1. one of the first drawings I did during my residency in NY where I starting to explore dimensions of drawing with an installed confrontation and indifference of object

     
  2. Note to self. Don’t throw out found object materials, otherwise, when recreating a piece found objects are 10 more difficult to make and looks more force. Although I am entertained by the fact I had to buy 10 swifter dusters from the dollar tree and had a very confused chaser.

     

  3. "Everybody is identical in their secret unspoken belief that way deep down they are different from everyone else."
    — David Foster Wallace, Infinite Jest (via quotes-shape-us)
     

  4. Drawing

    So being in the upcoming drawing through media exhibit with some other interesting artists (which you should all come and see) I was asked to get my perspective on drawing.

    This will be my first draft.

    I both draw and sculpt but recognize that my installations could be seen as a drawings and vise versa, seeing that dimensional work usually consists of some sort of line, gesture, or motion.

    Drawing for me has always been an effect of process; evidence of planning, constructing, mistakes, and past functions. Of course drawing is compiled with mark making, sweeping movements, layering, etc. I have used these marks and translated them through different found material giving them more emotional gesture but never without an overarching hypocritical indifference quality all the material I choose has.

    Recently, I’ve been using drawing to activate the wall as a physical object, obstacle, and section of architecture. This use of line, whether from cutting into the wall or using a long piece of rubber, is to direct the eye to supposedly undetermined parts of the installation. Many times this is what we are supposed to ignore; screws, bolts, vents, pipes, windows, etc. One of my goals is to give life to these aspects we are expected to overlook and use them to my advantage.

    Even though I do not consider my charcoal drawings finished pieces, they are a major part of my process. For this piece in particular the idea of drawing is subtler. They are distinguished marks climbing the wall with an insignificant location in mind. 

     

  5. contemporaryartdaily:

    Neïl Beloufa at Mendes Wood DM

    Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, and become a fan on Facebook.

    We would like to extend a special thank you to our…

     

  6. intership

    So, I’ve been interning with Niki Johnson the past week at her artist in residence at the Pfister Hotel and it has been going pretty well! While a lot of the processes and skills I’m learning aren’t necessarily things I can see myself doing soon in my own work, it is nice to get back in the practice of making molds, casting, and working with sensitive material. She casts glass, regular water based clay, and porcelain as well as working with found objects such as condoms. I’ve been ‘editing’ waxes, mixing a specific recipe for plaster investments, and mixing porcelain so it is the perfect consistency. 

    It’s nice working with Niki because we have different approaches and interests in process. While she is more interested in the step by step- what something was and what it will become; in one thing I was working on of hers she took apart an old wooden bathtub, sandblasted the pieces, took molds, casted those in wax, edited those casts, sprued them, made more molds, and plans on casting glass within the next couple weeks. (if you are curious about her process check out her blog, http://nikileejohnson.wordpress.com). And in my process, while I used to be interesting in mold making and having a heavy hand in everything I do, I’ve come to enjoy more ambiguity while making and seeing concept, physical space, and most important- material as conductors to what may happen. Yes it can lead to more frustration but theres also, for me, more to overcome. 

    Anyhow, back to info about the internship. One thing, that really has not much to do with art making she is really good at is her role in social media and portraying herself. Not to mention she also give her inters a chance to talk to the press and have an online presence which is something too many student don’t even think about. But until gallery night it will be mostly making for us at the studio. Not to mention MIAD’s student curatorial team contacted me for an exhibit called Drawing Through Media at the schools entrance gallery and want one of my sculptures for gallery night. Unfortunately it’s not the ideal space to have a 3D work so we’ll probably have to discus things are more clinging to the wall as a lot of my work seems to be. 

     
  7. shakespearestwin:

    Bordeaux, France

    Will hopefully to see some wineries while in France. I’m sure my boss will have a ton to recommend

     

  8. "Maybe people don’t wanna hear every day life, maybe people don’t want complication - they want it simple, they want pop music so that they can forget about their internal monologue, you know? I celebrate the internal monologue."
    — Omar Rodriguez-Lopez, 2009 (via sufferplume)
     

  9. i suppose this would be a noun list

    Ok, I’m planning on making this a much more active blog for my work and being pretty open about what I’m thinking about each time I write. Nothing too polished.

    Today I was thinking about what one of my professors said about an exercise I gave myself at the beginning of the residency. For no reason other then to find myself a more stable ground seeing that my concepts can get a little abstract. I took Richard Serra’s wonderful verb list that I had taped above my table in my studio and decided to make my own version. Every visiting artist and knowledgable visiter commented on the list remarking how Serra made art an action instead of an object and how remarkable it was at the time. So I decided at the end of the first week while I was still doing my writing exercises I would make a list having to do with spacial (architectural), perceptual, and subconscious influences regarding to further actions that are not accounted for nor important. This list varies from references to hallways, structure, emotional states, philosophical and psychological issues, and traffic patterns. 

    What most interested me about the making of this list is an idea I frequently go back to— the idea of indifference. And list making; putting ideas,  annoyances, random occurrences, self pity, that jackass who wont let you pass on the freeway, and many more on all the same level.. Taking these things that have notably shifting influences of your everyday life plus some we excuse in denial or just arrogance.

    I have yet to truly refine this list. Obviously it could truly go on forever but if I want to look at it like a piece (like my professor Michael Joaquin Grey wants me to do—look him up, definitely the most intelligent person I’ve had a conversation with) I’ll have to weed things out. Hopefully create a most unsettling balance of the obvious, the physical, the emotional, the situational—- etc. It was all prompted by all the sketchbooks and notebooks I had for very specific things. I had a separate one for ideas, drawings, idea development, my writing, and my journal. Eventually this drove me insane and I decided that my vomiting up words for a 20 minute writing assignment was just as important as that spectacular phrase Michael Grey said during one of my critiques. I now have one book with everything in it and let me tell you some of it’s embarrassing and I don’t get embarrassed easy. And so it developed into indifferences as a leveler and not necessary a negative attitude towards things I find great— because going through a structured hierarchy of influences can only get you so far.

     

  10. site is updated from my residency in NYC, for the most part.. check it out.

    margarethalquist.com