Pedro - Catching Up

So I realized I did not post about Scott (even though I kind of did in the previous week). But still, I do have some more comments, particularly about his presentation to us.

I very much liked his talk/presentation because I never for a moment thought he was justifying his art, or explaining it so that we could "get it." Rather, Scott was really just talking about what he does, and the diverse interesting things and ideas he incorporates in his art. To me, it gave me some perspective about talking about my own work. Often times I think we are too much engaged in explaining the specifics of our works, or our long, tedious process. This is what people often miss. At the molecular level, we fail to project meaning because its so tiny and noisy. A more general, but at the same time deep analysis of the work provokes, I think, a better and wider impact on an audience who is eager to see, talk and write about one's work. A professor once told me that the greatest speakers are those whom you don't have to pay close attention to 100% of the time, but rather let your own mind spin wild with your own ideas as he talks. (This happened to me when William Kentridge came to speak at the UR two years ago--and with Scott) Freedom speech. I think this applies best to art talks. Don't describe your work and all the minutiae. Kindle imagination and debate!

Moving on, I'll share my takes on Bleau's talk and our visit to ROCO. First off, what a down to Erath guy. Often these curators and art directors seem so arrogant and out of touch with the PepsiCola world in which we live. His talk and opinions seemed frank and accessible. Listening to his own personal story further made me realize that art is not a typical career. It kind of happens to you, rather than you making it happen. Sure, you can do "art" and get exhibitions, but to be an artist in the fullest sense of the word, that's something that happens to you if you so wish to make it happen. Relating more to Bleau's own career, I actually drew connections between art management and architecture. It seems like both are a fine balance between hard technical details and challenging social/political/economic situations, and the joy of being bathed in art. I am now considering alternative avenues to the artist/architect dichotomy of my life goals thanks to Bleau.

On a side note. I felt technically and spiritually inspired by the work of Derek Lerner, in exhibition at ROCO (the blue ink compositions guy). I felt he had carried out some of my ideas to a superior state, and with almost as simple means as me. I think that he essentially reached an ideal balance between the theory of his ink forms and line, and a more general compositional aesthetic that immediately draws the eye. His work makes sense. I am now striving to finish a piece that learns one thing or two from Derek's work.