SELECTED PERFORMANCE PHOTOGRAPHS AND PAINTINGS FROM "ETIOLOGY" SERIES
SELECTED IMAGES FROM "RESEARCHING THE POSSIBILITY OF ADAPTATION TO AN AQUATIC ENVIRONMENT" *IMAGE VIEWER MAY TAKE A MOMENT TO LOAD
SELECTED PERFORMANCE PHOTOGRAPHS AND PAINTINGS FROM "BLIND" SERIES
PAINTING PERFORMANCES
THIS WORK CONSISTS OF A SERIES OF SITUATIONS CREATED AND ENDURED THROUGH A CONSISTENT FORMULA; COMPLETE A PHYSICAL ACTIVITY AND CREATE MARKS WHILE BLINDFOLDED. THIS FORMULA REPRESENTS THE INFORMATION AVAILABLE WHEN ONE BEGINS TO IDENTIFY THE CAUSE, OR BACKGROUND OF ANY OBJECT, IDEA, CUSTOM AND BELIEF. TWO ELEMENTS I CONSIDER IN A DEFINITION OF ORIGIN ARE THE POSSIBLITY OF EXTERNAL AND INTERNAL INFLUENCE. THE AREAS OF KNOWLEDGE GAINED FROM EXTERNAL AND INTERNAL INFLUENCE ARE REPRESENTED THROUGH THE PROCESS OF THE WORK AND ARE AVAILABLE FOR CONSIDERATION AS TO THE ORIGIN OF A PAINTING. THE MATERIALS OF THE PAINTING CHANGE WITH REGARD TO WHERE IT WILL BE DISPLAYED (WESTERN MATERIAL IN CHINA AND TRADITIONAL INK IN THE US) TO ENHANCE THE FOCUS ON ORIGIN.
IN EACH SITUATION, EXTERNAL INFLUENCES (CHANCE OF BIRTH, ONE’S ENVIRONMENT, AND ACCIDENTS) ARE DEMONSTRATED THROUGH THE PHYSICAL ACTIVITY; BEING A CONTRIBUTION OF PHYSICAL EXERTION AND CONFINED TO THE LIMITATIONS OF SPACE AND ENDURANCE. INTERNAL INFLUENCE (ONE’S PERCEPTION OF PAST, PRESENT AND FUTURE, AND AN UNDERSTANDING OF THE LEVEL OF SUBJECTIVITY IN KNOWLEDGE AND BELIEFS) IS PRESENT THROUGH THE DEPICTION OF THE SUBCONSCIOUS, ABSTRACT FORM IN THE PAINTING; SUBJECT TO THE BARRIER OF THE BLINDFOLD AND THE ABSURDITY OF THE SITUATION ITSELF EXISTING IN OUR CONTEXT OF REALITY, THIS MOMENT, THIS SPACE AND THIS CONTEMPORARY AUDIENCE.
BY PERFORMING THIS FORMULA, A REPEATED ACTION AND AN EQUIVALENT SUBCONSCIOUS PRODUCT, THE WORK ALLOWS FOR QUESTIONS INTO THE EFFECT OF THE “VERB” (RUNNING, SWIMMING, CLIMBING, ETC.) WITH REGARDS TO THE FORMAL ASPECTS OF THE PAINTING AS WELL AS THE INDIVIDUAL’S BODY. IN BRINGING THIS SITUATION UPON MYSELF, I AM CONNECTING TO A COMMON PROCESS FOUND IN MANY FORMS OF MEDITATION AND RELIGION. THE PRACTICE IS BASED ON THE ATTEMPT TO REMOVE OUTSIDE INFLUENCES, ATTRACTIONS AND HINDRANCES WITH THE DESIRE TO RELY ON PERSONAL INFORMATION. IN THIS THEORY, THE PHYSICAL RESISTANCE CREATED AND ENDURED IS A TOOL IN CLEARING ONE’S MIND. THE MENTAL RESISTANCE TO THE BLINDFOLD AND THE UNCONTROLLED OUTCOME IS UTILIZED TO VALIDATE MY COMMITMENT TO THE SUBCONSCIOUS, FUNCTIONING AS A PROOF OF PERSONAL HONESTY IN THE PROCESS AND WORK.
THIS WORK CONSISTS OF A SERIES OF SITUATIONS CREATED AND ENDURED THROUGH A CONSISTENT FORMULA; COMPLETE A PHYSICAL ACTIVITY AND CREATE MARKS WHILE BLINDFOLDED. THIS FORMULA REPRESENTS THE INFORMATION AVAILABLE WHEN ONE BEGINS TO IDENTIFY THE CAUSE, OR BACKGROUND OF ANY OBJECT, IDEA, CUSTOM AND BELIEF. TWO ELEMENTS I CONSIDER IN A DEFINITION OF ORIGIN ARE THE POSSIBLITY OF EXTERNAL AND INTERNAL INFLUENCE. THE AREAS OF KNOWLEDGE GAINED FROM EXTERNAL AND INTERNAL INFLUENCE ARE REPRESENTED THROUGH THE PROCESS OF THE WORK AND ARE AVAILABLE FOR CONSIDERATION AS TO THE ORIGIN OF A PAINTING. THE MATERIALS OF THE PAINTING CHANGE WITH REGARD TO WHERE IT WILL BE DISPLAYED (WESTERN MATERIAL IN CHINA AND TRADITIONAL INK IN THE US) TO ENHANCE THE FOCUS ON ORIGIN.
IN EACH SITUATION, EXTERNAL INFLUENCES (CHANCE OF BIRTH, ONE’S ENVIRONMENT, AND ACCIDENTS) ARE DEMONSTRATED THROUGH THE PHYSICAL ACTIVITY; BEING A CONTRIBUTION OF PHYSICAL EXERTION AND CONFINED TO THE LIMITATIONS OF SPACE AND ENDURANCE. INTERNAL INFLUENCE (ONE’S PERCEPTION OF PAST, PRESENT AND FUTURE, AND AN UNDERSTANDING OF THE LEVEL OF SUBJECTIVITY IN KNOWLEDGE AND BELIEFS) IS PRESENT THROUGH THE DEPICTION OF THE SUBCONSCIOUS, ABSTRACT FORM IN THE PAINTING; SUBJECT TO THE BARRIER OF THE BLINDFOLD AND THE ABSURDITY OF THE SITUATION ITSELF EXISTING IN OUR CONTEXT OF REALITY, THIS MOMENT, THIS SPACE AND THIS CONTEMPORARY AUDIENCE.
BY PERFORMING THIS FORMULA, A REPEATED ACTION AND AN EQUIVALENT SUBCONSCIOUS PRODUCT, THE WORK ALLOWS FOR QUESTIONS INTO THE EFFECT OF THE “VERB” (RUNNING, SWIMMING, CLIMBING, ETC.) WITH REGARDS TO THE FORMAL ASPECTS OF THE PAINTING AS WELL AS THE INDIVIDUAL’S BODY. IN BRINGING THIS SITUATION UPON MYSELF, I AM CONNECTING TO A COMMON PROCESS FOUND IN MANY FORMS OF MEDITATION AND RELIGION. THE PRACTICE IS BASED ON THE ATTEMPT TO REMOVE OUTSIDE INFLUENCES, ATTRACTIONS AND HINDRANCES WITH THE DESIRE TO RELY ON PERSONAL INFORMATION. IN THIS THEORY, THE PHYSICAL RESISTANCE CREATED AND ENDURED IS A TOOL IN CLEARING ONE’S MIND. THE MENTAL RESISTANCE TO THE BLINDFOLD AND THE UNCONTROLLED OUTCOME IS UTILIZED TO VALIDATE MY COMMITMENT TO THE SUBCONSCIOUS, FUNCTIONING AS A PROOF OF PERSONAL HONESTY IN THE PROCESS AND WORK.
忍
耐力行为绘画有一个模式：艺术家完成预先设定的动作，并蒙上眼睛创作一笔来记录动作完成的时间。艺术家持续如此循环，完成的一个或多个绘画作品不断的发
展。画的各个方面在一定程度上为艺术家身体和心志的影响与忍耐力所控。最终完成作品上笔迹的数量，基调的变化和记录的时间都与行为的状况和环境密切相关.