stolen concepts can be made original with new context, not unlike this text to speech, an idea stolen from fitter, happier, by radiohead.
off white x nike vapormax by virgil abloh. limited edition vapormax shoes redesigned by virgil abloh and off white. details of the original shoe are broken down and roughly sewn, showing the physical process of making rather than obfuscating. quotes are put around the word air, now written in helvetica. this is thought by some to be a subtle critique of or commentary on nike’s marketing. owned for nine months. makes me think about the physical process of creating art, as well as its commercial value, and how both can be maintained in a piece.
calm, fitter, healthier and more productive. like a pig, in a cage, on antibiotics.
i like your shoes kanye, i really do. they’re weird, avant grade fashion that’s mainstream and affordable [side note, yeezys are like 200$, i don’t know why people think they’re so expensive]. but it feels weird wearing them knowing i gave money to someone who is taking advantage of a divided political climate where mentioning ‘he who must not be named’ ends up inevitably getting tons of news articles. your support of trump is why your album is number 1 right now. you effectively used political and racial controversy to promote your album, and i really don’t respect that. which is why i poured red paint on my yeezys. it didn’t work how i expected; people keep asking who made my “dope custom yeezys bro”. maybe i should’ve thrown them out, but they’re comfortable and i did spend like 200$ on them. i just don’t want people thinking i’m a new kanye fan who go into him after the signed maga hat. i used to love kanye. i used to love kanye. i even had the white yeezys, i thought i was kanye. i don’t know how to write personal essays.
confession: i’m one of those people who say “i can’t draw”. i feel like i really can’t. that’s probably much of the reason i make abstract art. i use excuses like “i’ve moved beyond figuration”, but i could never even do figuration. and doodles; doodles are not something i’ve been able to wrap my head around. this is where the article comes into the story. i read the article this morning, at 8:53. it resonated with me quite a lot, and i found the infographic explanations of doodling techniques/components more helpful than anything else i had seen about visual language for notes and brainstorming. so i tried to doodle a concept for a visual/special effect for a movie i’m working on, and it kinda worked. the article inspired me to try something i’m afraid of doing, and it was helpful to get the idea onto paper and out of my brain. though the line “like infants and dynamite, the doodle is deceptively simple” in the article was unbearable, i appreciate sunni brown for getting me to draw even though i can’t draw.
nicolai’s videos were excellently filmed and very dramatic, with a lot of emotion and meaning conveyed through the narration. i especially loved the break from format in the third video, which was filmed and narrated without music.
i liked how personal and casual siqi’s videos were, and i want to try that wine because it sounds delicious. i also liked the focus on the instant digital camera and the way it is described as a mix of old and new technology, with the best of both. something that i don’t think music has yet, due to the inconvenience -of cds and vinyl, and the impersonal nature of streaming music.
antonio’s video was short and very simple, with very simple objects that mean a lot to anthony, but probably mean a lot to many other people. i liked this break from tradition, where instead of the objects being very personal and specific, it’s objects many of us love that anthony highlights an appreciation for.
here's my process blog. to the left is a navigation with the tab for this page and one for my constant output.
here's some content for now: