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Invisibility: Society must accept some things as real; but [the artist] must always know that visible reality hides a deeper one, and that all our action and achievement rest on things unseen.—James Baldwin
Artist Tristan Duke photographs the Placerita Oil FIeld and the Tehachapi Wind Resource Area using lenses make from frozen drinking water. Fulcrum Arts’ Curator, Patrick J. Reed, goes along for the ride.
At his Los Angeles studio, the artist Channing Hansen graciously hosted Fulcrum Arts curator Patrick J. Reed for a conversation about wool, the cosmos, weird topography (and more!), and how these elements come together in his complex, labor-intensive knitted artworks. (Image: The Wilkinson Microwave Anisotropy Probe heat map of temperature fluctuations in the cosmic microwave background. NASA / WMAP Science Team.)
Fulcrum Arts’ Curator, Patrick J. Reed, went to Ars Electronica, where he met the Miami-based, Colombian composer and sound artist Alba Triana, and learned about the essence of everything. This installment marks the first in a series of profiles on artists working with vibration and the ways in which it shapes our world.
The following story unfolds with a cadence all its own. It rewards the curious yet meets the overeager with a measured wait and see.
The tide line is a soft transition. Where capital meets the sea, it creates brittle structures, likely to shatter. The ocean’s edges may not be as fluid as they seem.
04/19/2018 i move back to Seoul during the season of Yellow Dust. my infrared camera begins glitching like the shaman herself
discomforting circularity turns in my stomach, thinking about Santa Monica’s full-circle from place of work to ‘workplace.’
I talk to my cousin Corey Stover on the phone and he teaches me hokšíkilowaŋpi (to sing a lullaby); we are both cruelly out of tune. He is in Oglala Nation, I am in LA, and we perform our distance. He sings to me and I to him, a short melody. I watch LAPD helicopters out the window of 242 East Avenue 41 and compose a short drone.