DJ Spooky

Redline Gala Success!

Exciting night at the gala art sale in everything sold, even work I didn’t know I’d left earlier and a ceramic vessel we used in the centerpiece. Twelve ceramic bowls with one commission and only 1 pillows left. It was very gratifying to have such a strong response both in sales and compliments.

Meeting scheduled for early next week with Budsy & Rebecca to discuss next set. Lots of interest in the tablecloth so I’m sure will be

Sat next to a delightful gallerist from Mexico City as well. Gala’s aren’t my type of event but enjoyed it regardless.

pillow-1b

Pillows, Pillows, Pillows

Excited to be collaborating with my good friend artist Rebecca Vaughan of Bugsy & Rebecca. Fabric printed from patterns culled from documentation of paintings. I’ve been hearing for years that my work would make fabulous fabrics. Now that print technology has caught up it’s real. Our inaugural product are pillows, pillows, and pillows.

Each 16″ x 16″ side printed from different patterns on upholstery weight cotton.

Check out Rebecca Vaughan’s artwork at http://www.rebeccavaughan.com/

Ornamentation & Conviviality

The Fancy Real: Ornamentation & Conviviality in a Becoming for Others.

The Fancy Real starts from the proposition that the real is an artifice; a construction, a fabrication, a production. Further that it is multiple and many, not a thing but a constant adaptive evolving creative production, both singly and collectively.

It is additive in that two or more selves becoming together is a making of a singularity that is more then the sum of the parts. It is within this gathering of selves that the fancy real functions.

The fancy real is an active subjectivity, a willed use of actions, objects, and events to sculpt emergent becomings.

Ornamentation, the “only art who’s purpose is pleasure’ is a mark of importance. As signifiers of time, intent, and consideration, convivial objects & the manner of using,  signify the importance, the worth of others.

From painted caves, Gothic cathedrals, or indeterminate vein patterning in a bank façade, ornamentation marks the what and where of importance in a specific context.

The appearance of the real in a use and display of conviviality in the caring of others.

Conviviality is social ornamentation.

 

Ornament & Manners

A function of ornamentation that I find especially compelling is its role of ‘making special’.

A ring for a beloved’s fingers, a ground of gold on medieval altarpieces, the neoclassical façade of the Whitehouse, giftwrapping, & graphic design all trade in the making of special.

By analogy manners function as social ornaments. Bowing, handshakes, parties, ceremonies are relational forms used to denote specialness. It’s this that makes manners a powerful form in the construction of relationships, weather personal, community, or between nations. It is through these forms that the multiplicity of humanness can come into relation. These social ornaments can express desire & appreciate but more importantly produce a space for the negotiation of disruptive & discordant differences.

Ornamental Objects are available as markers of both human relations as well as relational environments.
That is as gifts to give, receive, and live with.

In this sense my content is your pleasure.

Ornament and Time

Ornamentation is an art that is added to art.

Ornamentation is the only art whose sole purpose is pleasure.

Paraphrasing James Trilling on ornamentation

While I eschew most definitive statements these claims for ornamentation do get to somethings I’m interested in.

The first suggests that ornamentation is only ever in relation to other things.  For me this is analogous to the self always being in relations.

Being always already in relation, a reductionist logic results in ornamentation’s disappearance and denigration as famously articulated by Adolf Loos, Ornament and Crime.  Understandable, even necessary, in it’s day what with all that excessive, illogical, cake decorated Victorian architecture associational with outdated traditions and class structure that’s part and parcel. It’s no coincidence that the decline of manners begins at the same time as the rejection of ornamentation and the rise of autonomous abstract painting.

And too, in the serious world of ‘art as idea’, beauty is suspect in part because it is pleasurable. Art’s ideas about seriousness is often exemplify in the matter a fact aesthetic ‘stylings’ of conceptualism, however much providing for a transgressive sublime in it’s classical phase.  Being concerned with providing pleasure can, and has, become a critique of modernism, but no new ideas there so who needs that!

Ornamentation also gets to the heart of abstractions anxiety about the decorative, something I admit to sharing. Early writings around the ‘invention’ of abstraction are replete with earnest insistence to differentiate itself from the decorative. I suppose if your making a new world (or recovering a hidden one) you’ve got to be serious AND other. Ornamentation was handy to repress in the making new and thus handy to resurrect in the critique of that new new.

But of course no new ideas here ether given Ventura, Gombrich, post-modernism, multi-culturalism and, and, and, and…

It’s been all these things for me but really in the end (being essentially true?) I just love pattern. It still thrills me, moves me and makes me dance.

It’s not enough, but it sure ain’t nothing!