I picked up a camera from Clint on Friday but unfortunately was too sick over the weekend to use it. I returned it for presentations today which I am not feeling well enough to go to, so will need to pick it up again this week.
My timeline:
3/27 Project #2 Presentation of my spiritual street art and sculpture installation
4/03 Found 3D model to begin Pepakura, have photographs of my chakra art to begin printing and begin wheatpasting (need to make up), get copyrights!!
4/10 Continue wheatpasting (allowing the art to evolve with words or whatever it calls for...letting it be organic) and Pepakura
4/17 Continue wheatpasting and should be building Pepakura (my original art should be installed at this time in The Studio for additional feedback)
4/24 Continue Wheatpasting, focusing now on where I want my final documentation and Pepakura installation to be
5/01 Pepakura is complete and installed this week (I will have documentation for the crit and also for the journey of the art as a way to track their impact for my yoga mat idea pitch)
5/08 Final CRITIQUE/PROJECT #2 Due
Thursday, March 29, 2012
Thursday, March 22, 2012
Project #2
Bringing spiritual art out into the community...
The images created from the first half of the semester have a strong social power, both in their creation and in their relationship to all people. From the beginning, I could easily imagine this artwork on yoga mats. Those who practice yoga and have a knowing of the chakras, tend to favor a certain chakra. And as people change, so do their ideals and the areas they work on, both on the mat and off. Initially, I was planning on creating a website, which a may still do, but the champion yoga mat company, Manduka, has in the past worked directly with artists. My first step will be to put together a package to present my art to this company:
Wheatpaste recipe:
4 tbsp flour
1/2 c cold water
1 c hot water
1 tbsp sugar
1 brush
image
surface
Mix flour and cold water together then add mixture to hot water on stove, turn on stove and stir until boiling, turn heat off, cool mixture and add sugar to enhance consistency. Apply wheatpaste to surface, apply image and then apply wheatpaste in top of image.
I will also use pepakura to build a scultpure emulating one of the yoga poses used in the chakra art project to also place out in the community. The strongest of the poses could be a heart opening posture that shows the clear intention of exposing the chest towards the sky. I visualize applying the wheatpaste graffiti and then placing this sculpture in the same place...perhaps wingfield.
Bringing spiritual art out into the community...
The images created from the first half of the semester have a strong social power, both in their creation and in their relationship to all people. From the beginning, I could easily imagine this artwork on yoga mats. Those who practice yoga and have a knowing of the chakras, tend to favor a certain chakra. And as people change, so do their ideals and the areas they work on, both on the mat and off. Initially, I was planning on creating a website, which a may still do, but the champion yoga mat company, Manduka, has in the past worked directly with artists. My first step will be to put together a package to present my art to this company:
- take photographs, digitally enhance
- get a public response (through exhibition at the yoga studio)
- write up a clear, concise statement
- COPYRIGHT (7)
- create a website?
Wheatpaste recipe:
4 tbsp flour
1/2 c cold water
1 c hot water
1 tbsp sugar
1 brush
image
surface
Mix flour and cold water together then add mixture to hot water on stove, turn on stove and stir until boiling, turn heat off, cool mixture and add sugar to enhance consistency. Apply wheatpaste to surface, apply image and then apply wheatpaste in top of image.
I will also use pepakura to build a scultpure emulating one of the yoga poses used in the chakra art project to also place out in the community. The strongest of the poses could be a heart opening posture that shows the clear intention of exposing the chest towards the sky. I visualize applying the wheatpaste graffiti and then placing this sculpture in the same place...perhaps wingfield.
Something about the art...why make it public?
The deep, inward journey of yoga occurs through many layers and over time. Sometimes the intention is known, but it can never be expected. The ability to quiet one’s own mind and focus on the greater good is empowering. However, the silent takeover and miraculous phenomenon that occurs when the body becomes connected with the mind is truly a spiritual awakening. As we discover our true essence, we become increasingly aware of ourselves and our journeys. We become accountable for the energy we place into the world and are mindful as our energy knowingly branches forth. Believing in ourselves and our worth opens the doors to the abundant powers of our chakras. For it does not just change who we are, but it enhances the world around us. Through yoga, the chakras can be exercised, revealed and elucidated. The chakra art project is a memory of an intention to spread all that is positive into the now. The path is as real as the art is raw. Explore, own who you are and recognize your light.
Erik Burke Lecture
March 8, 2012
My Piece is Still Running
May 2009
Brooklyn, NY
aerosol paint on cotton
digital video 4 min.
Erik Burke is an artist who truly lives his art. From where he is to what he applies, the transition is fluid in reality and intention. Beginning his graffiti career at an elementary age, the idea of marking was natural. As he grew older, Erik discovered his love of skateboarding which would eventually lead his career into the art world. Skateboarding is explorative and encompasses an underground culture of risk takers and thrill seekers. Skateboarding journeys opened Erik's eyes to new and unmarked public spaces. The romanticization that artwork could be as ephemeral as his brief encounters was all too enticing.
Erik’s conceptual journey would begin as simplistic, artistic offerings for the people to fill with their own intuitive meanings. Eventually, the imagery would evolve into visual expressions of Erik's own identity but not without understanding that repetitive acts and events engrain the conscious of the community and that the idea of self and others is as fluid as his talent. Erik's theme of space and identity manifested itself into numerous remarkable and episodic works marking the globe.
His obsession with painting a triangular, flying carpet type object would only be altered through whitty verbage to reinvent the space. Erik has the eye to personify, transform, and recreate the everyday into something rather fantastical. His photograph of two trucks in a lot with the phrase “it’s just not the same without you” spread equally across the two, is just an example of his playful yet extraordinary perception. As his work grew more sophisticated, so did the great lengths he would take to achieve the work. His thousand mile bike rides were elucidated by socially engaged work, inspired by the people and sometimes collaborated. His “house people” only emerged at the end of his journey when his own wantings yearned for stillness and comfort.
Although Erik’s work ranges from quick tags to grandiose portraits, he moves without fear and listens to the desires of the space. Erik is as free as he is creative, living by his own standards and embracing the canvases of the world.
Erik’s conceptual journey would begin as simplistic, artistic offerings for the people to fill with their own intuitive meanings. Eventually, the imagery would evolve into visual expressions of Erik's own identity but not without understanding that repetitive acts and events engrain the conscious of the community and that the idea of self and others is as fluid as his talent. Erik's theme of space and identity manifested itself into numerous remarkable and episodic works marking the globe.
His obsession with painting a triangular, flying carpet type object would only be altered through whitty verbage to reinvent the space. Erik has the eye to personify, transform, and recreate the everyday into something rather fantastical. His photograph of two trucks in a lot with the phrase “it’s just not the same without you” spread equally across the two, is just an example of his playful yet extraordinary perception. As his work grew more sophisticated, so did the great lengths he would take to achieve the work. His thousand mile bike rides were elucidated by socially engaged work, inspired by the people and sometimes collaborated. His “house people” only emerged at the end of his journey when his own wantings yearned for stillness and comfort.
Although Erik’s work ranges from quick tags to grandiose portraits, he moves without fear and listens to the desires of the space. Erik is as free as he is creative, living by his own standards and embracing the canvases of the world.
Monday, March 12, 2012
Final Show
The show happened at night and had a nice mix of soft and focal light. The room remained dark enough in specific areas to not interfere with the best viewing quality of the ongoing video.
Getting ready for this show was one of the most stressful shows that I have done for two reasons: limited time and the enormous amount of time it took to export the video.
Initially I planned on usi9ng Eyecon and was exporting each individual sequence at about 2.5 hours per video. The more I played with Eyecon the more chaotic the videos and sound became. After exporting all but one video, I decided to make one long video where the sequences would run in order from beginning to end. In the end, I was thrilled that I made that decision as many viewers were content to sit and watch the video in its entirety and offer dialogue to the performance aspect as well as the art.
Overall, I spent 2 full days sometimes up to 10 hours in the computer lab making the video. I pulled the exhibition off with about 20 minutes to change my clothes and act as calm and collected as possible. I recieved a lot of positive responses throughout the night and everyone agreed that this project could lead to much bigger things.
The show happened at night and had a nice mix of soft and focal light. The room remained dark enough in specific areas to not interfere with the best viewing quality of the ongoing video.
Getting ready for this show was one of the most stressful shows that I have done for two reasons: limited time and the enormous amount of time it took to export the video.
Initially I planned on usi9ng Eyecon and was exporting each individual sequence at about 2.5 hours per video. The more I played with Eyecon the more chaotic the videos and sound became. After exporting all but one video, I decided to make one long video where the sequences would run in order from beginning to end. In the end, I was thrilled that I made that decision as many viewers were content to sit and watch the video in its entirety and offer dialogue to the performance aspect as well as the art.
Overall, I spent 2 full days sometimes up to 10 hours in the computer lab making the video. I pulled the exhibition off with about 20 minutes to change my clothes and act as calm and collected as possible. I recieved a lot of positive responses throughout the night and everyone agreed that this project could lead to much bigger things.
Friday, March 2, 2012
Week 6
Last night we completed the performance aspect of the chakra painting project. It was amazing and incredibly exhausting! Each girl took about an hour from the start of hair and makeup to the completion of their performance and painting. As soon as hair and makeup was done I went over their sequence with them, I then painted their bodies, ran upstairs turned on the video camer, ran back downstairs went through their sequences with them, ran upstairs to turn the camera off and then would begin with the next girl until I finally went last. My bathroom, by the way, looked like a rainbow exploded or muppets were slaughtered...it was a child's dream.
My garage worked out as an amazing place to shoot the performance and all the girls were so excited about the space they all voted to hold the actual exhibition there as well. Could be interesting!
So far: I have edited the videos but need to overlay sounds that I found off the web:
root chakra- bumble bee sounds
sacral chakra- wooden flute
navel chakra- string instrument
heart chakra- bells
throat chakra- wind blowing through trees
third eye chakra- waves crashing on the beach
crown chakra- Om
I will then be ready to set up the eyecon program into my computer and begin setting up my garage. It looks like the exhibition will have to be Saturday or Sunday night...leaning toward Saturday.
I am still collecting photos and videos that the girls took with their phones as the second perspective to include in the event. I have allowed this to happen organically, in that they naturally uploaded them to facebook where I will retrieve them. The great thing about this is the enormous amount of commentary that is occuring as a result. This social aspect has been the most unexpected and yet most important part of the chakra installation. While the paintings are aphysical memory of intention, the social is a documentation of the relationship between the inward and outward journey opf the psyche, ego and spirit...this is the process of breaking through the chakras. Additionally, they will each submit a quote that will add to the intimacy, as the quotes are directed toward the audeience at the installation.
Additionally I purchased: sevenyogamats.com and 7yogamats.com
After paintings are complete, I'm thinking about turning them into graffiti art to share the images. Perhaps a wheat paste application of a life size print of the paintings?? I have a location where I may be able do do my first installation.
Last night we completed the performance aspect of the chakra painting project. It was amazing and incredibly exhausting! Each girl took about an hour from the start of hair and makeup to the completion of their performance and painting. As soon as hair and makeup was done I went over their sequence with them, I then painted their bodies, ran upstairs turned on the video camer, ran back downstairs went through their sequences with them, ran upstairs to turn the camera off and then would begin with the next girl until I finally went last. My bathroom, by the way, looked like a rainbow exploded or muppets were slaughtered...it was a child's dream.
My garage worked out as an amazing place to shoot the performance and all the girls were so excited about the space they all voted to hold the actual exhibition there as well. Could be interesting!
So far: I have edited the videos but need to overlay sounds that I found off the web:
root chakra- bumble bee sounds
sacral chakra- wooden flute
navel chakra- string instrument
heart chakra- bells
throat chakra- wind blowing through trees
third eye chakra- waves crashing on the beach
crown chakra- Om
I will then be ready to set up the eyecon program into my computer and begin setting up my garage. It looks like the exhibition will have to be Saturday or Sunday night...leaning toward Saturday.
I am still collecting photos and videos that the girls took with their phones as the second perspective to include in the event. I have allowed this to happen organically, in that they naturally uploaded them to facebook where I will retrieve them. The great thing about this is the enormous amount of commentary that is occuring as a result. This social aspect has been the most unexpected and yet most important part of the chakra installation. While the paintings are aphysical memory of intention, the social is a documentation of the relationship between the inward and outward journey opf the psyche, ego and spirit...this is the process of breaking through the chakras. Additionally, they will each submit a quote that will add to the intimacy, as the quotes are directed toward the audeience at the installation.
Additionally I purchased: sevenyogamats.com and 7yogamats.com
After paintings are complete, I'm thinking about turning them into graffiti art to share the images. Perhaps a wheat paste application of a life size print of the paintings?? I have a location where I may be able do do my first installation.
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