For the expo at Chelsea, some information is required about me to go into the press release, etc.
Looking through this research blog, there are a few snippets worth looking at:
On the /practice page, I placed an artist statement:
My practice is concerned with concepts from contemporary post-colonial studies and adopting these to visual art through fiber art sculptures, digital art, and analog doodles. I bisect space into chromatic and texture planes that manifest hybridity. The materials I use elicit mimicry: natural is synthetic; hand-made is refined like machine-made; industrial simulates the subtle touch of man. I bridge these planes through deliberate configuration and visceral binding and present them to the spectator to allude to the third space. Through this the result is sense of balance but also depth to explore the tension, harmony, and contrast within.
Note to self: The practice page is depreciated and replaced by the artworks page… but that simply says:
For those who don’t want to read through all the discourse in my journal, here is the sub-set of all posts that are the artworks I’ve created.
So, whatever I come up for Chelsea, I should add to the artworks page (and probably the old practice page as its still crawled by various search engines).
There is the title of my Research Proposal:
What results if we take concepts from contemporary post-colonial theory (viz. “hybridity”, “mimicry”, and “third space”, as espoused by Homi K Bhabha), and instead of applying these to community structures and dynamics (i.e. cultural interactions in a society) they are applied to a visual world (i.e. figure/ground interactions in a pictorial space)?
And the abstract from my Research Paper probably has a few good things in there too.
The beginning of the 20th century was one where visual art underwent a major change in practice with the creation of abstract art. The canon of abstract art subsequently progressed vis-à-vis the Zeitgeist, the underlying philosophical foundations, and modernist theory. Modernist theory, tending towards reductionism per Hegelianism, has gone from an epistemological model to one of ontological reduction. As the underlying philosophical foundations changed this affected a progression in the motivation but with consistency in the visual language across the canon. To understand abstract art, it is necessary to look beyond the visual language and aesthetic and examine the motivation as this is the key variable occurring across the canon bringing new perspectives and providing an instrument though which new possibilities can be discovered. Motivation is the subject of this research paper.
Donning my copywriter hat, the above provides some great material, and I’ve come up with the following “About the artist” blurb. I’ve tried to keep it short, focusing more on the why rather than the how and what.
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My work is an exploration of ontological reductionism within a system motivated by concepts from contemporary post-colonial theory (viz. “hybridity”, “mimicry”, and “third space” as espoused by Homi K. Bhabha) but instead of applying these to community structures and dynamics (i.e. cultural interactions in a society) they are applied to a visual world (i.e. figure/ground interactions in a pictorial space).