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Visualization: A representation; an abstraction of the Real; creative formation of an image, of information, or of an idea.
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.)
The artist and musician Mo H. Zareei joined curator Patrick J. Reed to discuss formative creative influences and “audio-visually confrontational works” that have the power to elicit raw emotion.
(Photograph by Ted Whitaker.)
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.
Always the question remains as to why a publication is important. The answer is basic to this thing named Sequencing.
Written as a kind of trip-report with a posthuman sensibility, Instance Terrain Spread describes experiences that would be incomprehensible in conventional spatial reality, but are easily understood when experienced in a virtual space.
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.
In the fall of 2020, I began gathering samples for what I’ve termed an Anthropogenic Mineral Collection. These carbon-based minerals consist of human-mediated byproducts of geological intervention from the Industrial Revolution to the present. The majority of those in my collection are caused by industrial mining of valuable conductors, and have not been recorded elsewhere as natural occurrences.