Played 435 times.
'cause they say home is where the heart is set in stone
is where you go when you’re alone
is where you go to rest your bones
it’s not just where you lay your head
it’s not just where you make your bed
as long as we’re together, does it matter where we go?
home // gabrielle aplin
Lick the Star (Sophia Coppola, 1998)
I had the opportunity to attend the SGC international conference earlier this semester, from March 26th to 29th. The conference was hosted on the west coast, in the San Francisco Bay area. The organization has existed for 42 years, and yet this was the first time it has ever been hosted on the west coast. Because it has always been hosted on the east coast, many of the people attending the conference had traveled all the way across the country to be there. The title of the conference was Bridges: Spanning Tradition, Innovation, and Activism. All the key events, demonstrations, exhibitions, an programs followed this general theme. On the website the intent of the conference was stated: “Bridges will investigate the intersections between traditional and emerging technologies and how these tools are vehicles for creating meaningful and critical discourse around contemporary issues.”
I learned a lot about the printmaking community at the SGC International conference and was able to view diverse working methodologies. My favorite was the book art. There was such a wide assortment of small little books made out of the most creative things. One book was spun around a spool that once held thread. The most unconventional recycled items were used. An example of this is a book that was made out of plastic measuring bags which were sew together, filled with pages, and marked on. I also loved the sound/lithography process in which a page from my sketchbook was translated into sound while it was transferred into a physical print. I was able to keep several prints and utterly enjoyed the whole process. Printmaking has historically been viewed as a hybrid medium which embraces tradition, while using or embedding creativity. I was able to experience this first hand because I was given the opportunity to attend SGC in San Francisco this semester.
CHRISTIAN TEDESCHI -5244 Baltimore
New Sculpture and Collages
May 10 – June 7, 2014
Opening reception for the artist Saturday May 10th 6 – 8pm
Western Project is proud to present the first solo exhibition by Los Angeles sculptor, Christian Tedeschi. He is an MFA graduate of Cranbrook Academy of Art, 2001 and co-founder of the infamous Detroit art collective, Object Orange. Titled, 5244 Baltimore (the address of his residence) the artist has built a facsimile of his front porch along with other sculptures, establishing uncanny narratives and experiences. 5244 Baltimore is a doppelganger roofed structure as portrait, mirror, stage set; a kind of hermetic history tableau. His new veranda exists as evidence of the artist’s process and his direct relationship with materials. More, the work explores space as metaphor:
“I am interested in the shape of a horse’s saddle, a hyperbolic paraboloid. A complex form which exhibits an interior and exterior space simultaneously. When I think of this form I see an abstract representation of the human condition; to exist inside and outside of this material body. It is self reflection, self awareness and the impossibility of containing these forces.”
Tedeschi’s use of found and constructed materials examine notions of the ideal and the damaged; concurrent polarities of the human condition. Rebuilding an aspect of his domestic environment presents an odd familiar likeness, a faux partial habitat, producing an uneasy David Lynch-ian feel. It is the directness of his methodology which belays the awkwardness and preciousness of most art/architectural fabrication. Construction materials are treated as such; his frontal approach is both incisive and psychological.
Other works in the exhibition mine similar territories of replication and space. His Blind installation employs a two sided wood paneled structure with matching, lighted window blinds. It is a walk-around wall, impenetrable and off-putting with a Twilight Zone stillness. In contrast – and adjacent, is an old broom strung to a slow whirling ceiling fan, bumping and brushing the ground in relentless circles. Both these works present a kind of banal and situational activity/anxiety similar to Bruce Nauman’s frustrating 1960’s and 70’s art. Tedeschi further plays the opposite chords with his framed and resin soaked images of tropical paradise. The collages are Home Depot generic sunsets with hailing cutlery; images of nature and culture in a continuous, endless battle.
Verity is the fuel of Tedeschi’s work. Open-handed and flat-footed, he is able to the petition the ordinary into mysterious and often contrary experiences.
Tedeschi lives and works in Los Angeles. He is Assistant Professor in Sculpture at California State University, Northridge. His solo exhibition, Throwing the blanket over the invisible man, was recently seen at the California Baptist University, Riverside, California. He was also included in “Reverberation”, curated by Andre Woodward at the Huntington Arts Center, “Object Orange” Spontaneous Interventions: Design Actions for the Common Good, U.S. Pavilion Venice Architecture Biennial, Venice, Italy; and has exhibited at the Museum of Contemporary Photography, Chicago; FELTspace, Adelaide, South Australia; Pavilion am Milchof, Berlin, Germany; Free Museum Of Dallas, Dallas, Texas; Occidental College, Los Angeles, California and numerous other galleries and institutions.
His work has been written about in Newsweek, LA WEEKLY, Art LTD, Bloomberg Press, San Diego Union Tribune, and many other art publications. Tedeschi’s art has also been the subject on All Things Considered, on National Public Radio.
For images and more information contact the gallery: email@example.com / firstname.lastname@example.org
you ran away from your uselessness
like you had something to prove
how fucking stupid can you be
to think it wouldn’t follow you?
that’s the way it’s always been
every night you’re a wreck
just crying like a child
all your lies are terrified
and your hungers running wild
and this is what you deserve
you’re pitiful and you’re permanent
and you haunt my broken life
i’m so far from my home by now
there’s no way i will survive
and i can’t wait for you to die
(Source: fennecs)Played 5601 times.
This is the tell all. This is me scratching nude lines across milky white paper. This is the punch line followed by silence, the bitter-sweet taste of rotten fruit. Cut me a slice. knock me down. I cannot run, I cannot run, I cannot run any faster than you. This is expectations overlaid with mundane truth. This is bleeding gums and crushed lungs, the disappointment of loosing something never you had, but always hoped you did. I am gasping, and choking, and spitting out palpable convictions. This is the mirage that lingered 22 years, and I am so goddamn tired of this sweet fucking taste.