About a year back I decided I wanted to make work that I could just make on my own, spontaneously and anywhere. I was reacting against the Takahashi pre-performance preparation that had to happen. At the time, they required other people, stretching canvas, setting up electronics equipment, a projector, and then having all the things communicate with each other. It was hard to do spontaneously. So I decided to just draw. White paper. Black pen. And me.
In tandem with those drawings I started becoming curious about color. There was shift in the Takahashi performances from paint to [colored] light, and this set up no longer required me to stretch a canvas or use a projector–another move towards pre-performance simplicity (though pursuing this colored light stand wasn’t done for that purpose specifically). I could just plug in and go. Though it’s still very technology heavy, spontaneity and technology are not in opposition. So now, working in the muck of the Takahashi lights and the ink drawings, it felt to me like I was exploring two things: precise line work (absent of the consideration for color), and expansive pure color.
Yesterday, during a Takahashi rehearsal with Linda Jankowska and Rodrigo Constanzo it occurred to me the water color works are actually perfect for use in the Takahashi light set-up. It’s like one part of my brain has just let another part of my brain in on what it’s been working on. I think these works are somehow perfect populators of the Color Picker sample space (the color granular synthesis max patch), which before only had a “place-holder” image. I really want everything to be personal, and resonate with me. The body of line drawing work I’ve been doing, now with the addition of water colors, are hugely significant to me and this period of my life–creative and personal. So here we are.
I just want to make beautiful things…and it feels like an explosion.
(above work owned by Rocio Bolaños)
Photos by Linda Jankowska.
Sam Andreae wanted to hold concerts in his basement for upload to the web. Sam’s Basement is so small that only the guest artist, he, and I are often the only people that can attend the performances live (good too, cuz we have to record it.). I’ll update this post as new episodes emerge, but only the FOUR most recent ones will appear. Please click the ‘continue reading‘ link below to see the complete post.
Row, row, row your boat gently down the stream.
Merrily, merrily, merrily, merrily,
Life is but a dream.
Some video documentation of the Takahashi, light-based, approach.
There are sensors inside mask which inform how the lights function.
Everything is being generated and controlled by a Max patch and the (wireless) sensors are built around the x-io x-OSC and x-IMU devices.
*all visuals happened in realtime. No effects/editing was used to create the banding/glitches. They are a happy accident manifestation of the refresh rate of the DMX lights and the camera not playing nice together.
The audio is recordings during a previous performance. The nature of those performances where such that the canvas was turned it into an instrument. In this session (in the video), that is the audio that can be heard, but it was being processed live during this interaction between performers.
Watching this now, it feels like this is who dreamt that past…
Here’s a little movie I made for the pop music course at the Royal Northern College of Music.
Click on the image to zoom in. I go in deep with this one.
Owned by Linda Jankowska
Testing out some new pens!
The skull is owned by Lina Martinez…and no man or woman may yet possess Man Dantana!