Here is a short little bit about what I've been up to in the studio. Enjoy!
Notes from the Now 3/26/20 to 4/18/20 - Unknown Between the Poles
Given the surreal circumstances of life on planet earth right now I have decided to begin a dedicated practice of journaling my experience and thoughts here. I have Brian Eno in my head as I type these word while sitting at the kitchen table of Cloud Tree, the gem of an arts space I currently work from and truth be told spend most my nights at crashed in my office during this time of sheltering in place. I own an old house close by I am slowly working on and will reside in some day fate willing. The truth is I’m quite comfortable in this old quonset hut with an amazing little creature by my side, Louie the 9 pound chihuahua dachshund. There seems to be no ceiling on my love for the little guy and he is well spring of gratitude and love for me. If you live alone, during what some days feels like the end times, having a roommate with a fur covered face is something I highly recommend.
The thing that keeps coming up for me that I don’t hear to many people talking about explicitly and what is probably causing the most pain on all levels is simply the unknown. I’ve heard it said many times recently that most people can handle bad news but what really drives deep anxiety is not knowing. From the clean butt hole scare of toilet paper hoarding to the stock market’s quakey sea legs to my own visions of dying alone in my office (j/k louie will be with me) as my lungs fill with bothersome fluid, all of the above has the same fuel driving the engine of fear and that is simply we have no clue what will transpire. Not today, not tomorrow and certainly not deeper into the mists of the oncoming fog that is the future. Can we make educated guesses based on past experience and unfolding data? sure. Is a sense of some control moving forward important to the project? Absolutely.
I’ve heard different ideas and projections from people, some which have given me a sense of hope, if just for a day or two. But then when I reflect on the magnitude of the tech tonic shift we are experiencing, the scale of which no one alive now (or ever really) has any experience with, the calm assertions of well supported people ring (potentially?) false in the face of it all, as days pass and more is revealed. Again, so much unknown and so much troubling doubt.
I did work in a group therapy in the early aughts that was very empowering to me in that I picked up a lot of tools that remain in my personal growth tool box to this very day. One concept that came out of that work was called working on the edge of the unknown. The group facilitator used to remind us that as we move forward through our lives, the leading edge of reality unfolding before us is the only true state of play. Despite our best efforts to predict the future, negatively or positively, all humans, all the time, are moving forward into new revelations second by second, minute by minute, hour by hour, day by day until we hit the inevitability of death. The prediction, control and denial that ensues between the only two certainties of birth and death provide an amazing play that has had an incredible run at the theatre of sound and furry, with The Great Patron and an observant few enjoying the show.
She should have died hereafter;
There would have been a time for such a word.
— To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life is but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing.
— Macbeth (Act 5, Scene 5, lines 17-28)
from march
where did you go ?
into the depths of self
under your little surface
plumb the murkiness
below the frenzied white caps
hold your metal breathe
though you risk drowning
it is done and gravity pulls
your submission into the cold ocean
with a little grace and patient blue eyes
you’ll end up in the belly of a passing whale
where you will find some respite
and time to breathe
and write a book that has an answer.
Ground Light Sound
Ground Light Sound is a collaborative project exploring the work of six different Austin artists via one-on-one collaborations with Brian David Johnson and in doing so, provide a deep and wide-ranging experience of artistic practice for a large public audience.
The six collaborators work in the the fields of ceramics, lighting and sound while Johnson's primary mediums are wood and resin. The ceramic artists are Ryan McKerley and Alejandra Almuelle, the lighting includes Mark Figueredo and Adele Hauser, and Chris Cogburn and Lisa Cameron will bring in sound and experimental music.
The specific program of the project involves Johnson having individual works sessions with each of the 6 invited artists. During these sessions Johnson in tandem with each artist will deeply explore each others' process, tooling, medium and creative output. A collaborative piece informed by these work sessions will be made by each artist with Johnson, whether sculptural, functional or performative in nature. After or during the collaborative work the six artists, as well as Johnson, will each create a solo piece inspired by the collaborative work and exploration done together. The individual works will illuminate the influence and inspiration unearthed by the project itself. Utilizing these disparate mediums, Ground Light Sound will produce 18 distinct pieces - 6 collaborative works and 12 independent works.
The Ground Light Sound opening will be September 28th at 7pm at Cloud Tree Studios and Gallery (3411 E 5th St, Austin, TX 78702). The show runs through October 14th during regular studio hours and by appointment.
This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department.
GROUND
Ryan McKerley is a studio potter living in East Austin. He spends his time making porcelain vessels, running the ceramics studio at the Dougherty Arts Center, teaching at Eastside Memorial High School, organizing the Annual Art of the Pot Studio Tour and collaborating on Make.Eat.Drink, a fundraising dinner for Big Medium and the East Austin Studio Tour. Ryan exhibits his work nationally and has recently given workshops at University of Arkansas Fayetteville and the Hamilton, Ontario Potters Guild.
See more of his work.
Alejandra Almuelle was born in Arequipa, Peru. She spent a few years in Pizac in the Sacred Valley of Cuzco, a center for ceramic making. Peru is a country in which the abundance of clay has made this medium a language of artistic expression. Clay is its own idiom, and being there, she began to speak it. After she moved to Austin, she started working with clay. Addressing the functionality of the medium as well as its sculptural expression has been equally important for her. She has participated in art fairs, shows, galleries and museums with both pottery and sculpture.
More work can be seen here.
LIGHT
Mark Figueredo is a designer and maker creating finely crafted lighting, furniture, artworks.
To view a list of showrooms carrying Mark’s work, please visit his website.
Adele Hauser is a mixed media artist based in Austin, Texas. Her work intertwines portraiture and quilt-making, combining fabric collage with drawing and painting. Rarely leaving a private setting, her work is tied closely with home life. She received her BFA from the University of Texas Austin.
View her works from her solo exhibition at the Union of Contemporary Art.
SOUND
Chris Cogburn is a percussionist who works mainly in the field of improvised music. Current practices focus on the threshold between acoustic and electronic sounds, their differing timbral qualities, and their sites of resonance. Since 2003, Cogburn has organized the annual No Idea Festival. Based in Austin, Texas, No Idea events have also been held in San Antonio, Houston, Marfa, Fort Worth, Dallas, New Orleans, Mexico City and Merida, Yucatán and have featured artists from around the world.
Read more about No Idea Festival.
Lisa Cameron played drums professionally with the band Brave Combo in Denton from 1977 until she moved to Austin in 1981. She went on to play with Roky Erickson, the Lotions, Glass Eye , Squat Thrust, Three Day Stubble, Daniel Johnston, Moist Fist, JSAS (Jherri Siggenfeld's Atrophied Sac), ST 37, and numerous others throughout the Eighties and Nineties. She has been working additionally with experimental music since the late 70’s.
Listen to my latest podcast featuring an in depth dialogue with Lisa here.