Heart Opening Sculpture
Cardboard, Newspaper, Masking Tape, Paper Mache Clay, and Montana Gold Spray Paint
Charka Art wheatpaste at The Studio Reno...
Tuesday, May 15, 2012
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.
Subscribe to:
Posts (Atom)