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We all create and contribute to the Artiverse! |
Before diving into the granular details of each week, let's set the stage: I view my life as a series of interconnected books. I now find myself contemplating the final chapter of this current volume, I might have titled "Finding a Soul Nearly Lost." It may sound dramatic, but it's a subtle nod to the complexity of this phase of my life in reality.
I stand at a crucial juncture—tasked with honing my artistic vision and articulating it in both visual and written formats. I am attempting to balancing the conceptualization of my artwork alongside written narratives and academic discourse, However, I feel poised for the challenge. I guess time will tell.
Contrary to freeform artistic styles, my approach is meticulously structured. My identity is a complex tapestry, woven from a multitude of experiences and ever-changing sensibilities. I must admit, that it was not evident to me before this last year, that this intricacy has shaped not only my art but also how I bring it into existence.
Once, I was a young boy enthralled by the creative possibilities of found objects and electrical circuits. In my early years, I found joy in repairing things, a skill that was eventually commodified by the tech industry. Although the corporate world provided financial security, it stifled my innate drive to create.
Eventually, I pivoted towards computer programming, where creativity flourished in a different domain. Those years of crafting code and visualizing solutions imprinted on me a workflow that I now channel into my art. The programming language has changed, but the underlying process remains: I'm scripting and designing in the visual language of art.
Initiating a new project can be intimidating, akin to typing the first lines of code. Yet, there are times where inspiration might strike in a flash. My approach remains fairly consistent as of late—I conceive an idea based often from an insight around social issues I find important and my thoughts on it, as well as how I believe other people respond to it. I'll sketch it, bring it into a visual existence, test it, model it, and then create. Each finished piece, large or small, is a draft, perpetually open for further iterations.
Up to this point, remaking pieces has been infrequent I havent really felt that was the best prioritization for me—“Street Dancer: Bullet Dodging” being a notable exception. Faculty feedback suggests that my work can be overly complex, but I’m in pursuit of an equilibrium. I yearn for my art to strike a balance between intricate thought and public appeal, a harmony I've observed in others who successfully fuse diverse mediums. This pursuit is my welcomed challenge.
I stand at a crucial juncture—tasked with honing my artistic vision and articulating it in both visual and written formats. I am attempting to balancing the conceptualization of my artwork alongside written narratives and academic discourse, However, I feel poised for the challenge. I guess time will tell.
Contrary to freeform artistic styles, my approach is meticulously structured. My identity is a complex tapestry, woven from a multitude of experiences and ever-changing sensibilities. I must admit, that it was not evident to me before this last year, that this intricacy has shaped not only my art but also how I bring it into existence.
Once, I was a young boy enthralled by the creative possibilities of found objects and electrical circuits. In my early years, I found joy in repairing things, a skill that was eventually commodified by the tech industry. Although the corporate world provided financial security, it stifled my innate drive to create.
Eventually, I pivoted towards computer programming, where creativity flourished in a different domain. Those years of crafting code and visualizing solutions imprinted on me a workflow that I now channel into my art. The programming language has changed, but the underlying process remains: I'm scripting and designing in the visual language of art.
Initiating a new project can be intimidating, akin to typing the first lines of code. Yet, there are times where inspiration might strike in a flash. My approach remains fairly consistent as of late—I conceive an idea based often from an insight around social issues I find important and my thoughts on it, as well as how I believe other people respond to it. I'll sketch it, bring it into a visual existence, test it, model it, and then create. Each finished piece, large or small, is a draft, perpetually open for further iterations.
Up to this point, remaking pieces has been infrequent I havent really felt that was the best prioritization for me—“Street Dancer: Bullet Dodging” being a notable exception. Faculty feedback suggests that my work can be overly complex, but I’m in pursuit of an equilibrium. I yearn for my art to strike a balance between intricate thought and public appeal, a harmony I've observed in others who successfully fuse diverse mediums. This pursuit is my welcomed challenge.
Week 1
Clarification and Setting Course
In these initial weeks, primarily the first week, my focus has extended beyond merely preparing for my role as a teacher for Introduction to Digital Media. I recognize I'm setting foundational knowledge for my students, whether they pursue it academically or casually. This challenge has been invigorating and instructive, reinforcing the axiom: teaching is the best way to understand what you know—and what you don't.
As I transition from summer activities to the pivotal phase of my MFA journey, I've needed to crystallize my thoughts surrounding my thesis project. The past week has involved distilling clarity from my often frenetic and inconclusive thought processes.
In terms of prioritizing, my approach may appear unconventional but it sort of recalls my software development days when budgets—be it time, material, or other resources—dictated project parameters. Time, particularly owing to a medical condition, is my scarcest resource. This limitation helps me to narrow down pragmatic choices for my final exhibition.
Iteratively refining this process, I've been in talks with my fabricator to solidify some nearly-completed designs. If all goes as planned, my exhibit will feature two 6-foot pieces crafted from 10-gauge steel. One extends my Generations series, and the other, a polished steel work developed with Professor Daun, is entitled "Free Trade." This piece combines an inverted Metahum with a spherical steel and a balancing bar—each element contributing to its complex narrative.
As I transition from summer activities to the pivotal phase of my MFA journey, I've needed to crystallize my thoughts surrounding my thesis project. The past week has involved distilling clarity from my often frenetic and inconclusive thought processes.
In terms of prioritizing, my approach may appear unconventional but it sort of recalls my software development days when budgets—be it time, material, or other resources—dictated project parameters. Time, particularly owing to a medical condition, is my scarcest resource. This limitation helps me to narrow down pragmatic choices for my final exhibition.
Iteratively refining this process, I've been in talks with my fabricator to solidify some nearly-completed designs. If all goes as planned, my exhibit will feature two 6-foot pieces crafted from 10-gauge steel. One extends my Generations series, and the other, a polished steel work developed with Professor Daun, is entitled "Free Trade." This piece combines an inverted Metahum with a spherical steel and a balancing bar—each element contributing to its complex narrative.
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Time Spent
This past week, I've devoted approximately 20 hours to elevating my Blender skills through tutorials on SkillShare and Udemy. Also, spent a few phone calls discussing the next piece they will be working with me on and scheduled a meeting with my fabricator. That is on the calendar for Monday. I plan to arrive armed with design specifics and, hopefully, a preliminary video rendering for "Generations: Three Planes in Steel." Additionally, I had a collaborative session this Sunday with a photographer friend. We're in the process of creating potential visuals for my upcoming exhibition. This effort is an extension of my ongoing initiative to rework certain historic pieces that could be contextually meaningful for the show, although this particular endeavor is currently of lower priority. |
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Lastly, it's worth noting that I've been diving deep into presentations and interviews from artists like Leonardo Drew, Torkwase Dyson, and Kehinde Wiley, among others. This isn't just for kicks; it's an intentional exercise to elevate how I articulate my own work.
Evaluative Review
It's reassuring to know at this point that two new sculptures will be ready for the exhibition. Sure, I don't have every piece I've envisioned, but that's something I've come to terms with. Instead, I'm laser-focused on what can realistically be accomplished in the time I have. So, I'm not just making choices; I'm acting on them. This dual approach of refining my portfolio while acting on the select pieces ensures I meet my semester goals. It's an ongoing cycle of planning and action, without unnecessary delays.
Ongoing Goals
I'm aiming to create a concept sketch for the new RSC director. He's in the loop and, according to Michael McKean, will oversee the installation of the larger, quasi-permanent version of "Look At Me, Am I Special." I've sampled materials from various sources and am leaning towards using Whitewall.com. They can do a hexagonal form, which appeals to me more than a square; it just seems to resonate better with the narrative I'm going for. The cost per piece is a concern at nearly $50, but I'd rather invest in quality over quantity. We will see. If I cannot do it then I guess I wont.
Evaluative Review
It's reassuring to know at this point that two new sculptures will be ready for the exhibition. Sure, I don't have every piece I've envisioned, but that's something I've come to terms with. Instead, I'm laser-focused on what can realistically be accomplished in the time I have. So, I'm not just making choices; I'm acting on them. This dual approach of refining my portfolio while acting on the select pieces ensures I meet my semester goals. It's an ongoing cycle of planning and action, without unnecessary delays.
Ongoing Goals
I'm aiming to create a concept sketch for the new RSC director. He's in the loop and, according to Michael McKean, will oversee the installation of the larger, quasi-permanent version of "Look At Me, Am I Special." I've sampled materials from various sources and am leaning towards using Whitewall.com. They can do a hexagonal form, which appeals to me more than a square; it just seems to resonate better with the narrative I'm going for. The cost per piece is a concern at nearly $50, but I'd rather invest in quality over quantity. We will see. If I cannot do it then I guess I wont.
Week 2
Working My Plan
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This week unfolded through deliberate yet somewhat scattered engagements in my studio. Though they were not fully concerted, my activities were imbued with distinct purpose.
As I progressed with the Free Market design (see the maquette on the right) on Thursday and Friday, I ruminated on a topic deeply grounded in my experience and perspective as an individual navigating life in a Black body in America. But, first, I need to elucidate that while the concerns fueling my art are born from a personal space, I understand that they resonate far beyond the confines of race, touching upon universal realms of experience. Yet, I cannot overlook the heightened impact upon and disproportionate brunt borne by the Black community. The essence of Free Market lies in mirroring the viewer, encouraging a reflective journey into the commodification of bodies driven by power and wealth. The piece stands as a sentinel, alerting us to the desensitization that threatens to engulf us and fosters an insular response to systemic issues. It is important to me to present this artwork as my voice. In other words, to emulate the late Yogi Berra, a master of crafting amusing phrases such as, "It ain't over till it's over," and "Half the lies they tell about me aren't true." I say, give up talking about your issue, and you won't be heard. This piece chose itself over others that whispered creative enticements to my artist's soul. The choice stems from a commitment to forging an exhibition that is a testament to my evolving identity as an artist, embodying a symphony of style, approach, and narrative that paints a portrait of the complex, multifaceted lens through which I approach my art. |
In a time where a ship could take one to three months, 15,000 ships sailed, and an estimated 4 million Africans were taken and enslaved for cotton, tobacco, and sugar.
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A lens colored by concerns not just for myself but for future generations, fueled by a passion for fostering a society rich in diversity and grounded in equity.
I have no 'forever' medium to which I am committed, so I find myself living and creating in a space where my fluidity meets purpose. I am driven by a desire to encapsulate a myriad of concerns that echo my dreams and fears for our children and theirs. Despite my journey through an era where rocks met school buses, I possess an astronomical love for a diverse society, nurturing a deep-seated hope in me to sculpt understanding and empathy grounded in a rich tapestry of experiences that defines our collective journey into a hopeful future.
I have no 'forever' medium to which I am committed, so I find myself living and creating in a space where my fluidity meets purpose. I am driven by a desire to encapsulate a myriad of concerns that echo my dreams and fears for our children and theirs. Despite my journey through an era where rocks met school buses, I possess an astronomical love for a diverse society, nurturing a deep-seated hope in me to sculpt understanding and empathy grounded in a rich tapestry of experiences that defines our collective journey into a hopeful future.
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Time Spent
Thursday and Friday were filled with learning Blender and designing Free Market. I spent time trying to put the design into Blender and Adobe Illustrator. Blender will enable me to present the piece in a format that could be considered a work of art. It can also serve as a visual reference if I want to submit the rendering for consideration in a call-for-art. The Illustrator file is for engineering. In an all-day class for Blender, I produced the fun-looking render shown. |
My first Blender object and render.
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Render of early prototype
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The other render is a prototype artwork of the Free Market sculpture. I've got some work to do, but I've conquered the basics within Blender, so now its time to get into the weeds. But, I need to clarify my vision, now that I have a slight idea of what I can do...as a beginner. In any case, I plan to render it as a beautiful still image. Showing a shiny steel virtual version of my sculpture. Then I hope to animate the 3D space, and either move the camera around the object, or move the object around within the virtual space. Long term I will create a virtual urban environment and have hundreds of metahums moving around within it. |
Saturday, I went to the Talley Dunn Gallery with my wife and daughter, which was awesome. Sunday, I spent time with my son. On Monday, I returned to work with the IDM class Zoom meetings, then ended with some more work in Blender. Tuesday, IDM grading, more Blender, and talking with one of our MFA alum, Susan West, about my final exhibition. I plan to speak with more of my alums and cohorts since that is the only way to clearly see my thoughts around developing my final exhibition. I have to talk to someone. Thinking to myself, or even drawing my ideas out, doesn't get me out of my trap. My thoughts are sometimes like a Möbius strip, endlessly looping.
Then, today, I had to go to a personal appointment, but I am now working on completing my Illustrator files for Generations: three planes in steel. I expect to finish tonight. I had to rescale all of the measurements, create a new file, and lay out the pieces to maximize the usage of a single sheet of steel.
Evaluative Review
Albeit a hectic past seven days, writing out my plans gave me targets to focus on. I am stable and able concerning the risk of carrying such a workload. I only hope that I am not delusional. LOL... It probably behooves me to revisit my plan weekly, defining tasks for the upcoming week. Which day is best to do that? Probably Fridays...? We will see.
Ongoing Goals
Short term:
Then, today, I had to go to a personal appointment, but I am now working on completing my Illustrator files for Generations: three planes in steel. I expect to finish tonight. I had to rescale all of the measurements, create a new file, and lay out the pieces to maximize the usage of a single sheet of steel.
Evaluative Review
Albeit a hectic past seven days, writing out my plans gave me targets to focus on. I am stable and able concerning the risk of carrying such a workload. I only hope that I am not delusional. LOL... It probably behooves me to revisit my plan weekly, defining tasks for the upcoming week. Which day is best to do that? Probably Fridays...? We will see.
Ongoing Goals
Short term:
- Finish the engineering file for Generations, and Free Market.
- Continue working on the Blender file for Free Market.
- Begin one for Generations.
- Go to the campus regularly starting next week to begin 3D printing for Dreams Deferred (v2).