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thank you
today it
great pleasure
uh...
incase brian
campbell later for pocket
uh...
network monthly yes
kacie hackett yet mission
often said that separate okay
until uh...
right now however we are very fortunate to have
yeah navy pier this wonderful aren't reflections on the homework influences
yeah
professor campbell had
looked like this
nobody uh...
included reality because alley
as well as involvement right
uh... or
everything
cough
eg
and uh...
and a vermont yes
whose work has also been featured and publicly jr
the f_a_a_ uh... that followed
and make them up
right
making so much alarmed syrup further
introduction
and um... thank you for coming
if u on ur to uh...
the opportunity to talk to them at work
and
some of my ideas
about my work and
i hope that we have a opportunity i wanna
talk a little bit about
in addition to my own work i want to talk a little bit about
uh... contemporary drying today
and inserted give
myself
but it context
person of the ideas that i'm working with
in addition
to use giving up
context
to hopefully exposing twosome
artistic org
to have somebody
whose heads too close to it
uh...
so the first image here
is uh...
votive brian wilson
from nineteen sixty six
uh... no relation unfortunately
this was
during the recording a pet sounds
and so you see in here
posts
the path making sounds
the intention
i think uh...
brian wilson's work
here is the beach boys
uh...
he sort of the primary
uh... musician the primary songwriter you songwriter many cases
and to the intention with his work is disorder can bind the melancholy
uh...
which would be stupid
western with humor
so something
knowing colic
and then at once humorous
not unlike
but still custom painting
war
uh...
uh... fellini film
there's a softness and sort of bluntness of form
uh... addis at the end of the song like god only knows
um which is
gorgeous song
uh...
you have the sort of
but scenes set the and
and 'cause use
they're making these like animal affect ations
and
it's so in the most beautiful music that's ever been written
uh... recent rock-and-roll music
yet there's this candidate
underpinning of
goofy nis
and seriousness
my mom
when i was growing up
was a clap
she's a professional klein
and uh...
so will this strange but
siyad this is not my mother
uh...
sheep
she's uh... strangely shot about it now
which i think it's sort of
the perfect
painting cliche of the sad cloud
but um...
i'd come to believe
not for me and and my
creative process that
uh... there's something inherently embarrassing
about
and part making process or maybe
uh... a really successful painting
uh... or drawing
it's this somehow embarrassing thing to do it over
and to share
uh... maybe because of the vulnerability
kind of making
lease for me
my drawing practice is
and it's panel has been a lot of time alone
such a band take that
artifact
give it over
candy
strange experience uh... so my mom's time spent
as a clown
you know as bohot time seeing her pay her face
on saturday mornings but wasn't unprecedented
uh... my uncle paul
uh... was also
a clown
of sorts
this is hand in the far bacarella with the three stooges
and he and
he had his own television show called adventure time
and
uh... in the sixties or
is my great uncle action
and uh...
he died elected
in the early seventies
and he was
he actually start its
wild bill peacock
in out waltzes coming with scene
but he is
uh...
keyser receptors precedents
uh...
clowning and much headway
but at the same time
uh... so my mother would pain her face like a clown on saturdays but on sundays
we want to
catholic mass and so there's this kind of uh...
paradoxical
relationship and
and perhaps maybe like the best brian wilson strong
on something
uh... somber
in this case
ritualistic
and beautiful
but teams twitter blistering with
the sense of humor
um... and
surprise
and i think that's really what comedy areas
is uh... just not seeing something come
and really the funniest things that i can think of
their disturbing mortgage they're just goofy
um... is just not knowing that it's coming
and i think that that's kind of
how i think about are
sucking on my own
for these what i want to achieve with my own work
i'm not going to spend a lot of time talking about sort of the historical
preoccupations
released precedence
by do you wanna ref
but do you want to sort of suggests a few
painters that i thought cited about
spend my time thinking about
uh... filled garsten being one of them
the top left
on this like cyclops yen
fico pm
and uh...
next about going
clockwise
uh... the david hawking
painting
this this would be
the lady
philip dustin and a early david hawking
and then below that
uh... to jericho
and
on the far left
the bottom
and i wanted to just kind of
talk a little bit about uh...
garsten and then we can move on
but um...
this is a really nice
donald custard
articulation of
way customs work
if one traces customs development
one sees a d pollution
of mastery
styles sophistication
refinement
it is as though he's deliberately
abandoned
to get something more fundamental
now again this is i'm talking about this top left image
the primitive ism of the car to the images
suggests an attempt to get back to the
first artistic principles
axis
existential
varies
so i felt like that was candidate gifted um... introduced
introduction to you
the body of work that i'm gonna show you
but first before we talk about
anything about gus and i wanted to mention
degree
uh... specifically
but greets journal from nineteen fifty one
this is a photo of him by the way
his journals a map of nature
we're sort of
publish articles
which consisted of post cards
and these postcards had
uh... articles affixed to the postcards
so essentially
at a map of nature
where we can understand that has a postcards
sending out these representations of picture
and there is come
there's a bit of a gap
between the representation of it
and what it truly is
the focus being on the post-industrial
sorted estrangement or gap
from nature
and sponsored interested in these constructions or framing devices
um... furniture
there's a great looked good re
quote your also
uh... that i wanted to share with you
so about the surreal elements
of his work
there's something kind of naive about the handling of the paint
but there's this persuasiveness and the representations
what happens when work days of the painting of an object
that denies itself
a pipe that says it's not a pipe
where a man whose face is not fixed
so this is a drawing of mine i wanted to show you
from college
my undergraduate
thesis
this is a drawing
called contagion
and
i see it is sort of a rube goldberg you and so that
call polski aware
fantasyland skate you know it's this
the skin
the papers like a scheme
we could think about needs forums
where these lines
into different way student think about them
beamed as possible roadways
uh...
or we could think about them is
overlapping veins in arteries
grow faster
there's another drawing
and i did a whole series of these
when i finished
undergrad and ice i'm showing t_v_'s because
these were the first
pieces that i made
uh...
that were all about drawing
you know i was always
prior to this i was making paintings and i was making prints
and sometimes those drawing on top of the painting
and of course permitting
oftentimes so much about drawing
they were not
just wrongs
i wasn't just showing
you know i was i didn't have an exhibition just wrong
and so uh... but shows mysterious to start with because
um this sort of marksmen
beginning
uh...
having that be my primary means of expression
here we have an impossible machine
but it's at a macro level
uh... just as much as it is that a mike
police in mine
so you have
you know going full circle i guess because now i was in california
these
l_a_
anyway
nexus
and then you have next at bat
uh... houston she drawn
it's and i was just thinking about both
thinking about uh...
should muscular structure
and and kind of wanting to tries to look like
all drawings
inside
i covered vanden shellac
and then i would call
unit into them with charcoal and then cover them with more shellac
and so you have this kind of penting nanti
withdrawn behind the paper because it and
so here is uh...
record for a cartoon
and
here is a
early
twentieth-century kurten's
and
he was uh... the main cartoonist for the new york evening journal
and so this would have been liking the teens twenties and thirties
uh...
so depicted here is
uh... miss impossible chain reaction
you know getting from
stepped a
all the way to step
to mail a letter
but it's the most ridiculous means of getting to that
that
and i guess it was
looking at these cartoons and looking at landscapes like this
yeah i'm from the midwest
megan moved to new york until
i went to graduate school
and so
you know highways for
very much a part
my landscaping
suburban sprawl
and seen images like this
ganti kind of
make it to get out
science fiction
for at least led me to that point
this week so we have two different movie posters
so this is a lot of two zero
which i'd be surprised opinion europe it pans out
uh...
today i can use the movie
says that
an attacker evil on a fantastic city
one miles
world
and then
the second
is a much more famous unheralded
science fiction
movie which is also greater
uh... it became a television series in the seventies
this is welcome to the twenty third century
and slogans ron
might interests pain
science fiction
uh... both
low brow or possible low brow what would
somebody would maybe consider low brow
science fiction
and highbrow
is that there's this preoccupation for
utopian longings
just hope that
failures
and coming together
and there's this
between the two
this is a copper
one of most famous jiji ballard novels crystal world
and crystal world
is a product called
uh... strange island
and on that strange highlands
it's been overrun by this apocryphal
phenomenon
whereby everything is becoming crystallized
so hence title
uh... so you have this out here
that's becoming
uh... encrusted with
gold
jams
and has maybe
ruby red eyes
and spilling paroles levitz now
so it's really uh...
terrifying
uh... set of images but
also
uh... extraordinarily beautiful
and uh...
entity hopin
in this idea of what setting
setting out
to uh...
to escape
and and to have this perfect
place
but at the same time
it's
severely tried
debbie had a little bit
uh... mrs
is a series
part one
and
this is from
that's about two thousand six of them in a little bit
uh... in this is actually a real place
this is from
you know real photographic material
they confirm real
photographic sources
it's a condominium project in taipei
uh... that was built
sanity may be familiar with this
nixon's uh...
but it's essentially
an abandoned
uh...
and
there is sort of built on the shores of pride
the drawing is much more about
architecture as a sculpture
as sort of a vignette
of the architectural study of the architecture
and
i've abandoned
the shellac another i've abandoned the penton mentee
and favor of
wanting everything to show with the pencil
now i'm kind of squeegee nh
and i'm spraying
and now meet in kind of painting with graphite
and i'm mixing up
like a solution with gum arabic graphite
and i'm actually painting
with the graphite and then i can later races
and if it comes to us
watercolor
saw unplanned
and figuring out the process
police kind of what i wanted to do
this is actually
this is also a real place
this is the monsanto house
uh... from the sixties
the world's first plus the count
and
it was
featured in tomorrow
your neck of the woods
and
so i like the fact that
this and so this is uh... piping destroyed now
uh... too beautiful
structure
and chris disney has
it's ponce
uh... city
baggage i guess but
at the same time you don't really think about it in context to something like
that
this is
actually just a sports complex in new jersey
princeton new jersey
and
the palm trees were added
in my mind
at least in the context of
a sports facility in new jersey
it's a signified
to something exotic
and foreign
to my landscape
so uh...
this idea of what uh...
real space aka real violent that exists within the mind
fico describes
hetero tokyo
as a sort of combination or complex of utopian induced
truly the most
being or space slight
anarchy
war a larger
sports complex
it's sort of the uh... most monday
you know westgate
or in our life
and so it's sort of
hyperbole
this being an example that sort of its
this trial is called hyatt
and its
quite simply uh... drawing
the hotel i walked by
on my way to the studio
but this
this atmospheric mediation
there's this plant life
that's growing up
new jersey weeds
this next drawing
getting a bit more magic
this is about two thousand seven
and
it's
much more about
but if you compare
what's happening here
uh... it becomes much more about space
and trying to you
capture
real space
and so it's lasts about sculpture
and kind of more about
what architecture s
architecture so that defines
the lives that we wait karna
where we walk
whereas with
something like this
it's much more about
which i really admire val
these forms it's much more about the design
here we have this kind of
i guess kind of like a new column
there's no figuration this an absence of
human involvement human presence
other than
some of the crumbling structures
so it's
permitted in the sense that it's like
likely
indian
or some kind of
abandon structure
outmoded structure
come this is david lorenz
and david blanche
film director
he
said in the interview in the nineties val
concert twin peaks that wanted
his television show and i
and i and i suppose he means this in terms of its cereal ality
but he wanted his television show
to be like
walking into a waking dream
literally walking inside of it
and
cinematic scale of his work
and hammett
phrase like that
nor jumping a little bit
this is two thousand
so about three years
but i wanted to
i'm something on that scale
something cinematic something that you
uh... although it's
pencil
on paper
append to the wall
i wanted to have that kind of
scale
uh... cinematic scale
and still dealing with
this idea of corporate annex
and this
lowell ma turn
like the weight late late modern
you know like
um... so late that it's literally a parking garage
that house those forms
hands
and it's sort of a modern utopia
in that regard
this is actually
um...
born out of a montage of films sources
so actually you bs
union will
you've these
uh... buildings come from
latitude zero
japanese the movie
uh... a few moments come from
logan's run
and i just take the film still
and
it's a starting point
it becomes kind of cannibalize
and yet
uh... in it gets
combined with other sources
sometimes
things that i actually see in my real life
you know other times it's
from films
other times it's other art
there's some buildings here
that are
can you see my cursor
from shanghai
being
and carries the
all co-existing
um... this is about
dominion
and a lot of ways
and
total lies in control
if you think about like a corporate plots
like a corporate promenade
there's always lots of waterfalls
forgot the concrete
marble
buildings are crammed together
in this village
there's no way to really walk around
terrible *** teams here
what sort of
that crystallization
although here it's like concrete and steel
we have these
which i think i i'm sort of goodwill about it because
we have these crystal mean pure white forms
which i do u admire
here we have
paramount studios logo swords
can have a mass deprives them
paramount studios photo
soem i think modern architecture is really a barrel
design
purer forms
clean lines
and that just so happens also be
branding concert out there
marketing
and so i think
that that's the crux of this release that name jp and
ambivalence
and it's also the scale you know really taking over the space
during this time uh...
and i didn't think about this until later
aladdin
the beijing olympics
um... what's happening
a lot of the construction
was happening
the top two images
are taken from
well start with the top lap
the top left image it's actually uh...
this
demolitions spectacle
and
evacuation or addiction
spectacle which i thought it was
i'm comin or at least
i guess the
went on
um...
soda demolition in addictions
uh... is in a new thing in china
uh... but at least it came to the forefront in the news and i just saw
everywhere in the news at that time
so this is um...
that process
the condominium or apartment building
and they're just bulldozing everything
and this is
really image of protest
so these people are sort of house them and they have a banner
outside
uh... because of the banners here
in an effort to build something like this
this is the crows nest
which was built for the olympic games
in the same time that this was happening nam
i was reading a lot about the dubai
in that we've seen
uh... debye elevation drawings
so this is like a proposed hotel
anecdote hyatt's
sky rights in the world
during this time
they're building that's crazy desert
islands i'm in the shape of the comments
uh... yeah
peters pet
and um...
souls crazy stuff is happening in the news
and so i started to think about like a desert mirage with the corporate mirage
all this kind of
source material
like what it
this was happening
and it was it seemed like real fiction
you know like it was like the perfect
paradox
ends
you know with the drawing like this or go back
there's this mediation
and you see discount
fisher
in the surf
almost as if you're looking through
opinion collapse
or an observation
point to see it
so that mediation
um...
i think underscores the kind of
future longing inherent and images like this
this is
photograph of their full brecht
and um...
brecht was many things but keep theorized and epic
police in my mind and my understanding
one which was
but simultaneously reflexive
calling back
uh... to excel
and kind of underscoring what it
what it is
it's about allusion and spectacle
but also the mechanisms behind
the theater
delusion
so in other words
here's the set
here's the stage
here's the curtains but
in matinee
of all that stuff
you can see the ropes
the pulley system to draw the curtain
so
this drawings called before deciding after brecht
and after practice and quotation marks
and and again um...
and the stronger should be sort of a
fisher or a home
uh...
of breakage
between the margins
uh... because the way that i make my drawings
they're similar to like a film archive
their collage
um... forms nixon fragments
pieced together
and this was the first time
for me and this is kind of an important drawing
because
it's
combining
landscape wit
uh... in interior space
and before this drawing i was kind of talking about my
trying is as if they were doing that
as if they were
somehow on folding
like an envelope
and so
this drying is much more overt
um... so in the bottom line
sexually image
and old chair
uh...
for my own apartment
and then we have
manitoba hay bales
and
a middle ground that sort of dissolves
and
a parking garage that spark to large
ports placement
we start to like really analyze
the state's although it's
perspect i'd ones kind of
maybe western traditions but at same time
it's off kilter
where it's at least beginning to get
there's a suggestion that
everything's slick sort of on the edge
that's going to happen
and this way
it's
post brecht
there's a somehow
strange
sci-fi element to it
and
although we can't really put her finger on
needs active act
destroys called
ben horns logs
and taking from
the twin peaks
in look here
at the uh...
at the lodge this is actually
an appropriation from
that title sequence
uh... received a waterfall
synthesizers they're playing
this is sort of dis
we they can't
the images
three
figurative representation
um...
apart from these this intense
kirti nyse
it's like ever watching
allies
that have emerged
uh...
the person that there's a report personal symbols here
that get merged with
collective memory
so um...
the shapes or belonging to you
um...
spaces that
i once visited or
are personal to me
yet the same time
looking images later
that show that's even more so
but uh...
it's sort of a mashup
borrowed images part histories
and coming together
physical itis coptic affect
with the diamonds
triangles
you'll see it
miss image which is actually in the show
getting closer to you
most recent work
and despite here that's kind of floating on top
and it's great out rainbow
um that's serving and slick and now
aids that's hobbling about that
recovering on top
it's as if we're kind of looking three something again like that an immediate
class
uh... mediating labs
we have these
geometric shapes
better forever articulating themselves and and we imagine them kind of
rearranging in resettling
we haven't otherwise
persuasively sort of pollution istics base
the drawings
are
are made actually i'd
i spend quite a bit of time
documenting old architectural digest magazines
i could sit in the library images photograph old magazines
i photographed things that i see just in my daily life
but uh...
also wallpaper patterns
off our patterns
in here the idea
was extended outcome uh...
you know that's
this pattern
which is unfolding in repeating itself
take over the entire ity of the free
and uh...
once we start really looking closely we can see that was chair
is greatly oversize
some of these things don't line up
we have this kind of
measure bad taste
uh... sound beer can
and the way i think about it is is it
the pages of the architectural digest
kind of got stuck together
and the advertisements from one page
somehow
resisted
got stuck to
the photographic space
abuse within
the space really should be
uh...
pristine
the forms are white
their intentionally
stark
yet we have
this foggy nets
uh...
the slippery
edges kind of congenial
this drawing is called smiley smile
and
it's sorted
means four
nineteen sixty seven
beach boys record
back a little bit team agreed
this idea of domesticated nature
and
uh...
taking ownership
on
the landscape
uh... is important
leaving your mark
in a cryptic code
uh... more suitable for bathroom stall
carving really meticulously
studiously into tree
somehow less seemed analogous
in my mind
to draw
and the drying process
really carving
into you
what would become paper
these images
uh... these cryptic codes and
abbreviations
detritus of text
are sometimes personal
other times
they're just submitted to you
elicit a response
let's remind us of
the types of
the types of things that would be scrawled
and bathroom
withdrawing its
also on the show
uh... it's called hang in there man
and the way i like to think about it
is
all forums
symbols
um...
sheeps
and articles
um... associate
to modern life
and not just for this
but perhaps
most of my work
at least tangentially speaking
our poll into some kind of war tax
and um...
bar-coded impossibly winked
and that way
so we have
which seems like dangerous territory
like the manitoba hay bales
the key should never put paid bills and the work of art
you should never put a clock
the work of art
just seems like a bad idea
similar to the hanging calder
murine
in some ways the
the glowing gloves
which are hanging
the draped gloves
uh... drawing is a construction
a bit by bit
and so
um...
unwanted sort of emphasize that
the planes
sir to describe a believable debt
fit together
quite right
the space which is kind of a meeting place or waiting room
but it's also three
you have
this brick wall
and then you have these chairs
remind me a little bit of port authority
really terrible place
destroys called crooklyn books
and this is two thousand swirled
cooking the books
through the phrase
which is really delightful to say really playful
um...
this a little bit of a gap
between
the phrase
and the more sinister sir definition the functions
and i would believe like language
utilize language in my drawings
oftentimes language is sort of a starting point
and i create lists
um...
carries night
with the uh... major implement
deep tradition various matters and how i got
sent that's good
for grocery lists
and they become poems of the times of homes and they become very few minutes
other times are grocer listener become
palms and they become drawings which is this
it's really about
authorship
and
the hands of the artist
whether it's mine or not
it sort of about
drawing
making a mark
uh...
and uh...
assertive embrace this process
but or never really saw it
who's always something that i did
it was making little drawings
making little
words as the asians
may decided to have that become part of my drawing
so sometimes i don't even planned the drawings
but just make a list of things that i'd like to see you live together
these hands um...
emerged primetime kent
their hands from
one side here we have
caves of last go
and
get goes far as mickey mouse is hands
in this case
go out for
you really
common to find an antique stores
oftentimes of porcelain
beautiful
freakish hands
and i see the relationship here
it's unclear whether they're
glowing
we can know that for sure
for certain that's the absence of town
but really going
or are they whites
cut-outs
also eyes are prevalent
this is in the dot com
charles teams
and
kind of conjuring picasso here
the casa lives
we have
man raised hears from nineteen
we have
lapis laju we
and we have
focused
so that set of eyes
pc in eyes
and um...
missus gimme gimme gimme shelter
this is an installation shot
there's a who summit or usa
behind the drawings
if i want them
yet he's watchful eyes
within the softball terror
interior space
it's sort of borrowed from the
feeling of a jury
more about the memory of having a dream
the mentoring itself
and after all it's a drawing
you have to be more so about memory
the image appears
unstable
and on
fixed
but still some help toppling over
cannot wait
and i think
when something's drawn with the intention to be mechanistic
persuasively so
but teeters on abstraction
for me there is nothing that's more strange
and i don't know if that's really happening here but i hope that is
i hope i get there
i want to be kind of jarring in that way
habit fisher
the elements or address
and they sort of practice free agents
romanian
free zone within the frame of reference
it wouldn't be
problematic for that
to be elsewhere
or to be slightly to the right
writer slightly to the lab
what i mean
really trying to write that it's um...
i think the surprise uh... occurrence
of magic
in the everyday
the on kanny
the unexpectedly
also a formal level
taiwan
tension between optical
and haptic
for something that reads
as black and white
graphic
but also
has texture surface
like a stamp wreckage film
if you've ever seen a stand brackets film
sort of looking
one of the sixties like psychedelic bands with
would try to imitate this
but they were project
chemicals ordered
movements on the base from you know
that is a sort of haptic experience
it's about the texture
it's about this kind of moving in
destroys called
nite nite
ands
it's
hopefully
sort of unrestrained
and exuberant
but at the same time
solemn
this drawing is called
we kept c_j_
another alarm clock
withdrawing is called trouble
to get looks
little bit like trouble
elected to hands appear to kind of disavow
the eyes
and um...
the shape of it
and the pattern
make us think about trampling on it
as if it were a rug
is trying to call
uh... all of my eyes
yeah i did
for destroying its negative about the next rolling in couple going where
but the idea
abstract workers
came about because
drawing consultant landscape the interiors are all well
human traits
evidence of
humayun
activity
but with out figuration
no
there's no figuration and needs
so i thought it would be an interesting thing
make this landscape the most
illusionist it
representational man
uh... abstracted portrait with
these
brands
brand logos
did a number of clients like that
is more prominent
and uh... composition
this is called um... missing royden
and always just has to do with seeing
the documentary on roads
this is
financial
oscar swimmer
and um...
saul steinberg
so little of the transition here
we tried to
very quickly running at a time
summer was
surfer
sculptor painter designer
is part of our house movement
you did a number of drawings
early on
um...
early in the twentieth century
and
saul steinberg was a cartoonist for the new yorker
in the forties
i said looking at these drawings
and i started
comparing
my notes
so i have these little sketches have useful portents globalists
and there's something about the energy of those drawings
that gesture or quality
intimate humor
but i wanted to you arrive at with
my drawings
this drawing his court
all one
skill was here
in the comedians brick wall
it's a school teacher's border
tumble walkin d_-day nall
but also
a terrible thing
terrifying thing
here it's unclear whether
we're looking at uh...
new york yankees hat with
wispy hair
or whether they're steen coming off the wall
or whether it's been cost over the wall
something really
weird
about this drawing
and i just feel
like a really cheese
d_m_
began this kind of like
drawing on top
of this textured
uh... ground
this is all
gunpowder
and graphite
uh... solution
and this is actually the last of my drawings that i wanna show you
i'd like to just for a few minutes show you a few
uh...
artists that make drawings
that i feel really excited about
uh... that think you should look into
uh... your own time
this is nowhere near comprehensive binding
it's not meant to you
but uh...
the top left here this is hello
cruelest scrupulous guy
believes over time with the name
uh...
taurine mc your son
middle here
she's the london-based artists
uh... mixer hurt we have
we are determined
and some of these artists are friends some of them are quences
and others are
strangers
that i admire
then in mostly unheralded
in my mind uh...
remiss
bundled
when he's belgium
uh... make or cheese
he's in new york based artist but
shows
in uh...
paris
this is collin crook
and
frank mignon
mhm freaking out his work towards that deals with
since similar themes to my own
and i've known about his work probably
about ten years
sort of dealing with the alienation
modernism
uh... humor and
mediated culture
says really beautiful drawing
uh...
familiar faces artist
uh... accusing the
biennial
last class
uh... the
things rowland's flexner
and either see meeting drawings
really gorgeous tries to see in person they're very small
and um...
bade
grado white
there's so much about
the surface
mean the first thing i
lot of when i look at his drawings
was that i was looking at a representation of some page
were made using the photograph of the cage
um... this is rind tribe travis christian
he's a chicago artists
he does he's dreary can and you did
psychedelic
dreams capes
also with some credit
perking imagery
and you can pick it up with me to keith haring as influence for him
uh... maxine even greases
it's kind of like new york and that way
vapid
loops of
graphic
imagery
uh... shapes
this is a favorite of mine
uh... mrs dawn clements
in dhahran
is um...
the female artist living in new york city
um...
he
begin of he's been working artist for a long time
but tom has only recently become celebrated i think
she was in the whitney biennial
your times ago
so like two thousand or something
weekend
and uh...
she does these huge drawings
and there
uh... she draws from her television
homes
offices clothes workplaces
but they're all taken from melodramatic seventy years
soap operas
or or films
so it's sort of the placements
uh... these types of
narratives
locations of those types of narratives
uh... this is uh...
nick christensen
views
and artists that those drawings these drawings
primarily
from amsterdam
and
she uh...
as a gallery against vehemently
in birch
in new york city artist
the narratives are
this is the respondent graphic and hats
sort of repressed ***
longings and juvenile perversions
the really funny
and um...
genuinely provocatively
uh... open
friedrich call wonder
the swiss
a swiss artist
i'd be happy to do this
but doesn't these with you but for the sake of time obsolete it's too
their sublime
uh... uniform bazaar
sobering
exuberant all wants
and then something totally different
my friend
josh travel
uh... does these drawings and
and i i kinda got the idea it might process them
where he stacks up like
a dozen sheets of
oversize watercolor paper
just take the paper batons drawing board
and snakes the drawing
and if he doesn't get it right
strikes it starts over
and he does like maybe eight or nine drawings conflict gets this
just the way he wants
and um...
that was kind of exciting when told me about that but
okay that makes a lot of sense
and i love the content it's always about kind of
the role of the organist
hand of the artist
kind of authorship
nurse uh...
this humor as well
so i i don't ravenous disorder
worker
and i tried to uh... uh...
theories enjoying this is because
i coudl log
artists and it's become
away from me
uh...
you know to kind of connect with artists
to share their work
begin a dialogue
and um...
i've been doing this for a few years
and uh...
always trying to to sort of look for new things
uh... and then also at the same time look back
that uh...
you know future co paintings that i never solved
and share them
i'm sure most
no young people now have a tumbler
and i think it's i think it's a really great way to u uh...
your life as somebody that's looking at park
and um... it's a really good thing to look back and see things in so excited
about
last year at the same time
and to always be seeking out new things
and um... now i saw that use mine
my own blog
as uh... as a search tool
looking back the things that but forgot derek albert's main
and so i can i can't find its work
so something to look into it
just uh... park plus music law
were right on time
okay
your question
i think it team
you know uh... armed
politics for the second question first
i don't really stencil
although hire young
accumulative and spirits mcmahon might transfer paper
and uh...
i'll translate withdrawing that way
and um... there's a lot of spraying
on top
graphite powder and water
mixture
those two things
and um... sometimes acrylic on top of that
and so that gives it this
this kind of attack
adapter
gunpowder
uh... really came
just from looking at um...
some earlier shade rhymes
and liking that idea of
and impertinent
school bird like an impotent
and making it
into like a graph
breaking it down
and crime right
i sometimes too
yeah uh...
this particular time
all the areas that are really rich blacker contact rayon
so
even this period here
dissolved charcoal
in here told charcoal
um... and later drawings i've used wash
which is lower
polymer kind of acrylic
has a really satin
service
would be taken might
user malam used it winsome be dead
but some
it you can get like a really
soft surface really writ
and
other than that
those are the two things that i've used them
you know they actually really like each other watchmen likes
uh... charcoal
and there's a really beautiful that
when they come in
proactively
i did in the past
and i guess for i guess for me i write that that decision
because i felt like
leaves the subject matter
uh...
the way i wanted to be the subject matter was so limitless
which everything nothing without downs
the terms of what was appropriate
so i thought giving myself
some boundaries some kind of
strictures
uh...
so that they all seemed like they should belong
and that that's really the tension is that they can afford at the same world
although maybe
they're coming from different histories
belonging to different culture
and that may be tucson a formal level that that and helps
stick