Thank you Robert Rauschenberg! And thank you to the Rauschenberg Foundation. My heart feels a little weepy today with the sweetness of all that this place is. Just leaving 5 weeks at Rauschenberg’s former home and studio in Captiva Florida where I had my first crack at teaching myself stop motion animation and time based visual story telling. Rauschenberg’s Foundation has preserved his home and studios as functioning art production spaces and now shares them with a rotating cast of creatives throughout the year. The biggest lesson for me here is what kind of generosity one person’s life can be. Rauschenberg was a fortunate man in his lifetime, and by all accounts he was a tremendously generous and loving soul in his lifetime as well - and now this - passing on the gift of time and space to explore and create to a whole new generation of artists. We felt the generosity of his spirit in every aspect of every day. It’s truly a profound legacy. ✨Thanks Bob✨your spark illuminates us still.✨
Underwater filming. Looking at how a drawing of water (printed on silk) interacts with water itself; the intersection between the flowing of drawn lines and the laws of physics.
Playing with how sculptures move under water. The jellyfish tests, @isabellabaquerizo holding the strings.
The part of me that learns new things is clearly also very rooted in Fairy Tail. Here the primordial androgynous mer-creature swims in the bright water of the shallows.
Here’s a shot from the mess I had going during my first attempt at stop motion animation - which, now that I think of it, was actually my second attempt at stop motion. While I was making this figure I suddenly remembered a very similar little figure I had created all the way back in college, and which I attempted to animate for a project. I had been thinking that my desire to create animated films came mostly from seeing the work of William Kentridge when I was in my 20’s, but while making this piece I realized that it predates that — but I had forgotten all about it until this moment! It was cool to feel this connection to a past self, to see that I hadn’t forgotten her after all, and to see how much more ready and able I am to execute a complex vision than I was in that tender time. I still have a long way to go though! Here’s to getting a second chance at first attempts.
Underwater video still. This past month I’ve been practicing different forms of visual story telling, exploring what happens when you add the elements of time and motion. It’s gonna be a long time learning this craft I can feel it, so, until I know my way around more I’ll share a few stills.
Everything starts as a scribble.
Revisiting the muse. I took the opportunity of assembling a retrospective exhibition this past fall to pause and make space for some changes creatively. In the 6 months following the completion of the show, I made sure not to return to my usual working habits. I stopped making block prints, and have been teaching myself other mediums, carving out some space for painting, drawing, writing, and trying to learn a bit of film making. It feels like a deeply necessary period of exploration, to keep myself close to the true source of my creativity, allowing it to change and breathe. One of the small projects I’ve been playing with is finding my language within painting by revisiting old muses in this different medium, looking at other angles of previous portrait sessions, and, in doing so, letting an old thing guide you gently to a new place. I certainly haven’t found my true language here, but what’s most interesting has been to find myself dumped back into places where I left off 20 years ago, finding what’s there that hasn’t evolved, picking it up and starting again. (Portrait of @__moreferalthan__ )
Feeling kind of emotional looking at this picture! The community center just got a revamp on its plastering methods, and a skills-training workshop for how this method can be maintained through the elements. When we started working in Haiti after the earthquake we saw right away how often well meaning organizations will begin a response to a disaster and then never finish it, or show up in a community once and never return. The buildings that we’ve built with the community in Cormiers have all been about finding new responses to the problem of sustainable, disaster-safe architecture, and as such, figuring out the maintenance and repair of such structures in the specific climate and economy of Haiti is it’s own daunting task. 8 yeas later, we’re maintaining our commitment to finishing our work in a way that people can sustain and live with, and I gotta say, I’m proud of us. Go @oficina.design and Tania Texeira for leading up this trip! @theheliotropefoundation