Archive for March, 2007

silly and sassy versus slippery slope

13 March, 2007

relaxing all cool in studio

notes from 9:48am (which is like 8:48am)

12 March, 2007

I am listening to Morton Feldman (String Quartet and Orchestra) and lookning through my jurassic park binoculars (at the upper wall) and it is sublime. I feel a twangy/tinge/quiver in my heart. It is uneasy but I find the uneasy uneasily appealing.

Did I mentionn the binoculars are backwards?

canvasoscopy 3

11 March, 2007

canvas tube insides

canvas tube insides

canvas tube insides

canvas tube insides

canvasoscopy 2

10 March, 2007

through a canvas tube, watching canvas tube vid


9 March, 2007


canvasoscopy 2

canvasoscopy 2

looks like we made it

8 March, 2007

wagon 1

Andy* [made it to Willamette Valley!]
Kyra [died (snakebite)]
Ugh [died (sick)]
Sarah [died (sick)]
Kelly [died (sick)]

wagon 2

Chandler [died (sick)]
Tom* [died (snakebite)]
Derek [died (cholera)]
Sarah [died (dysentery)]
Angela [died (sick)]

wagon 3

Daphne [made it to Willamette Valley!]
Woodie* [made it to Willamette Valley!]
Devlin [died (sick)]
Sydney [made it to Willamette Valley!]
Dylan [died (snakebite)]

*indicates leader

i feel.

7 March, 2007

today i almost cried listening to the story on the radio
and thinking thoughts.
i almost cried listening to songs
and reading books and blogs.

it’s good to feel alive.

list of questions asked during critique

6 March, 2007
  • Is your work undermined by knowledge of your own history?
  • What are the clues that tell us how to read the work?
  • Why is the viewer looking at this piece? Why is the viewer continuing to look at this piece?
  • What is this work telling the viewer?
  • Is one connection more important than another?
  • Does participation relate to the evidence of engagement of the artist in the work?
  • How do you paint big and small at the same time? And how do you paint quickly and slowly at the same time?
  • How do we encounter work?
  • How does the viewer experience the gymnastics that the artist goes through, and should that evidence be part of the experience?
  • How does the artist prioritize and how does the viewer decode the way the information is prioritized?
  • How do we structure an experience?
  • What sorts of decisions do we make and why are we making them?
  • What takes you back to painting?


5 March, 2007


canvas series 2

4 March, 2007

canvas tube / light at the end of the tunnel

canvas tube / light at the end of the tunnel

canvas tube / light at the end of the tunnel


3 March, 2007

me dancing with some dancers

i used to be

2 March, 2007

a theatre kid.

what happened ?


1 March, 2007

little ray drawings