Do it.
Do it for you.
Do it for your own happiness.
Do it so your life has meaning.
Do it so you can be.
“Do it. Do it for you. Do it for your own happiness. Do it so your life has meaning. Do it so you can be.” / SML Philosophy / SML.20121212.PHIL.Life.Do.It
Countless humans I have interfaced with in the past have mentioned to me that they want to do something but they don't because they don't know what other people would think about them when they do it.
In his book “The Seven Habits of Highly Effective People,” author Stephen R. Covey suggests that moving from dependence to independence (i.e. self-mastery) is key to one’s happiness and sanity. In other words, caring about what other people think is a self-destruction act.
The happiness of others is not your concern—especially if you have not yet mastered self-happiness. You are however responsible for your own happiness. Everything that I do, I do it for myself. I don’t do anything because it makes other people happy. I do it because it makes me happy. The same philosophy applies for what I do for work. Work should be 100% fun. Work should be play and play only.
Once you learn to let go and not mind about other people‘s business, you can move on with your life. Opinionated people who “thoughtfully” offer suggestions to others are everywhere. They will continue to “care” about you and proceed to drive you nuts. In these scenarios, I find it best to initiate a dialog with them. Make sure that they understand that what they are suggesting is not helpful. Ask them to stop. Have the ability to “agree to disagree.”
Unfortunately some of these “caring people” will not stop even after prolonged discussions. In my experience, some humans—for reasons which escapes me—simply do not have a logic unit in their CPUs. These types of humans will continue to send negative waves in the form of opinions and comments as “suggestions” about what you do. When these are constantly present and leeching into your sanity, terminate relationships with them right away. If you can't cut them loose then just move as far away as possible.
Eyebeam (http://eyebeam.org) is the leading not-for-profit art and technology center in the United States. Founded in 1996 and incorporated in 1997, Eyebeam was conceived as a non-profit art and technology center dedicated to exposing broad and diverse audiences to new technologies and media arts, while simultaneously establishing and demonstrating new media as a significant genre of cultural production. Since its founding, Eyebeam has supported more than 130 fellowships and residencies for artists and creative technologists.
Eyebeam organizes open studios twice a year, and I had the pleasure to visit one of them by invitation of Matthew Borgatti, a designer + technologist I met on Flickr a few weeks before the opening. Here are some highlights from my collection of photographs and video interviews conducted during the show.
The spokesperson of littleBits, a friend of the artist, talks to See-ming Lee about the sculpture / mixed media painting: a birds eye view of a little over 3 years of violence, strife, and very bright lights rocking Lebanon, remembered and replayed in 45 minutes of proportionally timed light display.
Ayah Bdeir Les Années Lumière 22 x 30 inches Electronics on Canvas produced June 2008 in collaboration with Rouba Khalil
3. Fairytale Fashion
Fairytale Fashion (http://fairytalefashion) is a project created by Diana Eng (LinkedIn / Twitter / dianaeng.com), a fashion designer who works with science and technology. She is the co-founder of the NYC Resistor hacker group, and is popularly known as one of the designers in the Bravo TV series hit Project Runway.
Fairytale Fashion uses technology to create a collection of magical clothing in real life, and share their work in weekly research and development web videos. Here are some video interviews shot during the event:
3.1 Fairytale Fashion: Part 1: Overview (Diana Eng)
Nora Ligorano and Marshall Reese, two artists who have been collaborating on work together for over a decade in New York, chat with me regarding their new collectible sculptures limited-edition series Deadly Sins. The set of snowglobes are available individually, each of which contain one word from the seven deadly sins: Lust, Gluttony, Greed, Sloth, Wrath, Envy, and Pride - and represented by a unique color.
Window Farms (Flickr / windowfarms.org) are vertical, hydroponic, modular, low-energy, high-yield edible window gardens built using low-impact or recycled local materials.
In February 2009, through a residency at Eyebeam, Britta Riley and Rebecca Bray began to build and test the first Window Farms prototype. Growing food inside NY apartments is a challenge, but within reach. The foundational knowledge base is emerging through working with agricultural, architectural and other specialists, collecting sensor data, and reinterpreting hydroponics research conducted by NASA scientists and marijuana farmers. They have been researching and developing hydroponic designs that are inexpensive and made from relatively inexpensive materials. The working prototype is a drip system made from recycled water bottles, holding 25 plants. Beans, tomatoes, cucumbers, arugula, basil, lettuce and kale are thriving.
I had to pleasure of talking to Maya Nayak, who explained to me how it works:
When I first saw her paintings I had originally thought that she had a graphic design background because of their calligraphic and typographic nature, but it turns out that she was educated in the UK at Loughborough College in 3D Design with a concentration in Jewelry and Silversmithing. Here's a short video interview where she talks about herself and her work:
http://www.choichun.com/artist.html
Choichun Leung left Wales when she was seventeen to pursue a degree in metal-smithing at Loughborough college of Art and Design in the UK, afterwhich she studied Buddhist iconography in both Beijing and the Yangkung caves in China's Shanxi province. In 1988 she moved to London where she studied under the Ray Man Chinese Orchestra as a percussionist and a student of the Gu-qin - a traditional Chinese bass zither. Leung worked in Hong Kong as a background artist for animation film before returning to London in 1992 where she received a grant and Gold Award from the Prince of Wales' Youth Business Trust for the most innovative new business of the year: a line of symbolic art products using the traditional technique of Chinese paper cutting. With music and the arts always hand in hand, Leung came to New York in 1994 where she began painting seriously, worked as an assistant to artist Peter Max, and studied music composition. From that point forward, Choichun's artwork has been inextricably entwined with her interest in music and have continued to influence each other. As the single mother of a young daughter, Choichun moved to Germany in 2002 to write music, perform and collaborate on an audio/visual project based in Koln. Upon the invitation of a gallery in 2006 she returned to New York. Most recently Choichun has been featured in two solo exhibitions at JLA Baxter House in Manhattan and will take part in a group showing in Hamburg in November 2008. Choichun currently lives in Brooklyn, NYC.
Artist Statement
http://www.choichun.com/artiststatement.html Our lives are as long as we remember. Our memories are imbedded in us like DNA. But what of lives that through trauma or age have lost memory? What of the interplay of conscious thought and the sub-conscious? Which one really drives the show? My paintings are like rorschach tests in reverse, a psychological diary of that moment in time, an investigation of the relationship between past and present, reality and illusion and in effect a blue print to the past self. Through the symbolisms revealed, and the stories or objects we project into the abstract, we expose another layer of ourselves and in turn provide clues to what may not be fully aware. My paintings are simple traces of that activity, void of any meaning, but imbedded with the years of experience that shapes us, yet also holds us hostage.
Choichun never paints from sketches but instead allows the process and medium dictate. Each application is an expressive gesture evoking the emotion and inner psychology of that moment, a conflicted excavation of what may be hidden or imagined. The script like lines emerge as a non-cognitive language or what she has come to identify as 'glyphs' - a pictographic personal alphabet; where 'glyphs' document the days, weeks and months spent on a piece. The one actual reference that Choichun can identify in her work after the fact springs from her background in music and her fascination with its chaotic notes and interpretive patterns. These can be seen in the work's fine, rhythmic and frenetic lines as well as in the heavier, poured-on, black & white 'mono-glyphs' which overtake the paintings like visual representations of a sound. Choichun paints on both wood panels and canvas, using liquid acrylic, aerosol, oil bars and thread . With sticks, brushes, trowels and vessels: applying the paint and then scratching through the layers to reveal what is underneath, scripting with ‘glyphs’ throughout, painting over, sanding down and repeating this process until an image is revealed or another is hidden.
1. Process + Methodology. Dean Russo chats with See-ming Lee (SML) and Mac Farr (MMF) about the process and methodology in creating his mixed media paintings. The artist also mentioned interesting aspects of how the economy fundamentally changes the way he works.
4. Artist Toolbox. Touring Dean Russo's artist studio was an interesting experience, as I haven't really met any pop artists in person before. Here we find many interesting tools not commonly found in an artist toolbox: stencils, spray paints, etc. It's quite a wonder to see, but there are also the familiar tools like color pencils and pastels.
5. Process. Most people like to see the end result, but I prefer seeing the process. I believe that process is an important part, without it you cannot have the result. During our interview, Dean told me about his entire process in creating his mixed media paintings, as long as I don't record it nor write it down. As such, I cannot really write about it either but all I can say is that I find it very interesting — that an artist workflow is not far from that from designers (my primary profession).
6. Dean Russo's mixed media paintings include many iconic public figures, but interestingly also many cats and dogs — many of which are commissioned work. You can purchase his paintings at his Etsy site. Most items are priced around $69 depending on their sizes, which is quite a bargain for original artwork — it's not uncommon to find fine art prints asking for more than that these days so 1/1 editions at that price is a great deal!
Olek was born Agata Oleksiak in Poland and graduated from Adam Mickiewicz University in Poland with a degree in cultural studies. In New York, she rediscovered her ability to crochet and since then she has started her crocheted journey/madness.
Here's my video interview with her the day we first met:
"I think crochet, the way I create it, is a metaphor for the complexity and interconnectedness of our body and its systems and psychology. The connections are stronger as one fabric as opposed to separate strands, but, if you cut one, the whole thing will fall apart.
Relationships are complex and greatly vary situation to situation. They are developmental journeys of growth, and transformation. Time passes, great distances are surpassed and the fabric which individuals are composed of compiles and unravels simultaneously."
Olek's work has been presented in galleries from Brooklyn to Istanbul to Venice and Brazil, featured in "The New York Times", "Fiberarts Magazine", "The Village Voice", and "Washington Post" and drags a tail of dance performance sets and costumes too numerous to mention.
Olek received the Ruth Mellon Award for Sculpture, was selected for 2005 residency program at Sculpture Space, 2009 residency in Instituto Sacatar in Brazil, and is a winner of apex art gallery commercial competition. Olek was an artist in an independent collective exhibition, "Waterways," during the 49th Venice Biennale. She was also a featured artist in "Two Continents Beyond," at the 9th International Istanbul Biennale.
Olek herself however can be found in her Greenpoint studio with a bottle of spiced Polish vodka and a hand rolled cigarette aggressively re-weaving the world as she sees.
Also showing at Smack Mellon right now is the series titled The End of the Trail by Fernando Souto. I thought taht it would be odd to photograph someone else's photographs so I decided to do a video of the opening reception instead — you can call this the art + art lovers remix!
“My parents emigrated from Uruguay to Australia when I was eighteen months old. With my extended family still in Uruguay, I never had the opportunity to really know my relatives, particularly my grandmother, who always seemed to be really old to me. The brief, scrambled, international phone calls throughout my childhood did little for me to understand who I was and where I had come from.
In 2002, my grandmother turned one hundred years old and I got a brief opportunity to spend some time with her. Looking at family photographs and listening to the stories of her childhood inspired me to start this photographic project titled, The End of the Trail. During my stay in Uruguay, I set out to photograph the essence of her stories and to gain a greater understanding of my heritage. My thoughts of ranch life were mostly filled with romantic ideals of freedom and independence. I had no concept of the harsh environment that the ranchers lived and worked in, and how the intense solitude defines them. At that moment, I decided to immerse myself in their day-to-day lives, pulling from these experiences to create a unique perspective of their fading culture.
From my initial trip to Uruguay in 2002, my interest in this project evolved, and I decided to expand into other countries where ranching had a significant presence in the culture and traditional working techniques still existed. Through extensive research I decided upon seven countries that had adapted the original working techniques of the Spanish Conquistadors and established a ranching heritage that spanned centuries. Those countries include Spain, Mexico, the United States, Argentina, Uruguay, Brazil and Australia.
To date, I have covered cattle ranches in central Australia, Uruguay, Montana, Nevada and Wyoming. My plan is to complete this photographic series, which would include south Australia, Argentina, Brazil, Spain, Mexico and two additional regions in the United States. I had never intended for this documentary to be a weightless visual record, but an enduring photographic series that is told on the faces of the people that live and work in this unique global culture.”
Fernando Souto currently lives and works in Brooklyn, New York. Born in Montevideo, Uruguay in1972, Souto immigrated with his family to Sydney, Australia in 1974. Before studying photography at The Fashion Institute of Technology in 1994, he apprenticed with a Sydney-based photographer specializing in black & white printing. Originally planning on becoming a commercial photographer, he pursued assisting work with location-based portrait photographers throughout the late nineties. In 2002 Souto began his long-term project titled The End of the Trail, a humanistic story of the contemporary cowboy that spans seven countries. This series is shot on film and printed using traditional black and white gelatin papers. In 2008 Souto was chosen to attend the Review Santa Fe and exhibited his work at the Michael Mazzeo Gallery (NYC). Recently Souto was granted an emerging artists award from Photo District News for his work on The End of the Trail.
Next we went to Smack Mellon for the artists' reception for two solo exhibitions. The first is Ellen Driscoll's installation FASTFORWARDFOSSIL: Part 2.
1. Installation
Composed of thousands of discarded plastic bottles collected by Ellen Driscoll, FASTFORWARDFOSSIL: Part 2 takes a critical look at the environmental and human damage inflicted by the oil and water industries in the last two centuries on regions as diverse as Nigeria and the United States.
Artist Statement. “This installation is a continuation of a multi-year series which explores the dynamics of resource harvesting and consumption. This part of the series focuses on oil and water. Rising at 5:30 AM, I harvest #2 plastic bottles from the recycling bags put out for collection on the streets of Brooklyn. For one hour, one day at a time, I immerse myself in the tidal wave of plastic that engulfs us by collecting as many bottles as I can carry. The sculptural installation for Smack Mellon comprises 2600 bottles transformed into a 28 foot landscape. Constructed solely of harvested #2 plastic, the sculpture collapses three centuries into a ghostly translucent visual fugue in which a nineteenth century trestle bridge plays host to an eighteenth century water-powered mill which spills a twenty-first century flood from its structure. The flow contains North American, Middle Eastern, and African landmasses (sites of oil harvesting and their consumer destination) buoyed by a sea of plastic water molecules. The piece looks back to eighteenth century American industry powered by water, and forward to the oil refineries of the Niger Delta, site of prolonged guerilla warfare against oil corporations and the source of over fifty percent of crude oil for the United States—the oil that produces the plastic within which our privatized water is currently bought and sold.”
This installation is so gigantic that it was hard to photograph and examine the detail at the same time, so I created a video fly-through so you can experience the piece to approximate my own experience with the piece:
Artist Statement. “The wall drawings in the exhibition are based on a close study of the inner workings of an oil refinery. By using huge shifts of scale between the macro and the micro, they depict a dystopic future based on rampant oil consumption. An oil rig shares the horizon with ocean fires and garbage scows, mega shopping malls are abandoned to spontaneous communities of slums, and a refugee camp is inundated by the waters of a melting glacier. The worlds in the drawings are drained of color, but filled with the flux and spillage of a potentially chaotic future.”
Ellen Driscoll is a sculptor whose work includes FASTFORWARDFOSSIL: Part 1 at Frederieke Taylor Gallery, Revenant and Phantom Limb for Nippon Ginko, Hiroshima, Japan, The Loophole of Retreat at the Whitney Museum, Phillip Morris, As Above, So Below for Grand Central Terminal (a suite of 20 mosaic and glass images for the tunnels at 45th, 47th, and 48th Streets), Catching the Drift, a restroom for the Smith College Museum of Art, and Wingspun for the International Arrivals Terminal at Raleigh-Durham airport. Ms. Driscoll has been awarded fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Bunting Institute at Harvard University, the New York Foundation for the Arts, the Massachusetts Council on the Arts, the LEF Foundation, and Anonymous Was a Woman. Her work is included in major public and private collections including the Metropolitan Museum of Art and the Whitney Museum of Art. She is a Professor of Sculpture at Rhode Island School of Design.
I met J. F. Bautista (BAP) towards the end of my tour of the Brooklyn Art Project headquarter.
Three of his paintings from the series Mutant Organic Architecture were seen at the office (the three black and white paintings on the left):
So what are they?
Artist description: this project is about the absolute mutation of our metropolis, reversing the process of evolution and turning things inside out. The end result is the unfolding of fantastic new architecture, and it draws whomever into the depths of a gigantic, dark, strange and absurd morphed grimy variegated skeletal, organic living reptilian defined as Organic Mutant Architecture or New York Modern in reverse.
Or if you prefer plain English like I do, here's a video of the artist talking about his own work:
J. F. Baustista is an architect by profession and he works with his paintings in his free time. His art and architecture portfolio can be seen at his web site at jfbart.com.
1. James carries a Moleskine with him and does quick ink drawings on the notebooks as he rides the subway. He applies watercolors to them afterwards. This mixed media painting titled si ves algo II, was created based on his Moleskine sketches.
2. Subway Moleskine Sketches
3. More Moleskine sketches
4. Tools matter. James' weapon of choice for his Moleskine sketches: the Rotring rapidograph, for its ability to draw very fine lines as well as its archival quality.
5. Moleskine lovers rejoice!
6. Mixed Media Painting: ContinentalDivide lr by James Cospito. 3,500 USD. Available for purchase at artist's website.
7. Artist Toolbox: lots and lots of clamps!
8. Artist Toolbox: wild array of paintbrushes.
9. Still Life Drawing (Detail).
10. Still Life Drawing (Detail). I thought that the blue marks are interesting bit. I didn't know that it was James' work when I photographed these originally so I did not inquire as to their function, but they add an interesting accent to the piece:
