ART in ODD PLACES  »  2014: FREE

NYC—OCTOBER 9-12th / along 14th street.

my project is called—stria: lost time, misplaced moments
Updates, documentation images/videos, times and locations for daily performance drawings will all be posted here on the project’s tumblr.

project description:
In urban environments the present is often overlooked or ignored. As we transition from place to place our minds are occupied— revisiting our past or anticipating our future. The present only exists as a fine point along the continuum of becoming. It is the threshold where future is transformed into past, where successive events form a perceptual unity that can be accessed without needing to call upon our memory. The ephemeral, performative drawings of this series are created and confronted in thresholds, empty storefronts and interstitial spaces along 14th street, rendering passing moments as a topography through the accumulation of line. Each fragile, impermanent line is a record; a tendril of time holding sensation, attention and intention. Each drawing is a vessel containing these moments, a metaphor for the way a series of cognitions, sensations, minutes and seconds coalesce in our minds— transitioning from the perceptual present to the substance of memory.

The process, materials and form of this series evolved as a means of evoking binary oppositions— issues of temporality and permanence, strength and fragility, fullness and emptiness, presence and absence that resonate with our conception of and relationship to our memory. Once completed each drawing will last for a finite period of time in its location. While the locations will be pre-determined each drawing is made extemporaneously— no compositional decisions are made in advance, each line is made in reaction only to the line that precedes it. Lines are repeated and accumulated resulting in the emergence of form, with the resulting structures often resembling topographic landscapes or flowing fabric. Each drawing ends when the available space is filled or if a prolonged hesitation is experienced.

These works liberate the act of making from the confines of the studio. The resulting works are simultaneously public and private. They are exposed, temporal, fragile, vulnerable, malleable— free. Free to be engaged, free to be destroyed by intention or accident. Free from the sterility of the overly white walls of a gallery, their driving concept or rationale will not be readily known to a viewer. These works are free to be experienced and considered without the support of an aesthetically elevated context. In this way the works are free to be judged, considered, reacted to or disregarded solely on their own merits—

The drawings that make up this series will be both created and confronted in transitional spaces along 14th street Between Fifth Avenue and Tenth Avenue. Accumulated line drawings will be rendered in and briefly occupy vacant storefront windows, thresholds, near subway entrances and other overlooked liminal spaces. Both the act of making and the resulting work is unexpected, temporal, exposed and vulnerable. In the heavily trafficked areas pedestrians and commuters will brush against the unfixed, malleable drawings, changing them uncontrollably. While brief, this contact affects both the work and the passerby, marking each in the process. The drawing is marred, lines are eroded or broken and transferred to those who walk past. These people unknowingly carry that brief moment with them across the city and throughout their day until they look down and see the few scant stripes of white on their leg and brush it off.



FMG has shared the full Q & A  I did with Dan Coleborn (along side of the previously posted article) on their blog— 

Q: You have said that your current work encapsulates “issues of temporality and permanence” does this underlying concept have anything to do with the materials/mediums you chose to use to create this work – e.g., is the temporality you speak of represented by the temporality of the chalk that you often use?

A: Yes. As this series of work has progressed the idea of the work becoming a more direct metaphor for memory, ultimately lead to the work taking on some of the characteristics of being more fragile, malleable, temporary. As the drawings became more temporal, they also became more performative and public— I needed an element of risk and a way to further give up control and drawing with chalk in awkward and intimate places evolved very organically. Once the works shifted to the point where these repeated lines began being deposited on blackboards in public restroom walls, both the act of making/drawing and the drawing itself were exposed, the work became incredibly vulnerable. Protected by the privacy of the bathroom any visitor could anonymously wipe the drawing away or draw into it at anytime and yet they don’t. The custodians of these spaces have to make a determinations at the end of the evening or the following day about wether or not to erase the marks I’ve left. I also quite enjoy the added associations with chalk as a child’s mark-making tool or the instructional tool of the teacher.


Q: And finally, do you think as artists we can use art to change the World?

A: Yes. Art has already changed the world several times – Artists gave a face to Christianity and these images were used to convert millions of illiterate people to a new worldview. America used art to support ideas about westward expansion. The final scene of George Lucas’s ‘Star Wars: A New Hope’ revolutionised the prosthetic limbs industry, Kubrick’s ‘2001’ planted seeds for the iPad. I believe that the arts can show us what is possible. 
to quote  Arthur O’Shaughnessy (and Willy Wonka),

“We are the music-makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams.
World-losers and world-forsakers,
Upon whom the pale moon gleams;
Yet we are the movers and shakers,
Of the world forever, it seems.”

(these are just two of Dan’s questions)
the full Q & A is shared — HERE