Today, I’m still at odds with the works for this show—though I did make some real, positive steps forward. I practiced marking on an object, and after feeling confident in the process, I scored a series of six objects three times over, carefully maintaining consistent proportions and depth. The six were a success.
By afternoon, I reflected on them and realized they shouldn’t remain a unit of six—but of ten. That shift extends the piece from a wall-mounted pyramidal form into something more truly multi-dimensional. The “pyramid scheme” feels more fitting with this direction, allowing me to build a structure that unites these marked objects. I may pull material from KR to form a base for the new construct—or I might leave it bare. Most likely, something from his early Amway marketing days will be repurposed. I’m also considering whether a volleyball might belong at the base. The current construct will definitely need its own plinth now, as it’s no longer just a wall piece. I plan to acquire a 10x10x10 acrylic cap for it, to give the whole work a kind of artificial antiquity. There’s still more work to be done on the objects themselves—to push them further toward a handmade sense of age and rot.
HG is also coming along well. In addition to the 40-part lattice I’m building for the front, along with the portraits, I began constructing a vessel to run along the bottom of the piece to house the VHS cassettes. With my personal collection now depleted, I’ve sourced 20 vintage Sci-Fi tapes that I’ll record over with HG “Initiation,” “The Last Call,” and “Exit Tapes.” I’m curious to watch them after I've done my manipulations.
The remaining space in the vessel—divided into two parts—will be used to store the (Last Supper items): the food (2), the liquid, and the drug.
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