These pieces from the “Dust Works” series are the residue from one step in the process of making the “Penitentiary Tattoo Gun” series. To make the casing for the needle of the machine, the tip of a ballpoint pen must be scratched out. Through this tedious process, inked rock dust is produced. These works become an artifact of the build up of time this takes and the meditative quality of this process.
I’ve been meaning to put together a nice post of the clear ideas I’ve been developing here at FAAP. The truth is that it’s been a bit of a time of catch-up for me. I’ve been thinking that it might be a good idea to add a dimension of theory to what I do and to the project that this blog chronicles. So I dove into some essential reading: Benjamin’s “Art in the Age of Mechanical Reproduction”, Krauss’s “Sculpture in the Expanded Field”, and am now onto Danto’s “The Transfiguration of the Commonplace”. Trying to understand what, if anything, these seminal essays have to say about my practice. I’ve been thinking about what Benjamin calls the “aura” of the non-mechanically reproduced work of art. Is it ever possible to give or return the photograph/film/etc its aura?
Also on my mind is Samuel Beckett‘s articulation of the impossibility of communication…
To be continued, of course.
I’ve now begun an artist residency at FAAP, also located in São Paulo. Here, T-Roe and I are working on a series of prints involving various intaglio and silk screening process, “dust drawings” made from the process of scratching the ball out of ink pens used for the “Penitentiary Tattoo Guns” series, and continuing with our letter-written correspondence. Though, now, that translates into T-Roe mailing a letter intended for me to our Mom in Louisiana, who types the letter into an email that she sends to me. I email (from Brazil) a response to T-roe’s letter back to Mom, who prints it out and mails it to T-Roe. This is how we are coping with international mailing. We go around it. It’s much faster this way.