Monday, July 26, 2010

Scenes from the July Dandyland Workshop for YACB:

These photos were made by Evan Hildebrandt. What a wonderful group of performers! The wknd was amazing & we learned a lot. With a little luck, we'll have You'll Always Come Back performance ready by our next workshop, on August 21st, a fund-raising benefit for our local community arts center. The crew are: Shane Gilmore, Bob Douglas, Joee Conroy, Brent Olds, Kim Perkins, Jesse Rivera, Lauren Argo, Idrissa Ekundayo, Jackie Royce, Leah Fowler & yours truly!











Saturday, July 10, 2010

Testlabor ~



Testlabor ~ DancePerformance, Sculpture, Music Project staged in Germany ~ Yoshioka Yumiko is the choreographer.

Wednesday, July 7, 2010

Lucky in Love ~






















I've been working on this painting forever, or nearly. I know that it started back in the 80s. At first it was a black canvas with cobalt thumb prints. It even had a title; "Sylvannia" ~ both a joke on the TV brand blue screen with pixels, and in a deeper sense of the woods at night - one of the primal fears of humanity, so I've read, but I love the woods at night. I thought of doing a similar painting, a collection of hundreds of 4 leaf clovers sealed into the paint layers. That one was going to be called "Life of Idleness" ~ but I never did it.

I've always thought of myself as the luckiest man alive. But like Pan I figured the downside was a lack of luck in love.

In the 90s, at Robb's urging, I painted the figure of a crouching blue man on the field of thumb dots. This was partly to make up for the temporary loss of an earlier painting - "Rain in the Cornfield" that I loved. The being in that one was modeled on the body of my lover at the time.

Several years ago I started embedding objects in the paint layers - a sea shell, a piece of sequined cloth, a random shape of plywood left over from something I'd cut out - then a heart shape. I almost titled it Venus' Bed, but at the time, it seemed like something I didn't know that much about.

A few nights ago I dreamt that the movie producers I was working with offered me some books needed for my research, if I could climb through the challenges to get them. It was almost like that Japanese tv show contest of physical skills - Ninja Mountain. There were four books, but in my glance I could only get the gist of what two of them were ~ one was my completed collected works (The Ominichronic! Huge.) ~ but that would be posthumous, right? - and cheating. I was tempted. The other was nearly as large, titled simply "Cobalt." I didn't make it through the gauntlet to snag them, (the dream changed...) but the two wondrous books that got away inspired me regardless.

I'm calling this one "Lucky in Love."

Friday, July 2, 2010

From the Symbolist Manifesto ~

This morning, all sunny and shifting light cool in dandyland, I've been thinking about the Symbolist poets and wondering exactly how their work connects with You'll Always Come Back. Like all breaks, epistemological and otherwise, the past couple of weeks, spent doing things not directly related to YACB, has refreshed, but left me with the tricky job of picking up the thread(s) and rejoining the severed spine. Maybe this quote, written by Jean Moreas in the Symbolist Manifesto, is something I can be for or against, to start with...


"Ainsi, dans cet art, les tableaux de la nature, les actions des humains, tous les phénomènes concrets ne sauraient se manifester eux-mêmes ; ce sont là des apparences sensibles destinées à représenter leurs affinités ésotériques avec des Idées primordiales."

(In this art, scenes from nature, human activities, and all other real world phenomena will not be described for their own sake; here, they are perceptible surfaces created to represent their esoteric affinities with the primordial Ideals.)

"The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, although this does not yield a single message so much as a superior network of associations." ~ Marshall Olds.

And this verse, by Paul Verlaine ~

Je suis l'Empire à la fin de la Décadence,
Qui regarde passer les grands Barbares blancs
En composant des acrostiches indolents
D'un style d'or où la langueur du soleil danse.

("I am the Empire at the end of the decadence, who watches the large, white barbarians passing, while composing lazy acrostic poems in a gilded style in which the languor of the sun dances.")



The Death of the Grave Digger ~ Carlos Schwabe