No Pomo

Member Since May 4, 2010

In the focus of my praxis I start with the audience, the viewers reception is the most important factor in determining the larger cultural meaning of your work. It's important to me that I reach an audience with an intent that will be inferred by the viewer. Post-war art was the birth of modern abstraction, which was a fear of depiction and a fear of telling the viewer what to think or do. It was a nihilism birthed out of the sombre aftermath of fascism and it's use of language and the image. Slowly the art-world reconciled and slowly began to recuperate the use of narrative and realistic images but it was never the same. Fractured and dialectic works continue to be the most useful in making work that both states something without enforcing a violent intention to the viewer. This importance of the nihilistic conversation is the birth point of my aesthetics. George Bataille's theory of "Icarian" telos, a realization that the more you learn and the more you can do, the more you burn yourself with this knowledge and render yourself useless unto the public who can not seize this information, plays an important role in how I navigate the world of cultural production.More and more I try to compress ballistic information into digestible radical pills. Compressing information creates a loss of nuance though I work towards developing my own codecs that allow for free roaming radicality. I reach for a Nick Landian acceleration collaborates with the exponentiation of communication to an anti-bodily stasis forcing a utopian conclusion, remapping the hyper-information dromosphere that dominates cultural influence. (Cyber-punk myth-political jabber) The utopian vision is always a tongue-in-cheek metaphor for religious subversion that functions to communicate information to the mostly christian minded western hemisphere. (All disaster films, dystopias, etc. are serviettes to the notion of rapture.) It is important to not be complicit to this absolving system to the viewer, but to take what's familiar and present a non-rapturous projection of our world. The average dark narrative or image is not dark at all, if any thing it is designed to make the viewer exempt from the issues of our world. I'd rather make a step to making the media consumer feeling complicit to a destructive system and potential get closer to a stasis of actualization.
This seems to be reaching conceptually, and grabs little.
I love tubing, and I love Situationism, but this seems rather exploitative of both.