A bit of proto punk to start...
I actually had collected a second song from the radio alongside this, as antidote, but can't think of it what it was... too bad.
I've still been circling around Matisse's condensation of sensation that seeks harmony and balance. And whether 'getting to a fleeting impression/sensation' is what I actually do with pastel sea sketches like these. I think it's not the intensification, the boiling down, getting to the essentials (if not essence) that I object - no, 'object' is the wrong word - to but the oneness, the balance and harmony.*
And, all the while, I'm back in California. A heavy thunderstorm clears the air - just as it does right now outside my Berlin window - , Ate tries out the various setting on the fabulous dSLR, I end up with some very nice portraits of myself in trashy camping van setting with a plastic palm tree in the background, and I read her from Matisse's Notes of a painter.
Read her pretty much the passage of my last post - the thriving for a true, thickened and authentic representation of who the artist is on the canvas he paints on.
The picture wall, graphite in A4 Moleskine
And we're playing time warp - trying to bridge about a hundred years of identity politics, psychology, feminism and subject formation. Try to relate Matisse's sense of self, his belief in his own skills, ability and worth to our visit in California, to Ate, Justin, Kerstin and Fynn and their drag performances between glamour model, business woman and Texan cowboy (a link to Ate's films? Try here), and my own fumblings about person-making by abstract landscape paintings.
And it is at that point that I begin to appreciate the ability of different media - other than a paintbrush, pen, paper, paint - to get to what I may be after with my persistently growing tag 'person-making'.
My 'getting to what matters' may happen through life drawing/painting or even photography. But, honestly, I think I need to delve deeper first into more of theory_politics_practice of stuff I know, I've learned and experienced. And with these, I will always end up with some far more complicated than harmony if I seek to condense sensations and experiences. Sorry... there are one hundred years between us... so much happened, unhappened, got lost and won. It does not translate.
As you may guess, I am actually pretty pleased with myself over this. For all the stuff that I am concluding at the moment, this is a great point to have arrived at - beginning to set more explicit into relation the art I am doing to the theory and practice of knowledge production that I have engaged in up to this point. The myriad of interconnections are becoming clearer and I am also quite happy by now to talk about them. Put them into relation to each other, to write them into one cv.
Good, that has been one of the points I've been aiming at. And I also think this the conclusion of California - certainly not of Matisse - there's more to the White Room, but that will probably have to wait until I'll be on holidays - finally and long overdue - Among the Fields, from Friday onwards.
So: Bye, Bye California... I'm looking forward to seeing you on a video loop soon. But have some slides of my photos, complete with campingsite ambience first:
* and, if need be, I can add at least 5-10 pages on the relevance of internal relations, dialectics and all that stuff that is being kept continually in motion, sets itself into relation to itself and others, doesn't stand still and moves, moves, moves, often with plenty of friction, and thereby is always in the process of becoming. - But I better didn't