Concerning the Current operatic Research

 

Prosody is paramount in a description of my practice; without poetics we are left with only disembodied descriptions of death. I for one am interested in the living, in energizing, in energy as a descriptor of life itself. Therefor I am investing in poetry as a primary process which informs everything I do and every way I live. My practice is eclectic, spanning varied media and myriad strategies, but the essence can be distilled into a focus upon movement and an intention to erect systems that allows for the observance of these movements.

 

My recent focus has been upon the locus of (((focus))) itself: the iris, the eye’s I, the discourse of reflexivity. My current intention is to intend my own currents: to meditate upon the nature of intention, to realize the flow of will through all possible conduits, and to hear the intonation of the motivational tones.

 

 

Concerning the Status within the Studio

 

Where is it located? Can it be found? Not a practice and certainly without work, rather an affliction, an a posteriori curiosity, units of existential concentration.

 

The art self-organizes into categories oscillating between micro concerns and meta-textual narratives, is free of crisis while full of contradictions, is autonomous even while dependent upon each constituent, designates a material instantiation of theoretical propulsion.

 

The art strives for a self-referentiality of historical orientation, envies the historicophilosophical fortitude, tampers with the door hinges of the Great Archives’ labyrinthine catacombs, and prefers bullets, brackets, and italics to the use of quotations.

 

The art self-mediates, embraces technology, finds comfort in decay, refrains from improvisation to turn towards structuration of elements in the spirit of alchemy, particle colliders, oceanography.

 

The art attempts simultaneous consideration of the formal pedagogics of painting, deconstructed objectivity of sculpture, temporal montage of film, ad hoc meaning-construction of collage/assemblage, sinuous syntax salad tossing of poetry, reflexivity of theory, sentimentality of literature, platonic forehand/backhand of parsimonious chaos described by science, chutzpa of “whys” insisted upon by philosophy, the infor-material instantiation of the Book, the finite omni-ecosystem of planet earth, and a methodology of least resistance (to be as water).

 

The art is an amalgam, a heterogeneous tincture of nutritive compression, a multifaceted neo-psychological hype prism of subjectivity splaying scintillations and groping for synergy, a diagrammatic exposition of an artist-as-subject’s mind reflected, refracted, rebounded, absorbed, and dissolved through objects, proposes continued visual research of the purposelessly purposive, gives splinters to logicians.

 

The art is composed of discrete moments perpetually distilling into a semi-rigid temporal continuity, embraces change, utilizes destruction as a source of creation, considers infinite accumulation as a necessary fiction of reality, seeks to inhabit the interstice of the cosmos.

 

The art is passive in the articulation of meaning-creation, active in the dismantling of it’s own foundations, clear in it’s existence-as-material-object-in-relation-to-becoming-subject, dedicated to loopholes, transcendental in it’s aspirations, metaphysical in it’s presentation, unruly, unstable, and deadpan serious.

The art sheds the engagements of the provisional, the negative, and the anti- in preference for the transitional, activating, and affirmative.

 

The art models consciousness, fills and is filled by ruminations of being/becoming, reorients, redefines, and reapplies a dissonant theory of existence, is a metaphor for life, allegorically illustrates osmotic thought, provides the impetus to wake up in the morning.