#Art Writing

[huariqueje]

Excursion to philisophy , Hopper's house - Ángel Mateo Charris , 1996.

Spanish, b.1962 -

Oil on canvas, 195 x 130 cm.

[theseuschats]

You guys really liked the last one so here's more.

set in the same AU, i guess?? Do yall want there to be a storyline here? Idkkkk

[piizunn]

We Will Always Remember (Where We Met), 2024

House paint on un-stretched canvas

On display at AceArtInc in Winnipeg, Manitoba from September 6th to October 18th, 2034 as part of a group exhibition titled ‘Room To Grow Tall’ curated by Sanaa Humayun and Kiona Callihoo Ligtvoet of Making Space, a BIPOC focused peer mentorship for visual artists.

We Will Always Remember (Where We Met) 2024 is an installation in the form of a map leading from AceArt Inc. to the Forks National Historic Site. The piece utilizes modern materials like latex house paint with traditional canvas, exploring themes of contemporary Métis homes, our trappers tents, and the ways in which Métis access knowledge, and housing, community, and our traditional spaces.

The map invites the viewer to walk from the gallery to The Forks as they consider the past and present uses of this land, and the relationship between the Métis and this sacred confluence. The work is a continuation of a piece created in 2024 for The New Gallery in Mohkinstsis titled let’s meet at the confluence which took the form of a public billboard in the downtown area.

At the core of my practice are concepts defined in the works of Gerald Vizenor, Sara Ahmed, and Chantal Fiola whose writings discuss notions of survivance, queer phenomenology, traditional Métis teachings, and appreciation for the lands that hold us.

The following is an accompanying text I wrote the morning of the workshop programming I planned for this exhibition.

Saturday, September 7th, 2024

12:01 PM

I’m staying with my friends B. and C. in their beautiful apartment in Winnipeg. They’re such sweethearts and I’m so grateful I can crash with them. I took the morning to myself after karaoke last night. I was sleepy and a little dehydrated so I stayed back to make my plan for the day.

I felt the sound of drums, I opened a window but the sound was coming from inside the building somewhere. I found the place where the drums were the loudest and standing in the dining room with my hand over my heart and a rowdy kitten named Mabel at my feet, I listened to the drummer as their voice joined the beat and felt the vibrations through my feet like the roots of a tree.

I texted my dad happy birthday, I had leftover root beer and french fries for breakfast, I let Mabel walk on my notebook as I write, and I’ll let myself move slowly today.

[altrbody]

Abstraction:

"Abstraction is flying. Abstracting is ascending to higher and higher levels of conceptual generalization; soaring back and forth, reflectively circling around above the specificity and immediacy of things and events in space and time, from a perspective that embeds them in a conceptual framework of increasing breadth and depth, a framework without horizon, ceil-ing, or basement; a framework composed of increasingly comprehensive concepts that generalize over increasingly comprehensive classes of things, organize them relative to one another, unify them into a coherent tapestry, a dizzying object of contemplation the details of which stun one into panic by their connectedness, significance, and vividness.

Abstraction is also flight. It is freedom from the immediate spatiotemporal constraints of the moment; freedom to plan the future, recall the past, comprehend the present from a reflective perspective that incorporates all three; freedom from the immediate boundaries of concrete subjectivity, freedom to imagine the possible and transport oneself into it; freedom to survey the real as a resource for embodying the possible; freedom to detach the realized object from oneself more and more fully as a self-contained entity, fully determined by its contextual properties and relations, and consider it from afar, as new grist for the mill of the possible. Abstraction is freedom from the socially prescribed and consensually accepted; freedom to violate in imagination the constraints of public practice, to play with conventions, or to indulge them. Abstraction is a solitary journey through the conceptual uni-verse, with no anchors, no cues, no signposts, no maps, no foundations to cling to. Abstraction makes one love material objects all the more."

--Adrian Piper

From Adrian Piper: Reflections 1967-1987, Alternative Museum, New York City April 18-May 30, 1987.

[in-the-heart-of-the-vampire]

When I have free time to be creative: nada , zip, ziltch, nothing.

When I’m trying to focus at work: here is a depressing poem of the Dark Urge morning the lost opportunity of being close with their sister,Orin,had they been born to a different world.

[girlboybird]

Was watching a video yesterday when an argument was made for ai art that rubbed me the wrong way but didn't know how to express my thoughts at the time. (I'm an art student, not an expert. Would love to discuss.)

It was a pro-ai argument for art that discussed how throughout history when new developments in art were made, it was discredited every time by people who didn't see it as "real art" (which for me brought to mind examples of the photograph, conceptual art, the shift from hand-drawn to digitized animation, etc). By being anti-ai, the argument was that people are discrediting a new technology completely that could bring about great change and completely shift the artistic landscape in the future.

Additionally, there was a mention of data usage and how they very much wanted their data used to contribute to the datasets for ai development, and had opted in, specifically mentioning that everyone should get a choice in whether or not their data should be used, which I very much agree with. This part of the argument I'm not concerned with, I think informed and consensual data contribution to companies is so important and if you want to give away your data for that cause that's just fine (... i think you should be PAID with MONEY for that data usage, but that's a whole other thing). It has to be consented to, and if people opt out, you can't use their data. Seemingly easy.

It's the part about historical movements that got to me, lumping together artistic / technological developments as positive jumps forward with a certain group of detractors who are on the "wrong side of history". I think examining what is actually at play now and what makes this situation different from previous examples is what people are so concerned about.

My issues with ai that i can think of off the top of my head:

steals from millions of people without their consent

heavily monetized and intertwined in corporate profit

destabilizes entire industries, creative unions, countless jobs

aids in misinformation and constant plagiarism

disrupts the education of students globally and the jobs of teachers

massive environmental impact and energy requirements to keep the development going

No artistic movement I can think of has had such dire consequences. I don't just hate ai as an art medium because it makes shitty garbage, because it's eliminating jobs I once thought I could have, even because it's stealing from me, actively, right now. I am overwhelmed by the amount terrible results that have emerged from the development of ai, and no matter how interesting art eventually becomes with the aid of that technology, I will never forget what that technology is taking from people across the world. Until those problems are fixed (some of which NEVER will be because exploitations is so engrained in the way ai functions), I can never call myself someone who is pro-ai.

I think of the development of photography, specifically the daguerreotype (a technology that was stolen by Dagguerre from the original inventor Niepce) which came about and changed the landscape of images. Painters who once did the job a photographer could do in a fraction of the time lost jobs, and there was a struggle to determine the legitimacy of photography as an art and a science.

I think of the growth of conceptual art, working beyond the image to create experiences, to use one's body as the canvas, to experiment with performance, perception, endurance. People criticized these movements as non-art movements, but they endure today as really important concepts in the art world.

Even the more recent shift in the 80s-90s, the shift from hand-drawn animation to digital animation. People did lose jobs, industries did shift and that form of animation became much harder as digital animation became the cheaper, quicker alternative which was preferred by companies funding projects.

These cases have never had such vast impacts as we're facing now with the growth of ai, and even though there is work being created today including the use of certain ai algorithms that I do enjoy and find really interesting (ex. Hito Steyerl, Rachel Maclean, Heather Dewey-Hagborg), this doesn't erase the constant advertisement I receive about shitty ai programs, search engines overrun by ai images, the PEERS I have around me who go to university today and write assignments using ai, and the massive water usage of tech centers dedicated to house ai systems.

This topic is exhaustive and I've only barely gotten my thoughts out on this, may or may not add onto this later. The industry is constantly changing and I know things have to get better, but the rock bottom feeling I'm experiencing when I face the subject is sooo strong. Going back to drawing comics now.

[ardent-reflections]

We do not escape into philosophy, psychology, and art-- we go there to restore our shattered selves into whole ones.

Anais Nin

[whoismims]

The Art of Accumulation in an Age of Decluttering

My mother came of age under British colonial rule in Hong Kong, treated as a second-class citizen and unable to return to her parents’ ancestral home in Hunan province. In the US, she roamed antique malls and flea markets in search of relics, specifically those from China that had somehow made their way overseas and were being peddled by dealers who, back in the 1990s, didn’t know their true value. Instead of magazine subscriptions, we received catalogues in the mail from Christie’s and Sotheby’s, which my mother would study in order to teach herself how to differentiate between what was authentic and what was fake. All I knew as a child was that we had a lot of old things. I didn’t understand their significance to my mother until I fully grappled with my own sense of identity. Through collecting, she keeps alive the dream of cultural belonging, the antiques serving as both connection to and substitute for the melancholic fantasy of a motherland.

From the essay I was most proud of publishing this year about hoarding, art, my immigrant mother, and Marie Kondo.

Image: Song Dong, Waste Not: Song Dong, 2006 (installation view), at the Museum of Modern Art, New York.

[cosmicanger]

“One is left to question the ultimate purpose of mastering an indigenous dyeing process or an ancient weaving technique as a white fiber-centered artist. What is the end goal, precisely? What contributions to the field of fiber art are these artists making, and, more critically, how do their practices avoid collapsing into a process of erasure? In the absence of meaningful engagement with the roots of these traditions, their work risks becoming yet another act of appropriation—remaking history rather than honoring it. This is the crux of the issue: what is being said, and what new narratives are being woven into the fabric of fiber art history that do not distort or rewrite the legacies that came before? The answer, I fear, is often "nothing at all.””

[mayhemboyzz]

Roses and weapons romance isnt asnwer°♧

It's about a girl named Agness Vilarossa, an ordinary feminine girl who had a platonic relationship with Rosangelo her boyfriend who disappeared a year ago, Agness with anxiety disorder had to move from Rosenbell a rich and darkdeco city to Crycinthia, a city with a different modern vibe, after the move After classes in the library she meets a book that talks about the Vilarossa and Madlock family and there they had their 2 bayonetta-style pistols where they will face the evil of the main villain and other villains!

I will do each one their lore and then you can ask me about my OCs!

[haphazard-art]

I was made to create in a Victor Frankenstein way; I put all my effort into making something beautiful but then become violently ill when it turns out horrifying after the fact

[dishsoap7]

"Have you ever wondered about what lives in the bushes? What hides in the clouds above? What flies with the wind, when you're looking away? Have you ever felt there are things or rather creatures that live with us but stay hidden to the foolish human eye? Have you been seeking truth? Fell forget about that. Don't seek things you don't want to know. Don't ask stupid questions.

But after all this still won't let you rest? You keep annoying me and asking me for answers! Then, you shall have your answers but the consequences, that you surely will face, are your own fault."

I'm working on a fantasy handbook, that introduces creatures, hiding in our realm and perhaps beyond. It's something I've been wanting to do since I was a little and I really enjoy chatacter design and making up lore.

This little lady is a common type of garden fairy called birdling! I thought I'd start with something, rather friendly. Although these little creatures enjoy playing tricks on humans, they are good at heart and as long as you don't bother them, they won't bother you. At least not much... They usually resemble all kinds of birds, although they are much more fashionable. You might have seen one but didn't even notice it. They usually live in little nests located in bushes.that have tunnels to underground where they build their own cities and kingdoms, although you can hardly call them this. It's mostly just holes with all sorts of rubbish in them. They steal frequently and are very fond of it. Looking through a birdlings home, you might find that sock you've lost 3 years ago, used as a bed or that little doll, you loved so much as a child, now serving as a table. As far as I know, they are unable to communicate with humans. Well maybe they just don't want to talk to me.

Pls forgive me for my English I'm still learning

[theseuschats]

and the reason is this

[elinormakara]

Creative Thoughts: Where I'm at

Lately I've been experimenting with my digital art tablet instead of drawing/painting traditionally. Can't deny, using the tablet has been fun - at the start I was drawing traditionally then transferring my art onto the art software, Krita. Recently, over the past week, I've been drawing directly onto the tablet which in some sense has come naturally but in other ways the diverse range of pens and paintbrushes to use for mark making is a little daunting, at first lol.

I don't want to abandon my traditional art but for future projects - such as comics and Youtube content - I've had to think of how to best present the artwork. I think digital art is better for this for many reasons, mostly because it's hard to transfer a traditional piece onto a digital space and retain all of it's quality that's seen in real life - I'm talking brush strokes, mark making that make traditional art a pleasure to see in person - unless I have a brillant camera to capture this - which I don't lol.

Going forward I feel the need to practice more with my tablet - learn how to color better and develop a style I'm happy with. So far I've been playing around with the chibi art style which I find easier for experimenting and designing but I'd like to eventually try out a more adult style, think Heaven Official's Blessing art style - this is the direction for my character's Elinor and Roi (you guys haven't seen Roi yet, don't worry he'll be around soon, once I get a good idea for Elinor's design first). I have big ideas for these two - they'll be on Youtube.

Whereas RumpleSloth, Poto, Perla will retain their cute look. I have big ideas for RumpleSloth. :)

If you've made it this far and would also like an update on the Ryomen Sukuna fanfic: Rebirth that I'm writing, the Christmas chapter rework is well under way - I'm adding more depth to the writing - it will no longer be in script form but instead will match up to the style of writing that follows on from that chapter. Yes, I still very much love Sukuna. :)

Thank you for reading my creative thoughts! I hope to make lots of content for people to enjoy. :) Don't worry though I will still create art traditionally, it is my roots and the medium that helped me become an artist.

[altrbody]

Arian Piper, Portrait, 1983. Photo-text collage, 24 x 36 inches.

PORTRAIT All sentient species are biologically programmed to attack alien enemies, Some species are programmed to attack their own members as alien enemies. Rats, for example, will attack, kill or even cannibalize one another under conditions of overcrowding and deprivation. But human beings are more unique still. Only human beings are capable of self-destruction, of suicide, of acts that have our own self-obliteration as a conscious purpose.

Human beings must view themselves as alien enemies to be able to do this. They must believe that if they allow this alien enemy to exist, it will destroy them. And so to avoid destroying themselves they destroy themselves.

We can see why this might be so. We do not know ourselves very well. Often we feel assaulted by unacceptable thoughts and impulses, and move to suppress them; or shamed by unacceptable physical features, and work to remove them; or threatened by others' unacceptable behavior or appearance, and so attack or reject them. We view these things as alien enemies, not as the familiar ingrained parts of ourselves they are. And so we are constantly moved to destroy and reconstitute ourselves in conformity with our truncated and distorted self-image.

In all these cases, and others like them, we fail to recognize that we are destroying ourselves. And so our centrally motivating urge to self-destruction itself goes unrecognized. Perhaps we wouldn't recognize this particular facet of ourselves if it stared us in the face.