Tuesday, May 15, 2012

Heart Opening Sculpture
Cardboard, Newspaper, Masking Tape, Paper Mache Clay, and Montana Gold Spray Paint




Charka Art wheatpaste at The Studio Reno...



Thursday, May 10, 2012

Hydraphilia
Gail Wight



Before attending Wight’s exhibition, I had a predisposed concept that I would be viewing photographs or some sort of still art.  I was surprised to walk into a pitch black installation room to see a video installation.  In retrospect, there is no other choice to show the exotic work of Wight; however, I am pleased that I was unprepared because the surprise was far more pleasant than perhaps my expectations would have been.

The dark, humidified room set the perfect tone to sit back and witness 9 screens working as one video, as separate videos, and sometimes, as videos mirroring one another.  Some images glimmered while others pulsated in deep hues, persisting in their transformations.  Almost as if watching fireworks in slow motion, vibrant oranges and blood reds sparkled, illuminating bright flakes of gold.  With branch like limbs, there were moments of tree-esque imagery that altered in shape and color as though experiencing the seasons.  At other moments, the imagery seemed grotesque and mocking as though it was my own internal body that preceded my own intelligence.  And then, quite unexpectedly, the imagery would turn magical.  Gorgeous blue elucidated the negative space as Van-Gogh’s “Almond Blossoms” came to life in all of its glory.  Sparkling like precious gems, the vibrant imagery was meditative and inspiring.  Finding peace, the imagery would again transform in a seamless yet shocking manner.  Clouds indicating an explosion would appear complimented by oozing lava-like forms.  As the image swelled and developed my conscious was forced to reinvent my association with the imagery: sexual pulses, nuclear explosions, Mickey Mouse ears, commits in outer space, and the goo from Ghost Busters.

The time-lapse videos of Wight were stunning, contemplative, seducing and fantastical.  Her show title, meaning “many headed” and referring to the Greek myth of a 9 headed monster who grew back 2 heads when one was lopped off, was simultaneously beautiful and morbid echoing Wight’s intention.  Slime mold will forever be more endearing that before my encounter; however, it is Wight’s artwork and insight that are truly commending.         


Sunday, May 6, 2012


Reflection:



Why did it make me so angry the way Brian approached the art?  Reflecting on the installation experience, there was so much positive energy.  People were walking by smiling and there was an energy of excitement and intrigue.  I was putting up my art, not just for myself, but to put a smile on the faces of our community.  I have spent thousands of hours learning about the psychology of perception, ancient Buddhist and Native American philosophies to enhance life, the power of education, and the execution of art.  I do this because I have passion and I am driven, AND I am very aware of my responsibility toward the energy that I place in this world, and I work to ensure that that energy is positive. 



Sure it was awesome of Brian to give me the green light, but the way he gave me the red light was selfish, self-centered, and egotistical. 



He gave me an irrelevant rundown of his rent, his square footage, his lease, and on and on as argument for what? How expensive two 60x40” areas of real estate were that I apparently infringed on?  He was so concerned about himself that he never once considered our community. 



What happens when we no longer care about our friends, our city, and our world? To be unaware that the people of the world are disconnected from us enables the narcissistic frenzy to establish status and acquire material objects for oneself without realizing the consequences. 



Art makes people happy.  Art is powerful beyond knowledge and persists across time.  Wake up, get over yourself, and make this world better.



I hate to say this, but I understand now why some artists simply do not ask for permission.