http://www.eriksanner.com/applications/erik_sanner_erasing_rauschenberg_080617a.pdf
hadn't thought about it until just now, but the shadow world features heavily in this piece. could say a lot more about it but not tonight, i want to go to sleep.
remember when i sold some used paintbrushes (palette, rag, etc.) to be used as props on a film set? well, the art consultant remembered my work, and she picked up some paintings last week, right now they're decorating catherine zeta jones' character's apartment (the movie is called "the rebound").
and she saw another piece which she recommended to another art consultant, which today was used in a shoot for "the international," hung in the apartment of clive owens' and naomi watts' characters.
this painting was begun as part of sonntag (you can see it in the top-right picture), then i kept working on it afterwards (rotated to horizontal from vertical, added colors). about seven or eight years ago. it's six feet wide and sixteen inches high and it really doesn't look like what i'm doing these days.
but it has been nice to look at these abstract paintings from those days when i was so confused about what i was doing or what i wanted to do that i would "just paint" sometimes. these days the closest i come to that is jabbing away with a pencil on a piece of paper while i try to organize some thoughts. maybe i want to start messing around again? maybe even with paint?
saturday went out to hunterdon - sparked a ton of ideas - so started to put some down
color study is becoming an interactive still life. today made progress.
kisokaido on my mind again. conflux deadline is coming up http://confluxfestival.org/conflux2008/, since matthew educated me about the situationists and guy debord and psychogeography, have been thinking, for over a year now, that conflux would be a natural venue to share the kisokaido piece.
then this morning david asked me what site i used to make my training maps last year (mapmywalk.com).
the thing about this project is that, all along, we haven't been sure what we are doing, exactly. i mean, i haven't been sure exactly what i'm doing? it has gone back and forth between being collaborative and solo. i want to make something that feels like my work (new media installations, conceived as "moving paintings") and still pay homage to hiroshige (who made what was essentially "pop art" at the time, not quite mass media i don't think - not sure what it is comparable to these days). which means that the end product should be collectible from the lower end of the economic spectrum.
more recently, i've been thinking that the situationist influence on the project necessitates "viewer" participation. haven't talked with matthew for weeks or longer, and he essentially told me he was no longer interested in collaging or really artmaking after we completed the walk. i could always do what we had originally planned (the dynamic online collage idea) but i'm not sure that's what i want to do.
so right now i have this idea using a treadmill and a backpack. but i would need technical assistance. i think. and a treadmill. anyway today i will try to refine this idea and put a proposal together, for conflux.
unrelated to my artmaking practice but very timely, if you want to take a walk saturday morning, here's a way to enjoy doing that more than you might usually:
http://support.yai.org/site/TR/Events/CPC2008?px=1014901&pg=personal&fr_id=1060&et=rCuwsOvaUQVbSq8GCDVn8Q..&s_tafId=4881
if you're a rhizome member, would really appreciate a click of approval.
http://www.eriksanner.com/applications/spring_planting_rh.html
thanks a lot.
anna and i are planning on making a show happen. i don't necessarily want to say curating, but maybe that's what we're doing. the concept is the title: have a painting? leave a painting. need a painting? take a painting.
sounds like a lot of fun?
not sure if i'm done or not, with this piece. had a plan, followed the plan, might need another step or two.
vineel and stephanie are getting married. they participated in chess. one of the ways chess came about in the first place is vineel and i used to play together on the chess team in high school. another way chess came about is he lent me ray kurzweil's the age of spiritual machines which pulled me towards new media and radically altered my worldview. so, when he asked me if i wanted to show anything at his wedding, i said "of course" and then decided i'd like to make them a special piece, show it, and give it to them. all this is great, except i'm not sure how i feel about the piece right now.
painted a panel grey
while it dried, did some minor programming
to loop the footage of the chess piece vineel and stephanie did together with no distractions in the frame
projected that
onto the panel, while recording video
and did an oil painting
which is difficult for the camera to understand how to photograph, with the projection on it.
without the projection, it looks like this.
my initial thought was "since they used black and white i won't use any black or white, and since they elected not to use brushes (their rule) i will use a brush." after i had done quite a bit of painting, i decided to add white.
now i'm trying to figure out whether to paint over this, with a more limited palette, or whether to add black, or whether to try painting without the video projecting on the panel, so i can actually see what i'm painting.
at least i left the light on, so i could see something.
right now i'm leaning towards painting (palette undecided) in full light with no projection. then, when the piece is shown, there will be three things to combine and project on it: vineel and stephanie's piece being made, the initial time painting this piece with the projection on it while i'm painting it, and video of adding to the painting (not today).
if i still feel confused about it, maybe more steps . . .
