French Oulipian Georges Perec’s I Remember (Godine 2014) is the first book I’ve read in 2015, and an interesting companion to my end-of-year musings.
French Oulipian Georges Perec’s I Remember (Godine 2014) is the first book I’ve read in 2015, and an interesting companion to my end-of-year musings.
“I was an athlete growing up, and many people don’t associate athletics with art, but I found athletics to be a very visceral and emotional world that in many ways informed my art later on. There’s a certain intuition an athlete has and this intuition is invaluable to my creative process. Of course there’s a team in many sports and I always was drawn to more solitary endeavors, so naturally I was drawn to writing and art.”
An Interview with Jordan Sullivan Read More »
“I was an athlete growing up, and many people don’t associate athletics with art, but I found athletics to be a very visceral and emotional world that in many ways informed my art later on. There’s a certain intuition an athlete has and this intuition is invaluable to my creative process. Of course there’s a team in many sports and I always was drawn to more solitary endeavors, so naturally I was drawn to writing and art.”
A look at a still life painting and a haiku at the beginning of another year.
Still Life With Movement Read More »
A look at a still life painting and a haiku at the beginning of another year.
Duke intertwines lives to remind us that the multi-sensory experience can be a terribly beautiful and disastrous experience. His constructs are reflective illusions where spaces are about the body’s existence in the world, the body’s activity in the world. It is important that these are worlds that have been lived in so that pondering them we don’t feel external to them. He organizes and gives structure to different grounds through which he is positioning us. When these grounds intersect a vortex blossoms. The amplification denotes specific, important changes that occur in the physical process of creation where, in the exaggeration, lies deep significance.
Benjamin Duke: A River Without Banks Read More »
Duke intertwines lives to remind us that the multi-sensory experience can be a terribly beautiful and disastrous experience. His constructs are reflective illusions where spaces are about the body’s existence in the world, the body’s activity in the world. It is important that these are worlds that have been lived in so that pondering them we don’t feel external to them. He organizes and gives structure to different grounds through which he is positioning us. When these grounds intersect a vortex blossoms. The amplification denotes specific, important changes that occur in the physical process of creation where, in the exaggeration, lies deep significance.
* Lillian Li *
After my grandmother died, my mother was given all of her possessions. There was a lifetime of sentimental trinkets, of furniture that had never gone a day without its dust-protecting plastic jacket, and of strange redundancies. My grandmother left her with four refrigerators, three televisions, and twelve swatches of fox fur. My mother complained to a friend that she had no idea what to give up, what to throw away, what to burn. There was no talk of keeping.
* Lillian Li *
After my grandmother died, my mother was given all of her possessions. There was a lifetime of sentimental trinkets, of furniture that had never gone a day without its dust-protecting plastic jacket, and of strange redundancies. My grandmother left her with four refrigerators, three televisions, and twelve swatches of fox fur. My mother complained to a friend that she had no idea what to give up, what to throw away, what to burn. There was no talk of keeping.
