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
11 comments:
Why have I not seen this sweet ass photo before? Sexy beast!
I wonder to what extent the issues that you're concerned with---the 'instances' or 'potentialities' as you call them---are implictly involved with the idea of an exhibition frame itself. I mean that the rhetorical aspects of display seem as much a type of value that can be transmuted or contested in your practice as say perspectival illusion [in your paintings for example]. This goes back to our discussion about the 'group show' as a metaphor, or better a heuristic, for your studio practice.....by the way, have you read the "Affluence, Taste, and the Brokering of Knowledge" essay by Robert Hobbs? It's on the social context of early conceptual art....
Joao
absolutely implicitly.
a true democracy of display.
now googling Robert Hobbs.
An image from this series is currently on display in Ft. Worth at the UNTartspace as part of a collaborative installation.
Evidently someone brought a german shepard to the opening and there was trouble.
The genetic difference is slight.
no do you have wolf junk or dude junk or is it some strange hybrid woude junk?
wouden't you like to know.
The blog is wonderful! I can get a sense of where you are in your work by reading your thought process. It's interesting that you feel there are issues with the way you organize your thoughts. I'm thrown off by your intent when ever I walk into your studio. That's not a bad thing it's just an initial response. Your sense of humor sometimes trumps the purpose of the work for me. Its acts as a screen that filters the messages you're sending to the viewer. The subtle humor of Larry David is the best, it's not a one liner, it tends to live in the viewer longer afterwards. I'll continue to read the blog, it's smart and an appropriate vehicle for your work.
I came across this in an old notebook and thought it relevant to your practice, and to Jason's:
There are two fundamental possibilities available to an artist: to negate, stripping away until nothing remains, or to accumulate, to embrace additively until one has reached the limit of fullness.
---Harald Szeeman
I think that's right on target.
Ryan you are an Alchemist!!!
Is Peter Gregorio assigning everyone Everquest-style fantasy role playing monikers?
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