1. Smithson mentions that entropy essential is a trending toward balance, how do you feel this relates to a creative practice’s trending toward completion?
I may be misinterpreting this question. For Smithson entropy essential is trending towards balance because we want to keep our world equal. We don’t want too many man made things, as well as natural things. We are attempting to keep our world from disappearing but at the same time need to keep it changing. I think as an artist our work is similar. A creative practice needs to be constantly changing but it can’t change to quickly as we are often prone to hold onto old habits, styles and techniques. In the same way we don’t want our creative process disappearing but need it to keep changing, and this dynamic informs its completion.
2. Having been written in the early 1970’s this conversation mentions both energy crisis and the derelict remains of floundering housing projects, are these issues specific to the cultural climate, unavoidable and ubiquitous, or a combination of the two?
Although this dialogue was written in the 70’t it could be taken into our modern context quite easily. These places still exist, and are still parts of our lives. I also believe they are a combination of both unavoidable and ubiquitous. The difference now is their cause. Our headlines now read economical crisis and housing decline. The issues are a constant but the causes are subject to the cultural climate.
3. Smithson mentions the an intention to sculpt the sides of the Niagara Falls to make it look less “man made” and more natural, how does this relate to idea of entropy?
This is our way of fighting entropy. Like what was spoken about during the talk. People are generally afraid of entropy, constantly fighting decay. They actually stopped Niagara Falls to fix not only the decay but also nature itself. It is an insane idea, but because we are always fighting with the balance of man v. nature, and decay v. pristine it was voted as a necessary improvement.
4. Do you feel that you relate more positively to work that is more idyllic or dialectic, and why?
I relate more positively to work that possesses idyllic qualities. I feel as though art is governed by hierarchical nonsense. A status has been placed on dialectic work as being more sophisticated and important, most of the time dealing with political, social or economical issues. There are enough problems in the world being dealt with in my opinion. I look at art as an escape, not only through the creative processes it but also from the viewer’s perspective. To relate back to Kim’s reading, we are faced with many many choices. I want art to take me to one place and give my mind peace. That is not to say I don’t enjoy being informed, but is it really arts place to inform someone?
5. What does it mean to skip order and start from a state of incongruity?
To skip order and start from a state of incongruity is allowing the process to inform the outcome. Starting out of order would ultimately disrupt the original plan and create something not necessarily understandable. I feel as though this relates to your work quite well actually, mostly because I don’t know your process at all. I have never really had a discussion with you about your work but the clocks seem to pull from whatever is going on that day, or last week, or what you ate or found funny. There doesn’t seem to be an order to you work. I know there is a connection between the objects on the clocks but I struggle to make it.
6. Why swim against the current?
According to the salmon that is how you get to the best place to have sex. I wonder if this question relates to you work? I feel as though your work fits pretty well into mainstream contemporary art. It has all of the necessary attributes: Witty, different, interesting mark making, uncommon use of object/materials. Most artists swim against the current metaphorically because it stirs people up. I don’t really think its possible to swim against the current anymore. People are to accustom to people trying to swim against the current.
7. What do you feel are the essential differences between being a conservative and being a conservationist?
Loved this question in class. They are exactly the same only dealing with different subject matter. Both are trying to keep an environment alive and well. Conservatives are dealing with a way of life. They are holding onto old traditions, politics, and values, and will vote to keep those all day and night. Where was a conservationist is fighting for, for the most part, a natural environment. The best part is they are both fighting the natural time line. The only constant is that things change. Natural selection/and adaptation is how a species or environment survives or dies. This is just a case of fighting entropy on both parts.
8. I decided to include several readings, how do you feel that relates to my studio practice, and why do you feel I do it?
I think this is how you make-work. Your work is not necessarily opinion but it is facts. Lots of facts compiled into one piece that at times can be a little confusing but they are all connected even if only in a small way. When you spoke you talked about not wanting to form opinions necessarily but only wanting to take in facts to know what is going on in the world. This is how your pieces present themselves. One clock with all of these objects attached to it. Like your mind rolls around and picks up little bits and pieces of everything.
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