The work engages audiences and collaborators informing the evolution of the Cultural Fusion Art as Philosophy series. In response to the artist intention to engage alternatives to protest art it explores new territory in modern art as works result in or contribute to real world solutions addressing persistent social challenges in installations, digital, virtual, performance, visual, and new media.
The recent state supported season of commemorations for the american civil war have been unexpectedly soul stirring. Since a predominate intention of this work is to use these ideas and feelings to advance the art work as inquiry and discovery I continue to use this blog as another avenue to talk its progress.
The piece shown to the left is a mixed media painting “The apple doesn’t fall far from the tree.”” In the original blog post at my Source Artist Discovery blog
“I was not happy when Webb Introduced Bill to Establish Civil War Sesquicentennial Commission but at the same time that I contemplate the political revelations, I ponder the apple as a persistent image with cultural significance. This piece marks precisely, an element in the cultural vocabulary that my work has been exploring with inclusion of feminist art inquiry.” Click here to see additional artwork images of other works with this piece
Warning: The Tower is Haunted
Ghosts of the plantations and overseersloom and creak until
replaced by Research Studios and the vision of Source ArtistsLife
no longer outsourced
Birthed above shark infested watersTamed by the slyness of Red Riding Hood’s Wolfgnashing teeth swallowing greed devours
denyredemptionreform
in transformation
within the alone-ness
growth
Institutional
healing
internal
Rotten to the core
ingesting proves fatal
exposure a hazard deterring
revelation
shared
once burned, twice shy
One love, One world
blooming ideals in a flower garden
should =no fear of poisoned decoys
skull f***k
waiting to render pregnant winged ones flightless
Warning: Keep away from gardens in alabaster towers
Their basement bellies
in screaming silence
conceal bloody pulps
would be-s
ripped from the womb
time after time
blood trails and smudged prints are not definitive evidence of robbery
our abortions are rebranded
Selective Birthing (TM)
sanctioned by Alabaster Towers Inc.
Clipped crimson budspoorly clonedand implanted into suitably branded uteruses birthed by less suspecting
blind
ethereal extremities
who regurgitate
life sustaining after birthinto shark infested waters.
Part Two
Process art
U.S. and Europe, mid-1960s
Process art emphasizes the “process” of making art (rather than any predetermined composition or plan) and the concepts of change and transience….
Their interest in process and the properties of materials as determining factors has precedents in the Abstract Expressionists’ use of unconventional methods such as dripping and staining. In a ground-breaking essay and exhibition in 1968, Morris posited the notion of “anti-form” as a basis for making art works in terms of process and time rather than as static and enduring icons, which he associated with “object-type” art. Morris stressed this new art’s de-emphasis of order through nonrigid materials, pioneered by Claes Oldenburg, and the manipulation of those materials through the processes of gravity, stacking, piling, and hanging.
Source:http://www.guggenheimcollection.org/site/glossary_Process_art.html
Where formal discussions of process art are concerned with "properties of materials" and expanding the understanding of "unconventional methods".
The adaption of Process Art to a context that is possible of engaging larger communities rather than ascribed as a luxury of the few is the objective here.
Taken several steps further <a href="http://comfusion.pbwiki.com/SoulFood">SoulFood</a> as framework for the Source Artist Process-internal. <a href="http://comfusion.pbwiki.com/Attention">Attention</a> has been paid to the survey of the <a href="http://comfusion.pbwiki.com/SoulFood:Ingredient">ingredients</a> .
This is most definitely research into the metaphysics of art applied to real life challenges.
1. Personal growth through art as process
2. Transparent model for the above as part of sustainability and community renewal
3. Research and Development into implementations of open economies as part of the above
4. Helps define intangible assets and economies that can leverage opportunities previously mentioned
5. Concept for works of art that are interconnected expressions of the above
Part One
There are those conversations that for some mysterious reason come at the just the right time to help crystallize an idea or lesson.
Imagine, a 20 year desire takes center stage and I felt compelled to make my mark as an installation artist, rather than confining myself to my previous explorations that rarely ventured beyond the land of canvas or paper. I felt drawn to software and digital art although I knew virtually nothing about the tools of the trade.
Gradually it started to dawn on me that if I announced this intention that I was opening the door to let whoever wanted to pay attention witness my growth process as an artist. When I realized and accepted what I was setting out to do, I had not even learned to use Photoshop. Since then I have made playing with various tools to work out ideas as part of the process art concept…..
Recently I had a conversation that helped me understand you don't let what you don't have stop you from doing what you need to do. If I waited for someone else to see the value in what I have been working on then there would be nothing to communicate it now. I had to start in order to increase the potential for the goal to be realized.
Last week <a href="http://breathfusion.1hwy.com/cgi-bin/blog/view_post/473298">Dawn</a> was discussing fear in her blog. Later as an aside she explained the reason for shining the light to clear them out.
Today I had one of those conversations that allowed me to see more fully the fears I had overcome to pursue Cultural Fusion…and what the phrases, "art as philosophy" and "art with purpose" mean for me.
Tonight I have had a deepening of my experience and understanding of why process art as a core component of the installations I have been developing.
<blockquote>Process artists were involved in issues attendant to the body, random occurrences, improvisation, and the liberating qualities of nontraditional materials such as wax, felt, and latex. Using these, they created eccentric forms in erratic or irregular arrangements produced by actions such as cutting, hanging, and dropping, or organic processes such as growth, condensation, freezing, or decomposition.</blockquote>
Source: <a href="http://www.guggenheimcollection.org/site/glossary_Process_art.html">http://www.guggenheimcollection.org/site/glossary_Process_art.html</a>
What they refer to as random occurrences I see as synchronicity when they advance the work to become part of the process. In this multilateral framework these are points of Source:Convergence.
Where most work has been concerned with growth in context of plants or base perspectives, this one is concerned with growth in consciousness, self awareness and personal fulfillment on the individuals and collective/community levels.
This is an Art:Work under construction. I decided to do it three or four segments that will be brought together in the space. Each segment will be a central part of creating spaces, framing them if you will, inside that larger venue space.
So here is the beginning minus most of the music/sound.
http://sourceartist-ydubel.blogspot.com/2008/09/be…
In addition to the issues of place and affection that sparked this piece for me, it is being shaped by my work in Art as Interface in IT.
One of the striking findings I have had during this development process is the issue of Radical Inclusion in relation to technology.
Yvette Dubel is inspired by the idea of "art as philosophy". She seeks to explore new territory in modern art where it becomes the foundation for interdisciplinary inquiry for public research. Exploring art as part of public infrastructure innovation to meet current, emerging and persistent needs.
