Last night, Min had asked me to type out an artist piece for his performance-artist gal in NYC.
Here's what I typed in like an hour or so:
Each to each a looking glass/
Reflects the other that doth pass.
-- Charles Holton Cooley
There is no being without an Other to reflect who one is; male to female; indefinite to definite; bold to subtle. These descriptors--entities in and of themselves--are neither static nor fluid with one beginning and a separate end; rather there is a constant push and pull, which redefines their social composition in a state of flux that lacks a specific center. Which grain of sand is the foundation of a beach? Which droplet responsible for the transition between a storm and drizzle? Which smile sincere, when roles are proscribed and modeled in a digitalized web of repetition? How could one know any of these for certain?
My work is a reification manifested through the reflexive exploration of myself and my role within society. This transgression surpasses the typical roles of an actor, an audience, a mirror. It redefines the dynamics and limitations of social norms and mores by subverting the sanctity of familiar, routine acts outside the scope of their traditional settings. The effects have elicited myriad emotional reactions, which in turn reflects the viewers self-awareness at unfamiliar juxtapositions of space, setting, behaviors, and interaction.
The documentation of these responses are conscious processes which facilitate unconscious self-exploration, growth, and transformation. My body is its conduit. It becomes a vehicle and a safe-haven to travel unexplored, masked, and forbidden alternatives to the everyday categorizations, as contrived as they are ephemeral.
Use of security and cell phone cameras with strong pixilation documents the abstract nature of our shared environment tangibly. Those snippets of time, collected are the objects that have become abstracted and two-dimensional; finite. They are documents, images, timed, sliced into scenes, edited, fast-forwarded, rewound, slow motioned, and replayed; recorded. Yet, burgeoning throughout its static being, there is potential being relived with each new viewing. While viewing, no one can be certain of which subjectivity has greater import; the agents, the audiences, or ones own. Which grain of sand? Which droplet or smile?
Now the irony is that, he said it's really great, like he loved it, but it should almost be written for high-schoolers.
Oh well! 
I sure did get to write! WHOOO HOOOOOO!
Here's what I typed in like an hour or so:
Each to each a looking glass/
Reflects the other that doth pass.
-- Charles Holton Cooley
There is no being without an Other to reflect who one is; male to female; indefinite to definite; bold to subtle. These descriptors--entities in and of themselves--are neither static nor fluid with one beginning and a separate end; rather there is a constant push and pull, which redefines their social composition in a state of flux that lacks a specific center. Which grain of sand is the foundation of a beach? Which droplet responsible for the transition between a storm and drizzle? Which smile sincere, when roles are proscribed and modeled in a digitalized web of repetition? How could one know any of these for certain?
My work is a reification manifested through the reflexive exploration of myself and my role within society. This transgression surpasses the typical roles of an actor, an audience, a mirror. It redefines the dynamics and limitations of social norms and mores by subverting the sanctity of familiar, routine acts outside the scope of their traditional settings. The effects have elicited myriad emotional reactions, which in turn reflects the viewers self-awareness at unfamiliar juxtapositions of space, setting, behaviors, and interaction.
The documentation of these responses are conscious processes which facilitate unconscious self-exploration, growth, and transformation. My body is its conduit. It becomes a vehicle and a safe-haven to travel unexplored, masked, and forbidden alternatives to the everyday categorizations, as contrived as they are ephemeral.
Use of security and cell phone cameras with strong pixilation documents the abstract nature of our shared environment tangibly. Those snippets of time, collected are the objects that have become abstracted and two-dimensional; finite. They are documents, images, timed, sliced into scenes, edited, fast-forwarded, rewound, slow motioned, and replayed; recorded. Yet, burgeoning throughout its static being, there is potential being relived with each new viewing. While viewing, no one can be certain of which subjectivity has greater import; the agents, the audiences, or ones own. Which grain of sand? Which droplet or smile?
Now the irony is that, he said it's really great, like he loved it, but it should almost be written for high-schoolers.
Oh well! I sure did get to write! WHOOO HOOOOOO!
variety:
That's an interesting view. In the mood that i'm in, that's not a refreshing view, but an interesting one just the same.