We are officially plotting a move to Dallas, Texas: home of big stuff, SUVs, and hot summers.
No offense to the City of Richmond and any current, past, or future inhabitants (be they animal, mineral, humanoid, cyborg, or Roomba).
Andrew encapsulated the notion back in July and, now, we are slowly following through with a sensible plan.
Last year, Galaxalag of soul-junk was making all these sped-up soundtracks of himself reading bible verses. They were initially to help him retain the words, but he overlaid them with layers of sonic stuff and melodies.
I was hoping to make animations out of the tracks, but could never figure out how to balance time to make it happen. Making drawings come to life can consume time… and I was having a tough time imagining a project to animate the entire bible.
Going through some things, I stumbled onto this anime from one year ago:
On Friday night, Feigen Contemporary was bustling with people. The venue seemed like a magnet, people hung out both inside and outside. At one point, loud live music began performing inside, but we had to skip out and grab some dinner. The place was packed from beginning to late ending.
On the way to the gallery, we stepped into the Jessica Murray Projects show by David Ellis. Inside was an impressive installation of trees ripping down from the ceiling, mechanized wall sculptures, wall murals, ripped open cellos, video monitors, noise/sound, and such.
The trees that came from the ceiling stopped short, had a section missing, then the stump resumed. Inside each stump, there was an emaculate and glossy turntable installed. The turntables seemed to be functional and playing atmospheric sounds.
David Ellis’ Turntable Trunks at Jessica Murray Projects
While the David Ellis show was the only other opening I took time to attend on Thursday night, it really began to resonate with me after seeing the Carry On group show.
Deanne Cheuk’s Mushrooms at Feigen Contemporary
At Carry On, the art was professional and improfessional, weak and strong, slow and fast, gross and proper. Much of the work could have been installed or implemented in a fancier way, but since it was a group show, each artist came with their own aesthetics.
Mark Borthwick Installation at Feigen Contemporary
At the David Ellis show, everything was crafted or pushed to the fullest degree, but it left the viewer with no outlet to become curious.
At Carry On, the entire show was full of places to stop and figure things out… to inspect and grow deeper into the work. There were mushroom sculptures, crazy (insane) animations, an installation with party streamers, a movie, and sculptures up in the ceiling. There was simply more room for the viewer to have an experience, rather than the work push an experience on them… and that is good psychedelics, if you ask me.