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andorForever_NYC RDBNPNG Perspecta 51
 As a reflection on what has been or could be seen as the very beginnings of a so called practice, or subsequently a thorough continuation on an amorphous one and giving thought to the future– I have attempted to recognize some recurring patterns in my work and in others whose work I appreciate.  I have a general fondness for a good use of space and of juxtaposition.  Spacial relations through composition or proximity provide a context framework. They set the stage for relational interpretations, hierarchy etc. and can be viewed in terms of art, design, and the everyday.  Most of the best ‘installations’ I have seen are simply the natural or unnatural collection of things in a given area and can stand in stark contrast to the intentionally found in formal composition.  This ‘readymade’ of a juxtaposition and accumulation never ceases to invoke a story and impossible narrative which also plays into a second theme that I find myself returning to again and again–layering.  Layers can invoke both the idea of space (composition) as well as the interpretation of meaning and can/do work quite seamlessly with juxtaposition. Through layering, dimensions are opened up and the viewer or participant is liberated or constrained based on the intentions. This exchange, as it were, in the sense of a manipulation of space, be it psychological or physical, is incredibly powerful.  The control of this malleability, pacing, and juxtaposition all through layering is what makes music, film, performance and anything with a temporal and spacial element great. This stated control or agency is clearly and thoughtfully displayed through editing.  Often times the works that I am most drawn to are extremely well edited and show an incredible amount of restrain OR wholly-lack-thereof in a needed context. I find myself returning to works with an extremely minimalist, or concise, concept that almost assuredly came from a more complex place. These works engage the viewer in a dialogue with the potential for larger questions.  At the same time when these ideas are presented ineffectively, they can alienate the viewer by not allowing them in. Moving forward with my own practice, I am interested in consistently pursuing the balance of how to practice restraint in attempting to reduce an idea to its core (at least at the beginning), then figuring out how to make it interesting enough to be engaging–or at least have people thoughtfully question my intentions.  On the topic of exchanges, I have a general interest in scale or scalability. This has always been true in my interest in music and more recently my interest in design (pop music, pyramids, social settings etc.). For the most part, I have a deep appreciation for anyone or group that is ‘putting themselves and their work out there’ and ambitious anythings are what help make the world an interesting place.  In this regard, audience and accessibility become crucial elements for consideration whenever ideas or feelings are attempting to be conveyed. I feel that one should never cater to an audience per se, but it is best to always be aware of who you’re speaking to and how you’re speaking to them–if only to help facilitate your own desired outcome.  In regards to my own work, I am interested in ultimately cultivating an audience and securing some level of distribution for my ideas.  Lastly, I do agree with Orson Wells point of ‘political purpose.’ I feel things in general are made or should be made for a purpose. The desire to push the world in a certain direction or to at least have a stance is of upmost importance (and otherwise what are we doing here??). If one’s work is not interested in this, then I think one must also really question the purpose for its distribution.  This is not to say that I feel a works political purpose should be overt, but merely that the real strength of the work lies in its motivations.  I seek to place an emphasis on my works intentionality especially at the early stages of development, and to attempt to keep that intention in mind throughout the process, while of course leaving ample room for deviation and evolution.  In closing, I am constantly influenced by my surroundings and exposure, and sometimes grapple with the filtration of them. The people I hold in highest regard however (and there are both few and many at the same time) are the ones who have simply figured out a way to stay true to their own ideologies and practice for as long as possible.  Is? Work your real.