Too Busy to Talk, More Later!

So much in progress....

The open call for NO RUSE, the crazy curatorial/art project I'm doing with Liz Nofziger closes today, and we'll do the art-choosing tomorrow. The main push to finish LGR, my project with Andi Sutton, will happen this weekend. And I'm shooting some images with a volunteer model tonight for yet another January project, to be discussed later. I also managed to squeeze out one more little object last week called "W.W.S." that will be included in an AIDS fundraiser in NY in January, and to land a slot as a performer at the Guggenheim Museum in February as one of the readers of one of the works of one of my favorite artists ever, On Kawara. Oh, finally, I'm jurying for a film festival that I've worked with a few times in the past on a tighter turnaround than usual, so I'm almost a little too busy to write here. But you know what? I've got some work in progress photos. Here's one from LGR and two (kind of before and after shots...) of W.W.S.

A little messy detail of LGR

Blurry (sorry!) cellphone shot of of W.W.S. in progress.

W.W.S. finished and ready to go.

More soon!

Doing, Not Doing

Let's see… It's a rainy November evening... I've spent a lot of my art time this week writing (big surprise) and a little bit of it sketching and working on video.

Here's what's in progress:

I'm in the midst of creating a new and improved (or actually more distorted than improved…) edit of my super short film/interactive object La Mechanique Des Fluides for inclusion in a show in Munich in late-November/December. Will post show announcement as soon as the gallery's website features the exhibit.  

Liz Nofziger and I are at it again, this time assembling a wacky curatorial-art project (with an open call for submissions if you're interested) called NO RUSE and slated to occur in the first week of January 2015. The project focuses on the ability to let go of something that you have been holding on to, without knowing whether the thing is a blessing or a burden before doing so. We are trying to get at a form of acknowledgement of the essence of a (any) thing's potential importance without committing to realizing it. Valuing and celebrating things for their potential rather than their success or failure in reaching it. That's as much as I can say right now, except that the project has a slight Persian influence. But I'll add an update here before it happens.

Also up to my knees in a project that I'm developing with Andi Sutton for presentation at the 2015 Boston Does Boston show. Also in January, and I will also post an announcement for this when the gallery website begins to feature it. This piece, which combines interactive sculpture, sound and some texts, and which is tentatively called LGR, explores what is maybe kind of the flip side of what NO RUSE is thinking about: things that are gone because we were not attached to them. Again, I feel like I shouldn't say much more, but I'll update this post with some work in progress pictures within the next 2 weeks when we begin the sculptural part of things.

Oh, finally, after all of this doing in December and January, I'm going to be not doing quite a bit, starting in February. I was selected to be an artist in residence in the (virtual) RFAOH program and have agreed not to make art for six months, from February 2015 - July 2015. But of course what I'll be exploring during this residency is whether it is even possible for me not to make art. So it should be interesting. During that period, I'll probably just replicate my blog posts for them in here.
 
That's it for now. Except here's my very first sketch of a potential logo for the LGR project (which will need a logo.) It doesn't even have the letters on it yet. Still looking for the right font...

Mini (but not short) Update

Hello! Sorry for the long gap in writing. Originally my excuse was that I had a couple of things in the works and was waiting to see how they shook down before writing here so that it could be kind of an announcementy post. Then while I waited, I got overwhelmed with work-work that I was trying to wrap up before doing some traveling. And now I'm traveling and haven't written because of that....

I'm still traveling for another day or so—I've been in South Korea visiting friends and doing just the tiniest bit of cultural journalism, along with some more routine work-work that I brought with me. But after a few days of minimal email access, I've gotten updates on several things that were in play so thought I'd pass them along.

In September, I submitted a proposal to produce the "extremely low budget audio project" that I mentioned in my last update at an arts festival in Boston called Illuminus. It was modified for an outdoor setting, included a supercool lighting element that was not a part of the original idea, and pitched in collaboration with the fabulous Liz Nofziger. The good news is that it was selected as a finalist in the competition, but then (as I understand it—I'm still foggy on the details as it was Liz who had the last conversation with them due to my absence,) the spaces all got shifted around due do zoning or permitting issues and the two spaces that we had proposed for the piece were no longer available. The whole festival was moved into one space, and because our piece was motion sensitive, it would have been constantly triggered and basically wouldn't work. Anyway, the festival seems like it will be a cool thing even without our participation (heh heh) and it was really nice to get such a strong positive response about the proposal from the Illuminus team.

To complete the ongoing theme of things that fell through, I have heard nothing further about the show that I was invited to participate in in Berlin, but it was slated for October, so I'm assuming it (or at least my participation in it) is not happening.

But the good news is that I've been invited to participate in a Boston show in January that I'm excited about and simultaneously have been offered a very unusual online residency. These two things are actually a little bit in conflict with one another, so I'll go into more detail once I've sorted out the details, but I just wanted to end this post on a positive note. Oh, also I'll end it with a little bit of Korean art.

This is a detail of Aubade III by Korean artist Lee Bull. It was one of several really cool arts I've seen on this trip.

Rejection, Failure, Stasis (But Not in a Bad Way...)

Art plans are falling through like a landslide this month:

• Melbourne screening devolved into bullshit. Apparently when you are invited to present your work within the context of an academic conference, you are expected to pay the conference registration fee. Whether you are attending in person or not. Pardon my French, but fuck that.
• And Just Like That, You Die as originally conceived has been deemed by a trustworthy, highly accredited physical therapist as "not quite 100% guaranteed to cause permanent, irreversible damage," to the small bones and nerve canals in both of my hands/wrists "but some percentage quite close to that." So development of this work is on hold for the moment. I'm planning to consult with a mad genius instrument builder to see if there's an alternative way to accomplish the same goal, and have also submitted an inquiry in to the piece's main inspiration for some feedback, but I'm not holding my breath about getting any response in that case.
• My perfuming apprenticeship is about to get put on hold because an unexpected wad of health-insurance-gone-awry-debt has suddenly surfaced in my life and made investing in perfuming supplies in an effort to understand something slightly ineffable about class consciousness seem too extravagant an endeavor.
• I've also had a few grant and residency applications that I didn't bother mentioning here rejected.

The good news is that I am feeling upbeat about everything. I'm excited for the aspects of the perfuming project that I can move ahead with even without being able to invest much, and I'm feeling ready to revisit a few "archival" project ideas that I set aside awhile ago for a rainy day.

One is an extremely low budget audio project, and the other is a kind of drawing-based 3D object thing that I stopped working on years ago because the construction was too expensive. Just recently a local artist doing something that uses a similar technique gave me some tips for doing what I wanted to do using some relatively inexpensive pre-fab components that didn't exist when I was struggling with this before, so now I'm ready to revisit this project. Or will be this Fall.

Finally, because my local camera shop was having a sale on some soon-to-expire Fuji FP100C film, I decided to resurrect my Polaroid 250 Land Camera from my packed-away analog camera collection in the basement this month.

It's been really fun to have this clunker back in my life. And to be reminded of all of the funky techniques I had once developed for using a medium and tool that's far harder to control than other cameras and film. Here's an image taken under a bridge in Pawtucket RI during the DOT AIR Experimental Music Festival.

View fullsize

Crooked scan of FujiPolaroid image taken during a set by The Eyesores at DOT AIR 2014.

Oh, crap, I never gave you my Summer reading list and Summer is almost over! I can't remember all of it, but here's what I can remember right now. Maybe it will end up retroactively shedding light on some project that hasn't been made yet...

• Mr. Benson by John Preston
• An unpublished novel called Fading Blue by an old highschool pal, Rachel Neuburger
• Stoner by John Williams
• A Tale for the Time Being by Ruth Ozeki
• Les Enfants Terribles by Jean Cocteau
• On Becoming a Novelist by John Gardner
• About 8 recent issues of the New Yorker
• Up Against the Fourth Wall: Essays on Modern Theater by John Lahr
• Making Your Own Days by Kenneth Koch
• An Elmore Leonard book about Somali pirates that I can't remember the name of

I promise not to make bullet points in next month's post. It's incredibly annoying and I know it. Sorry.

The Puppy Days of Summer

Greetings from the not-quite-yet-but-definitely-getting-there dog days of Summer! It's hot and mostly muggy, but it could be a lot worse. It could be August.

I've got nothing against August, I've just felt a special affection for the month of July since I got to know it so intimately last year...

Though it's hard to believe that anything could be more mellow than tanning on a rooftop in Queens, this July has so far been one of the mellowest I can remember. There's hardly any news to share, but here's what little I've got:

• Civic Engorgement is going moderately well. People have been excited about it and having fun interacting with it. I sold out of the first batch of "product" much more quickly than expected, but there hasn't been too much "consumer followup" so I don't know how many people have really put the pieces it into action. Still, I'm putting a little bit of work into it every week and will continue to through the Summer. If you're reading this and haven't sent in documentation of the edition you acquired, please do!
• I'm excited that two video pieces of mine are scheduled for inclusion in international programs later this year: one in a gallery exhibit in Berlin, and one at a conference in Melbourne. I'll fill in more detail later because I'm still waiting for a lot of confirmation around both of these opportunities. (And fantasizing about finding a way to accompany the piece going to Australia...)
• I've got no new projects on the horizon exactly, but am developing two ideas very incrementally. One is a long-duration performance piece that I've got all figured out but which I'm kind of scared to actually do. I am also not sure what the right venue for it would be. Here's the working title: And Just Like That, You Die. 'Nuff said.
• The other, which gets its own whole separate bullet item because it has a little story, is a long-term, large-scale project that I would like to do someday, but probably not any time soon due to the scope, likely expense, and possible impossibility. I won't tell you the working title because it's extremely offensive, but I will tell you that it involves working with naturally produced scents and that this July I've begun a very low key apprenticeship with a professional perfumer in an effort to develop the skills I would need to undertake it. I'm sure I'll apply them in some smaller scale way once I feel a reasonable sense of mastery. That's it. That was the little story.

So maybe I had more to say than I thought. Next time I'll probably have less. In that case, I'll tell you what my Summer reading list has been. That was my fallback plan for today.

What I Did On My Summer Vacation: Not Enough, Or Is It?

Hello. I'm writing from my Summer vacation, a no-budget tour of North Carolina, which I am trying to somehow use as a roving artist's retreat. It isn't working as well as I'd hoped it might, but it's not not working...

The time in motion and away from my usual routines is definitely stimulating thought. Tonight (it's 12:22am on June 19) I'm thinking about my art-work as writing-work (as opposed to my writing-work which is not art-work) and how to make it better writing. My bedtime reading, borrowed from the generous friends I'm staying with in Oak Island, is John Gardner's On Becoming a Novelist. It's serving as a reminder to me that no matter what form writing takes, it probably needs to have a story embedded in it to be compelling. Even if it isn't intended to be read traditionally.

The next step is to move this into the writing component of the piece I'm currently working on, Civic Engorgement. The mini-texts involved have been separate from one another so far, but I am thinking now about how to bring them closer together into a single story even though they will never be received that way. I think it would make the piece stronger even if no one sees it. I would like to somehow make Civic Engorgement into story about heroic things that people do as citizens of an international, time-spanning creative community to sustain an amorphous creative non-state that people can become citizens of by sheer willfulness regardless of where they actually reside in time and space.

I've been thinking about writing all month (see this month's Big Red & Shiny) but also am trying not to get too bogged down in it, and have managed to do some small amounts of work (see photo below) on the non-writing components of Civic Engorgement while in transit as well. Not the amount of this work I had hoped to do, but some.

Blurry vacation cellphone shot of a tiny speck of Civic Engorgement in progress.

I've also managed to see a little bit of art and am appreciating the art-sensibilities of the South as a nice change of pace from the Northeastern ones that I am most familiar with. A kind curator-friend in Chapel Hill showed me some interesting, thoughtfully assembled new additions to the Nasher Art Museum's collection at Duke University, and I was very, very lucky to get a full-building tour of Elsewhere in Greensboro. I hope to spend a bit more time there someday...

So four days and halfway into my Summer vacation, I haven't done as much work as I'd hoped I would (what was I thinking when I thought I would be able to work straight through a vacation??) but I am starting to see signs that taking some genuine down time might improve the quality of what I actually make. If I can get it made!!!

Going Live!

Folks, this is it! The long-awaited and oft-mentioned website revamp. Quietly launched as of today.

It's not 100% complete: not every page has been proofed, not every link has been checked, not every stylistic inconsistency has been weeded out, and there are still a few bits of documentation missing/projects not yet represented but it's functional enough to go live and covers at least the ground that the old one covered.

I'm not publicizing widely yet, but if you've found this, I'm taking feedback for ways to tighten and improve and if you see a typo, tell me about it.

Thanks for your patience, and whew!

—Heather

This is All of the Blog Content from My Previous Website

April 28: Transfer is Almost Done!

Hey y'all! I'm happy to report that the website transfer is nearly done. Or at least the bulky stuff is done. I'll refresh this within a week or so and add a link to the beta version (still need to find and delete a lot of dummy copy in the CMS before offering a public preview,) but documentation of the last 6 months of work is in there now and I'm also most of the way through adding the content that's currently on this site, as well as some older stuff and video that never made it on here. New site should be 100% live and replacing this one on May 15.

Meanwhile, I've got three things in the works, two of which open this week: An installation at Door 3, a funky gallery integrated into Broadway Bicycle School in Cambridge, MA. This is a collaboration with Liz Nofziger called Feelings and it's super weird. We've been installing it gradually so it won't be in it's peak state until May 8 or 9, but it opens officially tomorrow and we'll have a closing event at the end of May. It's super weird. Pictures to follow.

The other thing opening this week (May 3) is a show at Flux Factory in Queens, NY called YOU MADE IT. This is a group show featuring 2013 and 2014 AIRs from Flux Factory, and is also part of the very cool Open Engagement conference happening mid-May at the Queens Museum. I'll be licking people and writing reviews of them in a performance that happens twice during this show called Taste in Art.

I also have a long term installation project for Art Market Provincetown in the works called Civic Engorgement and just created an almost impromptu performance/installation project as a part of Sandrine Shaefer's Accumulation show at the 808 Gallery called Remnant Sale.

So a busy Spring....

More soon and can't wait to finally show off all of the recent documentation.

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March 28, 2013: Excuses, Excuses, and Works in Progress

I have finally started the transfer to the new website and (I swear!!) was planning to buckle down and do the bulk of it pretty much now. But got zonked with jury duty, and won't really get underway until mid-April. So now we're looking at a completion date of by mid-May (I hope?!?)

Meanwhile I've got 4 (as yet unnamed) works in progress!

One is an ongoing, experimental one that I'll do—am already doing in jury duty (among other places.) This one is a quiet, low key collaboration with the very fabulous Andi Sutton.

Another is an opening-date-to-be-determined, site-specific collaboration with one of my favorite-ever past collaborators, Liz Nofziger.

The third is a performance piece that will be part of a giant wacky show in NYC in May, and also included in a super-cool conference that I'm excited to attend called Open Engagement.

And the fourth is a very dirty solo project slated for this Summer at Art Market Provincetown. It will probably mean my giving up all hope of ever running for public office once its implemented. Not that I was considering that.

More soon, hopefully via a new interface next time!

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January 25, 2014: Acclimation

Hello! This is just a quick note to tell you what you're seeing on the main landing page since I haven't been adding new content to the site related to my most recent work.

You're looking at one of 30 limited edition DVD sleeves, made of a piece of canvas that I sweated on in the rain and the sun, day and night (well one hour per day or night...) on a roof in Long island City, NY as a participant in the SP Weather Station project. Enclosed within it is a DVD of a 23minute video made of 800+/- still images taken of this canvas every day after I lay on it to measure the weather, along with a soundtrack composed of weather data gathered by the weather station, a really weird song about the weather, and some interviews I did with people that month about talking about the weather. The sum total project, inclusive of the 30 day performance, the video and the limited edition custom DVD case is called Acclimation. I'll tell you more about it and show you lots of documentation when I finally get everything moved over to the new website. Ugh. Or I may try to put it in here even though I should really wait until I'm ready to move virtual house... We'll see.

Anyway, Happy New Year ya'll!

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December 20, 2013: Next Year's Almost Here...

Welcome to Winter! I'm going through a heavy alliteration phase. Bear with me. I've been writing for a living a lot this year and it's starting to make me more rhymey than I want to be.

Studio news:

1) The physical part of a piece called An Opportunity that I'm selling at the Flux Factory Auction at Art in General on January 15, 2014 is finished and delivered. If this is the top post on my news feed when you read it, then you will have just looked at a picture of it on the landing page. The physical part of the object is only part of the story. Here's the whole story and a button for bidding if you want to support the incredible work of Flux Factory and drive the price up a bit. It's a huge honor to be invited to participate in this show alongside some really heavy hitting contemporary art makers, and there is no gallery in NYC that I have ever wanted to have my work in more than Art in General's so even though it's only a one day event, I'm kind of over the moon about it.

2) Acclimation, the project that I worked on for SP Weather Station over this past Summer will be a part of a show opening on January 17, 2014 at The Center For Book Arts. All I have to do now is finish the piece! I'll post a video still or image of the packaging to announce my success once I achieve it.

3) I'm probably not going to make my original January 1 deadline for moving webhosts. I just took on some work-work on someone else's new website which means I'll be too fried on web-work to do it well at the same time. Which leaves this site in some limbo—I'm not filling out the back catalog or documenting too much of what's happening in the present. Just the news feed and the front page for now I think. Sorry!! Email if you want to know more.

But for now, happy holidays! May you be newly inspired in the new year...

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November 19, 2013: Moving Virtual House

Hello, hello!

This is just a brief posting to let those of you who read this know that over the next month and a half, I'm going to be moving digital house. I've loved OPP's hosting and style, but they've changed the way a couple of things are done, and I'm wanting a few features and some flexibility that they don't provide, so I'll be packing up all of my pixels and data between now and January and moving them to a different service. Time will more or less stop here between now and then, and then start up again once the transition is complete (I'm aiming for January 1—but will update here if things change.)

I've got a piece in progress in the studio now and I'll try to pop it up on the splash page here sometime in the next week or so just for a little visual variety.

More soon...
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October 30, 2013: Again a Long Break From New Web Updates and Writing Here....

This time, I think I have been more or less in the same physical space, but my mind has traveled a long path to arrive at writing here.

I've been having not simply the usual doubts about making my own artwork, but also a profound shakeup over the last month or so of the ground that I usually stand on in order to believe that making art is a reasonable activity. Part of my belief in making art (whether I actually get around to making it or not) is based on two things: That being a "real" artist means being deeply, complexly ethical and treating people in a way that is rooted in this. In other words, because I believe that artists have to create their ethics (along with everything else) almost entirely from scratch, I expect them to have very refined, uncommon ethics. The other thing that I've held as a fundamental premise of arts practice until recently is the belief that if one has the strength and vision to form oneself—one's way in the world—completely from scratch, every other possibility will emerge from this effort. It may take forever, but if you can form yourself, why shouldn't you be able to form anything else that you might need to have in the world around you?

I lost my faith in the latter idea at the beginning of this month when a so-talented, incredibly self-formed artist that I admired immensely during the several years that we traveled in the same circles gave up her life at the end of an exhaustive, unsuccessful search for a housing situation within her means in an overpriced city that she had grown to love. Here I'll name names in order to keep hers in circulation: I'm talking about Louise ("Lisa") Bufano. If someone that was this talented an artist and this strong a self-maker couldn't bend even one small corner of the universe to her will, I'm certain that I'll never be able to do it. Knowing that makes me doubt whether the path of making art is worth such constant bucking against the current.

My other belief, that "real" artists are somehow inherently ethical, came to a grinding revision this month as well. This October, I had one of the most dis-empowering experiences I've ever had in my professional life while applying to do some work for an accomplished artist whose work I had always believed was "good"—as in struggling to connect genuinely with audiences and...ethical. In this case I won't name names, except to say that this one is practically a household one. For the first time in my life—which has included job interviews at a few of the most faceless corporations in the world—I had the experience of having a lively, encouraging discussion about a role that I was very interested in, with zero followup or responses to my attempts to follow up afterwards. It was a revelation to me that an artist whose work often focuses on the nuances and potential cruelty of interpersonal communication could be less humane in a professional exchange than a commercial software manufacturer or a political lobbying organization. I was also surprised not to be reimbursed for my travel expenses as I have been in every other instance where I've had to travel to discuss work with someone. But as the saying goes "whatevs"—I don't expect artists to be big spenders. Just generous in the more important ways.

So, I'm mired in a puddle of existential doubt this month about whether artists can do anything at all any better than anyone else can, and therefore about whether being an art maker is really worth all of the hassle involved. I hope to find my way out soon...and actually...thinking about Lisa Bufano again almost immediately does reassure me. No other professional or commercial approach to her body's situation could have made a more amazing, beautiful, challenging, powerful thing out of it than she could as an artist. For the practitioners of all of the other approaches out there to even catch a glimpse of her vision of herself was worth her hard work in realizing it. That short blip in history opens up an important set of possibilities that now have a slim chance of being uncovered again someday. Ultimately, her work was an incredible generosity—a gift so humane that it easily overshadows the inhumanity of one artist behaving too dismissively for my tastes. It's a shadow so grand that it even comes close—but cannot quite cover—the inhumanity of unaffordable housing...

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September 28, 2013: This Post Took Roughly a Month to Write!

Wow.

I started writing this post on August 31st in Provincetown. I had just photographed the last two pieces of the Dead Drop project "in situ" and was trying to decide whether or not to participate in the 2013 edition of Provincetown's 10 Days of Art festival. (I decided against for this year...though I had a great site-specific proposal for Town Hall!)

Then I added an update here on September 6 when I was in NY to deliver and install my piece for the UNTITLED (AS OF YET) show. But I still didn't finish or publish it.

Now, I'm at home (though about to head back to NY again on Monday...) and have just mailed out the 30 minute video that Katrina Neumann and I made.

I've decided to erase everything that I had already written here and start with a clean slate, because I'm at a clean slate moment. I have nothing in progress, nothing on the horizon, and I'm not sure what's next.

Certainly a little more old stuff catchup on the website is in order (and will happen) and actually I do still have to finish my Weather Report before January, but beyond that, everything is a mystery.

This afternoon I had an urge to do something that required me to use my sewing machine... a project about trying to join two very different types of material together for a long time. I imagined a long strip like a zipper or a road, but not connecting neatly...verging off from each other and getting bunched in their efforts to synch up. I don't know if I'll make it or not and/or who would want to see it and where if I did, but it might be a nice thing to do to get into the studio and overcome the fear that I have of the sewing machine.

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August 17, 2013: Home Again, Arting Every Day

Hello, hello! I'm home in Boston! I just passed the 2 week mark which is the longest I've been home since April. It's nice to be here—I've been eating peaches off of my next door neighbor's peach tree, melons out of my own melon patch, and working feverishly on one art project or another almost every day since I got back.

Here's what they are:

I'm still subtly managing the very subtle Dead Drop project in Provincetown, MA. It's very, very subtle.

I've got wads of SP Weather Station material and data to process from my residency at Flux Factory, but am only just starting to sort through it.

I'm working most hard this week on an art piece/publication commissioned for a group show at Flux Factory in September called UNTITLED (AS OF YET) that's going to be pretty weird but hopefully cool!

And finally, I'm very casually putting time in on the post-production of a video documenting a collaboration between myself and Katrina Neumann called Doing Nothing Together. Though I should probably work less casually on it as I just discovered this very moment that she's featuring the project on the landing page of her website!!

So I guess I'll end here and get to back work. On my porch. In my hammock. Drinking homemade ice tea. With lemon balm in it from the garden...

A girl's attempts to simultaneously work her ass off and engage in leisure are never done! (And neither are the updates to her website.)

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July 6, 2013: The Updating Begins Now

Greetings from Queens, NY, my new favorite part of NYC!

I had no idea in advance how much I was going to dig the Long Island City/Astoria corner of the world, but it turns out the answer is "a lot". It's mellow and diverse here, and you can by pulque for under $2 a can in the tropical grocery store. It reminds me a lot of not just where I grew up, but when I grew up. I feel like I've stepped back in time a bit. It's also a good place to sweat, which is what I'll be doing here mostly.

A quick refresher about what I'm working on: I've been invited to be a Weather Reporter for SP Weather Station for the month of July 2013, and am doing so as an Artist In Residence at Flux Factory, where the weather station is based.

Most artists involved in this project get the weather data from their assigned month after the fact and do their interpretation of it at that point. My goal is to gather my own data, with my body, in real time, at the same location as the weather station. I'm sweating onto a piece of body sized canvas, on the Flux Factory roof, right below the weather station, and taking high resolution photos of the canvas afterwards each day. I will also be conducting some audio interviews with locals about the weather here, and hope to animate the photos to accompany this as a final product.

But the piece is really about discomfort—or the place where social discomfort and physical discomfort meet and cancel each other out. I'm interested in when people talk about the weather—how talking about the weather fills uncomfortable social space and how feeling the same things during extreme weather overcomes interpersonal distance and all kinds of social difference.

So that's the update on what I'm doing, but I'm also finally starting the process of backfilling this website TODAY!

Oh, and I've also got one more alternative-interpretation-of-a-vocation project on the agenda: later this month I'll be acting as a security guard, securing something TBD with a fine team of professionals at the Poets' Security Force.

A girl's work is never done!


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May 26, 2013: Still Behind on Updating Site, But Here's Some Newish News!

I'm writing this entry from the sunny city of Barcelona, Spain where I have the first good internet connection that I've had in several weeks…

I have still not brought the web content here up to date, but doing so is now officially on the schedule. It is one of several things that I will be doing while an Artist in Residence for the month of July 2013 at Flux Factory in Long Island City in New York. My main focus during the residency will be my Weather Report for SP Weather Station but I'll also use the focused time to catch up on all of my art-related work.

Two other brief pieces of news: I've got a small music video that I made being featured on Thrill Jockey Record's Website and the open call for submissions to a project that I'm working on called Dead Drop is closing on June 9, 2013.

Participate if you have the time, it will be a really fun project!

That's it for now, but more soon...

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April 20, 2013: No New News, But Some Old News...

It's April now, and like everyone else, I've been caught up in taxes. Oh and traveling a bit as well. So...there has been zero progress on the backlog of putting previous works into the website here.

But I realize that I never shared an arty piece of writing that I did in March here, so here's that to keep you warm for awhile. The Mattering of the Mattering of Matter: Some Non-Light Reading.

I also have a work in progress for this Summer now noted on the home page called Dead Drop that I'll talk about in more detail here soon.

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March 14, 2013: S-L-O-W + Beehive

Slowest New Year's Resolution ever!

I'm moving backwards in time (with gaps where I don't have access to any documentation at all) as I try to pull together pages on this site for each project. Got stuck for a long time at Seeing Red (too many pictures, resolution low in almost all of them,) and now I'm having a similar problem with D und H Productions. So many low-resolution photos, so little time... It's moving at a snail's pace. I'm stuck on the cusp of 2011-2012. Need to get all the way back in time to 2004 before I'm done.

Meanwhile, I will be participating in a performance called Festooning The Inflatable Beehive about bees, honey, art and community on March 17. Hope to update the home page photo with something from that next week. I've also been slowly building up a piece called Merge, but I'm unsure whether it will make it to prime time.

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March 12, 2013: What's Up on The Site and in The Real World

Oh wow, there's a bloggy feature in this CMS now!

Looking for updates on my slow progress at adding documentation of older projects to this website? You'll find 'em here! You'll also find updates and invites to everything that I have even a vague involvement with in the immediate future, starting NOW.

Enjoy!