Installation and Reasembly

The difference between viewing actual installations, documentation after disassembly, and resassembled installations presents potential for dialogue. Examining these relationships, noting subtle tensions, Ponder, an installation exploring temporary materials and spatial orientation, will evolve in different contexts in the coming months. The image here is the from Ponder's original site specific context.

Tendency Series (Continued)

Following up on contradictions between form and intentions, I developed a sign that I am incorporating into some of the Tendency work, and pushing a dialogue between the sign and the weight forms.

Tendency To Feel Isolated:



Tendency to Feel Disconnected:



Tendency to Mix Metaphors:

Tendency Series

In conjunction with reading Art As Spiritual Activity: Rudolph Steiner's Contribution to the Visual Arts, I've been working on a series of forms letting weight move around in the picture plane. These images, Tendency to Accumulate shown above and additional images below, were done on Saatchi's Your Studio because the limitations on tools confine the manner of pushing and pulling. The concept of Tendency is broader than issues of weight in forms, engendered by playing interaction and contradiction against one another, with respect to both the forms and intentions.

Tendency to Sculpt:



Tendency to Name:



Tendency to Hang On:



Tendency to Droop:



Tendency to Forbode:

More Saatchi Your Studio Images

Interaction in Art

I've been thinking about interaction in art lately. Does Art lie in the constructs for interaction that the artist(s) give(s) the viewer(s) or is it the ensuing interaction itself? There are limits as to how much the interaction(s) can be expected, influenced, manipulated, or contrived by the artist(s); if the Art is in the interaction, are the constructs needed? I think Art lies in mediating between the constructs and the viewer's interaction, which admits both attempted control and absence of control as relevant.

Where does success of artwork come from? When the expectations are met by the ensuing interactions? When the interactions exceed expectations in unexpected ways? When the interactions alter the expectations? Need intention even match outcome? I find the greatest success in my own work is when the kernel of my intention is present and ensuing interaction expands my expectations.

Some News...

I updated my website at www.artbydado.com, and a brief essay I wrote, "Objects, Added Color and Installation: Thoughts on Artistic Direction", appears at www.sculpturepainted.com

Interesting Article

"Why the art world is a disaster" by Roger Kimball www.newcriterion.com:81