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I have been in the studio again helping build brand legacy for Amundson

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Now that time allows and other obligations have allowed things to lay a little fallow I thought to reconsider Ex Machina | foto

Suffice for the moment to say that such considerings are in progress and will eventually find their way into a renewed sensibility…

Below are examples of the more commercial approach in which I was trained and will be the focus of subsequent submissions to my site.

reelAsm

squashreduxAGED

Pulled together family resources and expertise to get the boy outfitted for his Halloween parties at school. Grandmother sewing the jacket, mother insisting on finishing details (apropos of Two Face; Harvey Dent button, loose tie, and two-headed coin), and I spent an hour doing his make-up…

And thus we give you…

TWO FACE

Fun was had by all…

Mykiss
The sun reflected in the eye of Mykiss is a truth, neither rising nor setting; neither for you nor I…it is a truth whose unfolding is barred not by the delicate transparent membrane of its’ eye…it is there to see, but understanding it is to already have passed the limen between what is and what is not…

Had Andrew, a real estate agent with Judy Marsales, at the studio for some promotional shots. We established that not all the photos would be vetted by his office, but might serve his own professional website. Having bought and sold four homes over the last ten years, and not having had a positive experience with all realtors (used car and vacuum salesmen as far as I can tell) I felt that striving for a more “open” persona would serve him best. A simply lit clean headshot (dispensing with the typical portrait lighting package) provides for an un-remediated directness that, seems to me, would be received well by prospective clients. I asked for a black (or darker) jacket and a crisp white shirt sans tie. Just enough…classic…

 

I wanted to communicate that the process need not seem so fraught, opaque, and confusing, and, furthermore, that Andrew could be trusted to walk them through the process…piece by piece building the offer or the listing…helping you get those damned ducks in a row…

RE-ENTRY

The motif was taken from my last exhibition at Christopher Cutts Gallery titled Re-tracings whose original sketch (when I was about four years old) accompanied a letter from my grandparents writing to apprise my parents about how I was acclimating to my new home in the Netherlands.


I just completed what amounts to the first serious reconsideration of my art practice that, dormant for some eight years or so, serves as a re-entry logically clad in heat deflecting metal. This “nomadic vehicle” is so named as the signifier of the resulting dislocations (physical and temporal) of one’s uncertain relationship with a world and identity. One’s transit begins from an equally uncertain place and is always in the process of arrival.

For the past eight years or so I have found it impossible to make any substantive inroads regarding my artistic practice, nor, it should be said, enjoyed prolonged periods of rigorous and in-depth conceptual analysis my work demands. (This period, it should be noted, was nonetheless filled with wonders and learning no art practice could compete with–that is, the inspiration those years yielded as primary care giver to he whom you watched come into this world.)

It wasn’t until I was actively engaged in the fabrication of Nomadic Vehicle that I became acutely aware of a certain porosity of the limen between making and thinking. That is to say–finally–a liberation of thinking in the face of what had alarmingly seemed a pervasive ossification of my practice (both materially and conceptually). Serendipitously, she who brought me the gift of my eight year hiatus, has been (also finally) working on her Ph.D. dissertation whose subject, it could be said works through the idea of what a “practice” is and does. An odd and timely parallelism because what had come to light, while involved in the fabrication of Nomad (the repetitive mechanics and material manipulations), was a more nimble thought process that lead, ultimately, to a “resolution” of what, until now had been a more nebulous project. To come then is an exhibition of a suite of drawings/paintings (not at all resembling the image above) whose conceptual aporia has been more or less resolved. The initial drawings, begun some fourteen years ago, have found a conceptual focus where these vehicles can now truly take flight. Coming soon….

Art and related HEAD MATTER section of the site is taking shape. Hoping to add a selection of my theoretical writings for those who desire some brain candy. It will also provide one with some idea as to what drives my work from Troping the Text to Storyteller and current projects.

Well I am close to completing a reconstruction of the website–I trust it will be more user friendly. Looking forward to your input, kudos, barbs, and anything else.

 

 Apropos of Frogwater and the earlier post titled What We Know.

My assertion therein regards an embattled elite (the expert and adept) often maligned by an absurd politics of “equality” and “identity” and celebrated by unimaginative, populist thinking. My continued meditation on this topic was recently punctuated by a brief visit I enjoyed with Robb Marquette (one of our marquee float reel fabricators—designer of the much vaunted Frogwater reel).

Robb had extended a generous invitation in response to my interest in his work. Robb is well known to the float fishing community as one of the preeminent machinist/designers (Ron Gardiner and Adam Demarco round out this triumvirate) fabricating custom float reels. The float reel or centerpin as it is often called, is a fishing reel specifically designed for a technique proper to the slower water of European river systems. The design is not mystifying—not some black-box technology—rather it is simply a machined disk in whose center is affixed a stainless steel axle on which the spool is mounted holding the fishing line—it looks something like a fly reel without a drag system to the uninitiated.

After what seemed an interminable drive to Southwest Ontario and equally (if not more) vexing backtracking around the hamlet of St. Mary’s, I finally arrived—via an old-world, tree-lined country road—at an enchanting family homestead. It’s an idyllic setting such as often depicted in 17th C. Dutch landscape painting. I’m greeted almost immediately as I step from the vehicle by Robb who offers an amiable smile and generous handshake. We step into what would otherwise have been his garage. Now a general shop, 1/3 of its space (no more than 120 sq. ft.) is filled to overflowing with all manner of drill presses, lathes, and fabricating machinery—it’s a veritable alchemist’s shop for spinning aluminum into “gold.”

Over coffee Robb shares with me a brief history of the trials and success of his River Keeper Reels—we talk tolerances of mere thousands of an inch, design, function, anodizing, other reel designers he esteems, the market, and general fishing culture and mayhem. We sit among numerous, jewel-like, reel components (including his unparalleled, really COOL clicker design) in various stages of finish that will be assembled to become the exceptional Frogwater Reel.

Not unlike the wheel or the mousetrap the principles of physics that inhere in the float reel are irreducible; that is, nothing can be added or taken away to enhance what it does or how it performs. Robb would tell you the same thing, “not rocket science—a pin and a spool.” Robb, like those who truly excel in their craft or discipline is generous and deferential, downplaying any reverence he receives for his efforts. I have known scholars of this sentiment also, those who are never stingy or selfish with information, insight, and guidance.

So what sets these reels apart from others brings me to the question of how to design a better spool on a pin? It is ultimately the discerning and well-seasoned eye of the adept, engineer, artist, or designer who finally conjures what minutiae can be re-tooled to attain perfection and beauty. I want to dispense with the proscriptive deference of the Persian Flaw (the inclusion of an error so as not to seem arrogant and vie with the perfection of god’s own work) and elevate to the same lofty status, the perfection wrought by their expertise. Why should we not celebrate the triumph of the exquisite craftsmanship and engineering of their “intelligent design?” It is essential that the term elitist be reclaimed to once again assume the place proper to describing those few who reside in the pantheon of great makers and artists (not just athletes); that such terms as objectivity, knowledge, the master painter, the expert, among others, not be allowed to be maligned by the propitious and fatuous few in this culture who can only abide bologna.

Here are a quick couple of research photos, one of Robb (maker of Frogwater Reels), and his “museum” of earlier efforts.

Of late, I have been re-tooling the EX MACHINA | foto website. Your patience is appreciated and hope the final results will be well received. Simple, clean, and slick.

My days of hard riding have long since passed (perhaps)…had occasion to take in the Paris-to-Ancaster Race yesterday, a race marked by muddy mayhem. Truthfully made for some nostalgic reflection and may prompt a reconsideration of re-mounting the bike. Some nice pics of suffering on the final climb to be had via the P2A website.

I am currently looking for male models for an exhibition of photographs at the gallery that represents me in Toronto (Chrisptopher Cutts). I have no preference by way of race or ethnicity but you must be relatively fit. Send me a photo of yourself to establish suitability–thanks.

There is someone who is plying the high seas (in international waters) on his private research yacht. He dredges the deep sea for heretofore unknown (or little known) organisms from which he harvests DNA for “scientific” study–then recombining them for the formation of hybrids…

I need to see quality, serious inquiry, commitment, the work of the adept–the work that is, of the expert, of the master, and (the) author (terms so maligned by the fatuous criticism of the last decades)…

What it’s all for is rarely summed up adequately…