Lara Star Martini : Project 24

how big is the gap of what you expected versus what you got; the person you thought you were versus who you are?

project 24 is a year long study of my life. i spent the last year from my 24th birthday (february 11) to my 25th birthday (february 11). at 8 o’clock every night i took a photo of myself and what i was looking at. i took a typical portrait and typical landscape shot, and even kept the constraints the same for each type of image.

the main focus of all of my work has been honesty- and have made a conscious decision to leave behind the air brushed glamour and fantasy i used to strive for- which i still respect and love- in favor of the raw, honest truth. you get to see me ‘cleaned up’, but more often than not, you see a hot mess. this is the truth. and that is why i want to share it.

why do this? or the most common question i receive: why should you care about me? i believe art about people should be an accurate and detailed story. the deeper and more honest you get, the more personal the work becomes. the more personal the work becomes, the closer you are to the subject. the closer you are to the subject, the more you can relate. the more you can relate, the more you can understand and appreciate. the art becomes as much of a mirror as it does a portrait.

i tried to answer the following question: can a thin slice of everyday life accurately present who you are? how much information is needed to tell your story, to let people see you for who you are? why this is important to me is a question i don’t bother answering, all i know is the need in my heart to answer it.

Ann Oren

I would like to investigate different modes of communication with the drama infused viewer, trying to dig into their inner will to exhibit their banality. This viewer is one in the age of reality TV and YouTube (which legitimize this type of exhibitionism), hence in the age of the idealization of a man without qualities. I would like to propose an ambivalent power dynamic between the piece and the viewer based on themes of the self exposed to “the other” and “the other” exposed to the self. I would like to reach out to the viewer by presenting the work with recorded personas performing simple, everyday activities. Then I will attempt to install/juxtapose the video in a certain form in space to bring another psychological level for the viewer to encounter. I would like for the three: video-space-viewer to have equal parts in what the piece actually ends up becoming. I hope that my work’s possibilities will shift from one viewer to the next based on incorporating their personal perception.

personal site:
www.AnnOren.com

Crisman

I'm dealing with desire through fantasy and role playing. The idea of the human as a hot-house flower really interests me. A protected, pasty, and flabby body bound in starched cotton and velvet. How do the pampered spend their time? I present different scenarios, through video, drawing and installation, of how a peculiar character spends their time. These objects are dealing with the deflection of sexuality through ritual. Who has the time to invest careful attention into making something that has a seemingly impractical function?

yejin yoo

I am attracted to the irony of the limitation of square canvas and the boundless universe it can contain. When I detect contradiction in my painting, that’s when creative force takes place-- traces of how I relate and respond to this contradiction become the layers of dialogue in my paintings. I bounce back and forth between the chaos and the intuitive order I create. This labyrinth is the domain of my paintings.
Like life, I build vocabulary through experience in every painting I make, and I utilize the vocabulary I gain not to define what I’ve already seen but to expand yet another realm of vocabulary. To do so, I am naturally against formulas that create concrete system. I put anticipation and get the variations of my anticipation. The space left for these variations is where I find breath of life in my paintings.

Mike Egan

I wear my heart on my sleeve.

Princess Diana

Criticism is an act of love.

Chairman Mao

I pursue no objectives, no system, no tendency; I have no programme, no style, no direction. I have no time for specialized concerns, working themes, or variations that lead to mastery.
I steer clear of definitions, I don't know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty. Other qualities may be conducive to achievement, publicity, success; but they are all outworn - as outworn as ideologies, opinions, concepts, and names for things.

Now that there are no priests or philosophers left, artists are the most important people in the world. That is the only thing that interests me.

Gerhard Richter, Notes, 1966

R. Sullivan

My work deals with issues of marginality, structure analysis, multiple meaning, humor, and cohesive diversion. I am attracted to the cast off and overlooked, the lost, and the spaces in-between things. It is my practice to view things metathetically, as pieces, or potentialites rather than wholes. A state of potential is the most potent to be in. When visual constants representing everyday reality such as perspective or light direction are viewed as instances of meaning rather than absolutes, reality itself becomes a tool instead of a state. This allows traditional standards to transgress into absurdities. I manipulate the make-up of visual signifiers, often referencing (art) history, to generate a terminal in which the viewer freely draws lines of meaning. By staging events in Synesthetic environments and mixed cultural sites the work permits a state in which people, Places, and the elements are transitory.

Here's a link to my thesis blog

flickr.com/photos/rsullivan

woodcliffe@gmail.com

lai chung poon

I admire painful and laborious process, the more the better. Traditionally drawn animation is a painful process. I am proud when I create an animated "thing". The drawings become alive in a different world that I can't touch, but can observe. I believe that the body only exists in tension and making animations revolving around that idea, makes me feel like a little god.

www.laichungpoon.com

brianelectro

wayne atkins, "short circuit" at taxter & spengemann
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