Wednesday, December 30, 2009
Chicago
“It is by going down into the abyss that we recover the treasures of life. Where you stumble, there lies your treasure”-Joseph Campbell
Since my arrival in Chicago, I have been trying to fall in love with this city. It was easy to fall for the alleys, and the reflection of light bouncing off of the puddles after a summer storm. Riding my bicycle down the Lakefront path. Building and collaborating on shows with my company. Teaching performance programs in the city schools. Exploring art, music, and sudden friendships in a fertile, if random, ground of influence and opportunities. I had believed to have committed myself fully to the quest for love of this city, despite the fact that one foot was always poised in either retreat or advance. Perhaps I had truly committed myself to falling.
The first time I visited Chicago was in 1994 for a Women’s Studies conference at Depaul. I was brought in as an actor to play Virginia Woolf in a play that had been written by another Wooster student, and had won some kind of award. I didn’t think much of Chicago-it reminded me of Cleveland, which, at the time, wasn’t a horrible association. Cleveland had been in a resurgence and beautification decade. Jacob’s Field was still new. Tower City was still current, and the Flats still had an array of clubs. Cleveland was a little bit pretty. The area of Chicago we were being housed in was seedy, so I didn’t have a huge impression of Chicago, necessarily. We didn’t even drive through downtown. I don’t remember Lake Michigan any differently than I know Lake Erie. Chicago=Cleveland, which was fine. No harm, no foul. I knew Cleveland, and was fond of Cleveland. Chicago didn’t offer anything new to me. I was at a conference. I didn’t feel that I had an opinion.
I did form one. It was while watching Saturday Night Live in the hotel room with Blind Melon as the musical guest. Shannon Hoon loped up to the microphone and mumbled, “This is for Kurt Cobain.” awkwardly. My first thought was that he was being snide and playing off of the common tone in the grunge days of calling another musician a sell out, or Kurt Cobain was dead. I couldn’t figure it out. It was clearly one or the other.
Kurt Cobain was dead. I had another association with Chicago. It was in a hotel room, and watching a television screen, confused and hoping for sarcasm, rather than remorse.
Years later, as an actor traveling and exploring residencies and contracts, meeting new sudden friends and cohorts, I heard about the storied potential of Chicago. Many of my friends aspired to live and build a career there, and it was presented as a wonderland. I was already based in NYC, a city I loved, and had no interest in Chicago. If I left New York, it would be for Los Angeles. In my mind, New York had theatre and Law and Order. Los Angeles had film and television. I grew up in the Midwest, and had no interest in returning. I had New York waiting. I had Los Angeles looming. First things first, especially while still in my 20’s.
At 26, I began planning my move from NYC to LA. I took a year to canvas, establish contacts, save money, and transition my tone. I wasn’t unfamiliar with LA, as my grandparents lived in Long Beach, and from five years old on, I had spent many holidays and vacations out there. Many memories were built and fantasies borne of those trips full of Seal Beach, Marina Del Ray, 70 degree Christmas’, back yard lemon trees, and morning feedings of the neighborhood rabbits. As a child, Los Angeles represented the dream world I would one day own, posted in snapshots of palm trees and beaches amid my Sassy Magazine posters of Johnny Depp and Christian Slater that decorated my bedroom walls at my Father’s house. As I grew older, went to college, and accepted opportunities, I found myself in New York City, hopelessly in love, training at Strasberg, and surrounded by constant amazement. Childhood memories and palm trees didn’t stand a chance against swollen stories passing by, towering in architecture, rooted in the frames of the sheer mass of people ebbing along, aware and blinded by the atmosphere of Everything. The Chelsea Hotel. Leonard Cohen oozing from every pore of the city that begged to be explored and trodden.
When I decided to leave New York, the dream of California was clear, and waiting. I did have the anticipation of training, the desire to work in independent film and television, the fruition of a few friends from my traveling actor days, NYC, and other places along the way. I had even struck up a romance with a friend from high school. Most importantly, though, was the energy of starting anew-exploring the landscape and opening up my path to the cliff’s edge, all the while admiring the view.
My final trip to L.A., before actual relocation, was a two-week stint to find an apartment. Knowing I’d be living the La Boheme life as a n actor again, I had staggered my connecting flights in Chicago to spend the weekends of travel with my best friend from college, Heather, who had been in Chicago for a few years. The Chicago I found on the first weekend en route to L.A. was drastically different from the “It’s just like Cleveland” Chicago I remembered. Nights were long and oddly glamorous, filled with champagne, martinis, laughter and late night runs to the lakefront. Days were filled with brunches, music, hilarity and art. Sleep was minimal. New friends were immediate, to the extent that a group of newfound friends stole my keys on my last night, trying to convince me not to go out to Los Angeles and to stay in Chicago. It almost worked, as when my flight was scheduled to take off at 8:30 am, I was still searching for the hidden keys. Part of me hoped I wouldn’t find them. Luckily, the flight had been delayed, and I did not miss it. I slept for the entire weekend on that flight. In that sleep, I recognized something I hadn’t expected-I was completely infatuated with Chicago. Who knew? Chicago raised my eyebrows and pushed my pulse. But I had already put my plan in motion, so that city was to be nothing more than a “what if?”
I got to Los Angeles, settled myself into the Holiday Inn in Hollywood, immediately took a nap, and slept through a mild earthquake. I had plans to meet up with the boy I’d been seeing, but he was insisting I drive out to Burbank, which I was not intent to do, having not driven in five years, and didn’t know how to get there, and frankly, found his whole demeanor a little rude. I cancelled the plans and opted to do some writing at the hotel bar, where I quickly fell into conversation with the bartender. We spoke of New York, the business, and all of the typical stuff. Then we came to the subject of Chicago, and she kept saying, “You know, I wish I had known about Chicago.” And my heart twitched a bit with the wonder if I was making a mistake in considering only two cities in which to play. I guess that is what usually happens when you walk away from infatuation. You wonder.
I woke the next morning to my hotel phone ringing. I had assumed it was the boy, calling to apologize, but it was my friend Carrie, calling in tears, telling me to turn on the television. This is where this turns into my September 11th story. Sitting alone in a hotel room in Hollywood, watching the literal world I had just left crumble as it would in a big-budget movie blockbuster.
Dumbfounded. Helpless. Confused. Horrified. Alone. Really, really, really far away.
My phone rang again, and this time it was the boy. He was laughing, shouting, “Are you watching this?!?Fuck New York!” I never realized what a terrible judge of character I had been.
Devastated. Cut off. Alone.
I tried to call everyone back home, but my cell was out(as it would be for another week or however long it was). Luckily, there was a youth hostel next door with internet, so I was able to get in touch with friends and family that way, and account for everyone I could. But there wasn’t much I could do, that far away.
I’ll spare the rest of the story, as it’s another entry in and of itself. I hid in my hotel room for a few days, trying to make some sense out of anything, and eventually came to “live what you love.” “Follow your bliss,” It was the only thing that made any sort of sense, and the only perspective I could muster to take a terrible tragedy and tie a makeshift rudder of hope and direction to it. It happened. Now what?
I spent my two weeks out on the West Coast, half-heartedly looking for an apartment, but had already decided that I couldn’t stay out there with family in Ohio and a life in New York. I decided to take my staggered return weekend to find an apartment in Chicago, which was easy to do. Rather than move to L.A., I moved to Chicago, intending to stay there for a year, until things settled down, then either move back to New York, or go out to L.A. again. I was still jumping off of the edge of a cliff, still admiring the view. This one just happened to be a little chillier for 6 months of the year, and offered opportunities other than the ones I had been surveying. Adventure always wins.
I came to Chicago in an unexpected transition stumble. Chicago was a treasure- a worthy crush that lived up to its promise of amusement, discovery and wonderful distractions. I had moved into an industrial loft space in the West Loop with Heather’s brother Jaime, and his punk-rock-hairdresser-from-Seattle girlfriend, who was absolutely insane, and kind of wonderful. We renovated the entire space in a free-form artists loft over the next year. Old friends, whom I never thought I’d see again, began appearing everywhere. The music scene was amazing, vibrant and contagious. Amanda, a friend with whom I had toured with the Rocky Horror Show years back, had just started a theatre company(She will say it’s “Interdisciplinary,” but I think that is redundant-theatre is, by nature, interdisciplinary, and we were, essentially, putting on plays in the first few years-check us out now at www.stridinglion.org---plug,plug. Wonderful company!), Striding Lion, and I had signed on for “Cowboy Mouth” as the producer, costume designer, assistant director and understudy(starting up companies=many hats). Summers were amazing. Winters were long and brutal. Work was constant.
With “live what you love” as an impetus for discovery, I soon found myself as the growing artist that had twitched and turned in discomfort during my time as an “actor and that’s it,” which led to the “actor turned restaurant general manager with stable income and health insurance” that led to “actor turned general manager turned bar manger/teaching artist in Harlem and Washington Heights.” Chicago became a playground of building identity and taking earnest chances to explore what truly drives me . It was within this city that I was able to bridge the connections of wants, desires and tuggings of my 20’s and early 30’s into a perspective that broadened into a path that makes sense.
With the breadth of this path before me, the foot that has been poised for years is gaining weight and momentum to continue , strengthened by this city, and all that it contains. I may not have fallen in love with Chicago, but I am reverent to the honor and freedom to explore that this city has granted me. It is certainly a treasure.
Thursday, September 10, 2009
fuck the couch
Towards the end of my Columbia experience, an esteemed professor of mine mused that he "laid on the couch for four months" after finishing grad school and his thesis. I laughed in appreciation at this and found myself conflicted-lay on the couch for four months?!?! With all of this momentum? That's not how I work! Oh, but the couch does look comfortable...
Saturday, May 30, 2009
The culmination of the thesis exhibition of Loss is Expected occurred on Friday, May 15th, 2009, during the Manifest Festival at Columbia College, Chicago. In keeping theme with my deconstruction of performance and production, my previous performances in the installation were minimally advertised, and used to alter the space, rather than entertain an audience. Audiences were unexpected or coincidental, and often unaware that performance was going on whatsoever. Prior characters were subtle and completely pedestrian. Mad Lady Libs was the breaking of this rule in my performances. She, too, was minimally advertised, but her costume, make-up and distance from a pedestrian evocation made clear the performance element. Clearly, she is a character that belongs to Loss is Expected. Clearly, she is a familiar icon, skewed. Clearly, as she will tell you, she is on vacation, and she is very excited to see and be seen, watch, and be watched, divulge and be divulged, solve and be solved.
1) Noun- something personally sacred
2) Plural Noun-can be anything
3) Noun- something that contains something
4) Noun- collective group
5) Noun- Powerful entity
6) Noun-personal ideal
7) Noun-Personal ideal
Once the words are in place, she asks the crowd to place their right hand over their hearts, and repeat after her:
I pledge allegiance to the –1—of the United –2—of America. And to the –3—
for which it stands, indivisible,one –4—under –5—with –6—and –7—for all.
How does this character relate to Loss is Expected?Simply. She is who she is. She was built with one common goal and reminder of optimism, ideals and growth. Layered with waste and reflection, her reason for being is still proud and clear. When she doesn't make sense, or seems odd, it adds a cautionary tale to those who observe, which an observer can accept or reject. She is both a reflection and a nurturing entity, always seeking, always persevering.
The evolution of this character stems directly from my childhood. The only art contest I've ever entered(it was unbeknownst to me-a school project) was in 5th grade. It was a poster contest for the Kent Junior Women's League(oh, god, the field day I could have with that title, alone). The contest was to create a poster under the theme of "I Love America" and go from there. I drew the Statue of Liberty with little comic book thought bubbles surrounding it containing what I had been brought up to believe as the benefits of living in America: Food, Wealth, Clothing, Happiness, etc, etc, etc. The poster wasn't good, by any means, but it won 2nd place out of 100, and I got a free pizza and $10!!! Apparently, the poster was submitted to a state-wide competition. I never saw it again.
I probably wouldn't remember any of this, had not one one of my teachers laminated a newspaper article that had been published in The Record Courier and given it to my mother(she was the school psychologist for the Kent City schools-and is now a fantastic watercolorist in Cape Elizabeth), who then kept it until she and my stepfather moved to Maine, and it ended up in a package sent to me, just before I started grad school in 2007. In 2007, I found it absurd, hilarious and sweet, and gave this carefully laminated photo of me in a pinafore dress and a mullett at age 10 a permanent place on my refrigerator, as well as a reminder of the icons and signs that are both driven into you in youth, and chosen as you grow older, wiser, and wanting to remember those familiar things and events that you can't quite place, but form your identity.
Cross that(much like the initial cross in the tarot readings given) with the recitation of the Pledge of Allegiance that we were trained to recite with a loudspeaker and a principal when I was a kid, and the manner in which we'd play with the word "indivisible." In my experience, we were trained and rewarded for learning our patriotic renditions. But the fact of the matter is, we all live our lives, and recognize where we are, where we are going, and the place we personally land is not built of what we have been told, but of how we choose to play the games presented, and interpret the rules. Even(especially) as kids, we tried to play with the rules given to us.
I chose to work with the Statue of Liberty because she is beautiful, specific, stoic and a common thread between my process of growing up, ideals, and hopes for the future. I can't dismiss that she is an island(much like my own personal musing that "Joan of Arc Island" in NYC is a median on Riverside Drive), a myth, and an aspiration. So, I humanized her. I gave her a home and a dowdy outfit, carefully and lovingly constructed, and a personality that is hilarious, concerned, welcoming and out of time.
On May 18th,after the performance, I returned to NYC to visit friends. As I clumsily tried to explain this particular character to Brandon, who is a video artist(an amazing one, in fact)in Brooklyn, he rather incredulously asked, "Karen, do you know where the Statue of Liberty's gaze falls?"He then told me of the statue of Minerva in Green Wood Cemetery, in Brooklyn, at the site built to commemorate the Battle of Long Island, August, 27, 1776. I did know this, given my past Statue of Liberty research... but I had forgotten. Visiting this monument of Minerva raising her hand in an acknowledging wave to the monument of the Statue of Liberty, torch high and resolute, accentuated the inclusion that I sought to extend. Liberty may be an island, but she is seeking connection. That's her point. that is why she embodies the American dream.
Memory is amazing to me. As are facts, and the games we play in which to join the jumble that has been spread out like a carpet of reminders and cautionary tales. Loss is Expected is my first public foray into playing with my personal past and the history that built the history that will continue to define the past. It's playful, stark, layered and constantly influenced, easily overlooked, and equally enigmatic. I approached this installation as I have done with characters as an actor. It's intensely personal, and shamelessly overt.
None of this was expected. It makes total sense.
xo,
K
Thursday, May 14, 2009
5/11/09
Title:What of today?
Friday, May 8, 2009
Pandora-May 4th, 2009-Loss is Expected
"They're worse than the brown shirts and the communist element and also the night riders and the vigilantes," Rhodes said. "They're the worst type of people that we harbor in America. I think that we're up against the strongest, well-trained, militant, revolutionary group that has ever assembled in America."
Unknown speaker 1:"Suddenly, they turned around, got underneath, as if they were ordered to, they did it all together, aimed. And personally, I was standing there saying, they're not going to shoot, they can't do that. If they are going to shoot, it's going to be blank."
Unknown speaker 2: "The shots were definitely coming my way, because when a bullet passes your head, it makes a crack. I hit the ground behind the curve, looking over. I saw a student hit, he stumbled and failed, to where he was running towards the car. Another student tried to pull him behind the car, bullets were coming through the windows of the car.
"As this student fell behind the car, I saw another student go down, next to the curb, on the far side of the automobile, maybe 25 or 30 yards from where I was lying. It was maybe 25, 30, 35 seconds of sporadic firing.
"The firing stopped. I lay there maybe 10 or 15 seconds. I got up, I saw four or five students lying around the lot. By this time, it was like mass hysteria. Students were crying, they were screaming for ambulances. I heard some girl screaming, 'They didn't have blank, they didn't have blank,' no, they didn't."[19]
0.Jeffrey Glen Miller 265 ft (81 m) shot through the mouth - killed instantly
0.Allison Krause 343 ft (105 m) fatal left chest wound
0.William Knox Schroeder 382 ft (116 m) fatal chest wound
Sandra Lee Scheuer 390 ft (120 m) fatal neck wound
0.Joseph Lewis Jr. 71 ft (22 m); hit twice in the right abdomen and left lower leg
0.John R. Cleary 110 ft (34 m); upper left chest wound
0.Thomas Mark Grace 225 ft (69 m); struck in left ankle
0.Alan Canfora 225 ft (69 m); hit in his right wrist
0.Dean Kahler 300 ft (91 m); back wound fracturing the vertebrae - permanently paralyzed from the chest down
0.Douglas A. Wrentmore 329 ft (100 m); hit in his right knee
0.James Dennis Russell 375 ft (114 m); hit in his right thigh from a bullet and in the right forehead by birdshot - both wounds minor {died 2007}
0.Robert F. Stamps 495 ft (151 m); hit in his right buttock {died June 11, 2008}
Donald Scott MacKenzie 750 ft (230 m); neck wound
"I think that the guardsmen were provoked beyond reason. I believe that we used every conceivable effort to get the people to disperse and to move, long before the formation moved up to the hill. And we regret this as much as anyone, that people were killed and wounded. We even regret the fact that it was necessary to be here."[24]
Friday, May 1, 2009
Text for Constance: Key to a state of emergency-as performed May 2nd, 2009
Lately I feel as though we are in a constant state of emergency. Travel, finances, trust, safety, history. It’ as though we’re on a constant quest to find that one particular key in the jumble that has been collected and set aside for a later date or time. And the time is now, so we fumble to find our keys, only to find them unmarked, uncertain, or lost
Keys: The last bastion of safety in a carved form that is still as common as communication. A key allows entrance into protected spaces. It is used to add human protection for places of concern. We twist them and turn them, to know that we are safe and have created safety for the space we have left. Keys are carried on belts, chains, in purses, pockets, and forgotten until needed. In a state of emergency, they can be positioned between the fingers as brass knuckles that you hope to never use. Keys represent security. They are as multi-faceted as the dips, grooves and divets that define them.
Keys also represent trust and responsibility. No matter where or how I’ve wandered, I realized that I accrued a collection of keys. How do you dispose of them when they are done? Businesses once worked for, friends emergency keys who later moved, exes, school restrooms-they all add up. They all add definition, and can’t be tossed away without some sense of discomfort. They deserve suspension.
There are keys to getting to know someone.
Keys to getting to know yourself
The first key is as simple and unmistakable as your first home.
My first home, we were taught in school of captain Brady
And his brave leap across a great gorge
In a state of emergency
To escape those who knew the land, having lived there for years.
Native Americans who pursued him along the river
Captain Brady hid in this river, and breathed through a reed
That I’ve never seen growing
But it’s history, right?
It’s what we were taught
We took field trips to visit burial mounds
In Towners Woods
Above Lake Pippen
Where the Hopewells laid their bodies to rest.
There were mysteries in those woods
And talks of hauntings
rituals
Pranks
At the site where our senior and prom pictures were taken
Grins frozen in time
And a Baptist church at the base of the hills
Where they sent their kids to abstinence camp
And consequently learned about sex
And none of it made any sense
How it all worked together.
It just did. It just was.
We joked about the river that ran through our town
The same in which Captain Brady hid
And the Hopewell’s fished, hunted, traveled and rested
And the industrial waste from another place that caused it to famously burn.
All of this pales in the history in May
39 years ago today.
When a state of emergency was declared
And Rhodes, a governor, called in the National guard
To silence the response to a war that had raged for far too long
Too far away
It seemed so unfamiliar then
To protect a town from its own.
A week ago from today
The SWAT team was called into my hometown
What Ive heard is that is was to end a party in the streets
And the panic that ensued
With burning couches and drunken angry mobs
throwing stones and empty bottles
Receiving pepper spray and battalian rounds.
Seems so unfamiliar?
An absurd re-enactment
To make national news and national play.
Because this place was once
a site of protest and confusion.
On the fourth day in May, just before noon
Escalating frustration
That was disregarded until it became a mistake
Friendly fire
Victims in transition
An example turned answer
A new definition for a known space
Divets, painfully carved curves.
Recognized as an identity
To deciding the next course
Of protection and safety.
39 years ago today, a state of emergency was declared.
Two days later, lives were lost.
And a town became notorious.
It was given a new key.
A new tone.
One that continually dangles and unlocks
Pursuit, anger, comfort and tragedy
Hauntings
Rituals
pranks
Those of us who grew up in this city
Take our keys seriously
And remember them well
With protection and responsibility
As guardians to the next step
Unlocking the next new thing
That keeps us in the game.
I’ll be here on Monday, just before noon
Searching for the key to quell the state of emergency that colors
Our constant orange alert
And to honor those who have carved the dips, grooves and divets
That unlock the next twist we choose to turn.
Saturday, April 25, 2009
Loss is Expected-games and playing
I tried not to stalk my piece, which was rather impossible,because I am primarily a performer, and I want to make things easy for an audience. But that is not this piece. This piece is a challenge. I eventually gave in and watched from the periphery. I wanted to see how people interacted with it, or if they did.
Observations on opening:
1)Everyone recognizes a pinball machine and bright colors. This inspires grins, nods and moving by to get to the more "serious" work waiting around the literal corner, in this case. It also inspires return for closer inspection and raised eyebrows. When I began this process, I did so with creating definitions of these elements to which I was attracted. The initial idea was to play with a photobooth, which is still integrated in the piece, but it's limitations were in the breadth of the theme that I hadn't gotten to yet. Photobooths were my gateway drug, and the definite personal place with which I identified at the beginning of this process.
Photobooth: A formulated private space with a plastic, uncomfortable seat, an awkward curtain, and a money-feed which may, or may not, accept your crumpled dollar bills. Once the money is fed and accepted, the subjects have no control over when the photos are taken. There are four, and expressions can change with each frame. I see it as a confessional of moments. It is an isolation chamber, with no background other than a white wall, but the image is disposable,In WWII, soldiers would send home photos of themselves to their loved ones. Now, photobooths are found in bars, arcades, them businesses and amusement parks. There is nothing to these pictures other than the pose that you try to to catch, with limited control over when or how the photo is taken, in succession. The fun is in the waiting, then the result is a grainy, streaked, distorted and imperfect, working more with shadows, rather than definition. Subjects are caught in categories.
As I played with the idea of photobooths, I continued into the sense of immediate recognition,distortion and temporary expression posed and frozen in time in a form that can go anywhere-tossed away, sent to a loved one, ripped into pieces to be shared, discarded, shoved in a wallet, or forgotten, until surprisingly discovered once again, and that isolated moment which occurred in this sterile space is suddenly alive again, despite(or because of) it's crass, grainy and distorted features.
Clearly, I still want to do a piece based on photobooths. But not while I'm in grad school. I want to use a real photobooth, and they are just expensive. Need funding!
Again-the photobooth was a gateway drug to explore recognition, amusement and my own journey thus far in the qualities of the definition I had created. Pinball was a clear choice. It's my favorite game. So I created a definition:
Pinball: A game of controlling chaos, using both skill and chance. A ball is propelled into an obstacle course. The player, once the ball is activated, can only control the flippers to bounce the ball back into a game of snaps, isolation, bounces and over-stimulating triggers-lights, sounds, catch-phrases and illogical point building. The most important strategy is to keep focus and position the bumper flipper soas to catch and propel the ball back into the game, staying alive. No one wins the game. Points are registered, but the ball always slides in between the flippers. Satisfaction comes from endurance. Loss is expected.
The frame(and title) of this piece quickly became clear, and I am happy with it. It is clearly recognizable, quickly passed up, and returned to for inspection...Yep.I saw that. Good.
2)Thank goodness for children, and their ability to seek amusement, and create it where they want it to be. They want it to be everywhere, but are in constant conflict of being pulled back and encouraged, not unlike that whole quest for identity thatis a lifelong mission. There were a couple of kids who came with their parents to the opening. They clearly were aware and respectful that they were at an art opening with their parents, and were very careful about being on good behavior. Kids are awesome. As their parents explored, the kids kept coming back to L.I.E. unsure of what to do. It's clearly a playground, but were they allowed to play? As I stalked my own piece, I watched them stalk it, too. One of the kids was the child of a professor of mine, and this professor knows my work, and that I want it to be played, so she encouraged her child to do so, which was great. Once she had free reign, her child started making up rules, and reacting to the given rules, which were ambiguous. And it all worked perfectly. This kid played the games, respecting the rules given and making new ones at the same time, striving to win, and working an optimism that is often forgotten or cast aside. This kid then became a leader to another child who had been watching, waiting and wanting to play.As the games were being played, other elements of the piece started gaining weight. The sound piece, which constantly runs, started infiltrating into the game, as well. I nearly jumped for joy when this child turned to her parent and said, "Hey, the lady on the radio knows what I'm doing and what I'm thinking!" I think that's an awesome success.
3) At the end of the night, I got a rainbow!!! What luck, great coincidence, and subtle agreement to my insistence of building this piece around a window. I could, and have, gone into all of the reasons of extension, meditation and the easy association that having this window overlooking Michigan Avenue and Grant Park offers, and weather conditions are a big factor, too, but a rainbow? I don't think I've noticed one in years. how lucky!
As i head into the next phase in this work, I am excited. Thank goodness I don't feel like it's done.
K
Thursday, April 23, 2009
Loss is Expected-the depart-mental walk through
Wednesday, April 22, 2009
Loss is Expected...a working rundown
Karen Louis's physically interactive installation Loss is Expected maps the artists personal journey of discovery as told through stories of turbulence and transience in a city sphere. Both playful and melancholic; arcade games, text, sculpture and performance spin, swing, block and dictate movement through a landscape that shifts between an urban playground and solitary confinement.
The simplicity of building begins with getting up
Some time
We get up and begin
an afterthought
an alarm
the impetus of movement to stay alive
discover what is waiting
Weighted in discovery
get up
go
move
fulfill tasks
set goals
move
contort
shift
hope
transcribe
transpire
grow
settle
assess
hope
wake up
sleep
dream
hope
this is going to get better at some point
Isn’t that the point?
progress
grow
adapt
hope
anchor our roots
spin and swing and laugh off
That which ties us to the ground
Leaded boots
Cement overshoes
Steel toes and wounded woes
Keeping frivolous fantasies firm
And weighted circumstance learned
Reminding us what of we know
About anchoring roots in pavement
They just don’t stick
------------------------------------------------------------------------------------------
The end begins with this:
A wink
A nudge
A promise
A lark
A deeply rooted identity
Unaware that the roots reach
The areas they touch.
A moment of wonder overwhelms
Gripping hands and tightened thighs
That build themselves into a grasp beneath a chin
And movement moves into applause and awe.
Then comes the digestion
Shortness of breath
A separation til part do us death
Staring at the happening
Of a somber cool
Confidence and collection
And the power of the promises made
To follow through to this end
That begins with this :
A wink
A nudge
A lark
A promise to grow old before growing wise
A nudge of building identity
A wink to know that it is time
To greet this end
That begins with this
--------------------------------------
V/O to city soundscore
Welcome.
Please take a seat.
Relax.
Close your eyes.
Breathe.
Breathe.
Breathe.
Relax.
Congratulations.
You’ve made it here.
Open the curtain,
See how far you’ve come.
It’s okay if you are not alone.
It’s better that way.
It’s okay if you are alone.
It’s better that way.
See how far you’ve come.
Breathe.
Breathe.
Relax.
It’s okay if you are confused.
It’s better that way.
It’s okay if you are careful.
It’s better that way.
there is no need
to look up
Like a tourist
In the land that you chartered and swung through
With ease
There is no need to look down
For fear of missing the next big thing
While watching your feet walk.
That would be silly.(breathe)
There is no need
to look back
And hold yourself to the
Last blasts,
Heavy hands,
Anchors,
Grasps,
(breathe)
That hold you fast
(breathe)
to the ground
(breathe)
(breathe)
(breathe)
(breathe)
It’s better that way
Saturday, January 31, 2009
Down and dirty...
Thursday, January 15, 2009
Baby, it's cold outside...
So...my thesis semester is about to begin at Columbia, and I've spent much of the holiday season working with the dynamics of my thesis proposal, which goes a little like this...
Thursday, January 8, 2009
And then...
None of this has anything to do with art.
I've been making some.
I've been working on the CD art for the upcoming Striding Lion album...The first is the wingspan for the interior of the CD case
Next is the cover-collage is clearly the deal here
And my thesis is still coming along. The title is "Loss is Expected" and focuses on that uncomfortable/euphoric time of transition that leads all of us to our next step, no matter how ambiguous or succinct it may be. My inspiration spans a few years and a couple cities. I've designed it as a walk-in pinball machine/photo booth/journal of experiences. It's an extremely personal piece, but much of that personal exploration has been found in a public aesthetic, so it makes sense in an awkward, weird and accessible vein...at least that's the plan. We will see how it goes