Archive for July, 2009

We came across this artist via another blog entitled We Love You So, a worthy blog to read if I ever saw one.   I haven’t taken the time to watch all of his animations, but I’ve already concluded that if I were in this field, he would be a prime source of inspiration.  The geometric aesthetic has never been taken to such heights, nor used so dynamically as in his video, The Seed, embedded below.  I agree with the comments made on We Love You So, mainly that this is precisely the kind of imagery and educational art that we should be showing to children, and everyone else for that matter.  To see more of his videos, visit his vimeo page, and I implore you: share share share!

**Ok, so for some damn reason I am not at the bottom of, the video will not embed here, so you must follow the link below or above.  Thank you for your patience and understanding**

The Seed from Johnny Kelly on Vimeo.


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From the Satorialist:


 Is it from the 60s?  The 20s? A Victorian under garment?  These days I can never quite tell.  Wherever it came from, it’s taking the maxi dress to a whole new level.  And that level looks really comfortable. Oh I wish I were taller.



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Because I liked the “analogy” of a poem barreling through the sky like god’s wrath towards a poor farm girl.  And I’m impressed with Gilbert’s style of speaking – no note cards necessary.  Plus all the other stuff.. 





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Richmond, Virginia artist Allison Andrews softens her voice so that her work may speak for itself.


I was first drawn to Allison Andrews’ sculpture installation Zen Garden, pictured above, due to the piece’s ironic profundity.  The juxtaposition of a Hummer frame with a Japanese Zen Garden speaks volumes about the globalization of cultures and the influence Eastern philosophy has on the West.  In short, I saw it as peaceful commentary, a quiet reflection of commoditization and spirituality, begging our own questions of meaning and purpose as we advance into the future.

After meeting Allison, I discovered that my interpretation was not far off from her own.  I also learned that, for her, the success of the piece was simply that it made me think.  While she has strong concepts which lead her in the beginning of a project, she feels strongly that ultimately, her responsibility is to the viewer.  When creating, the first thing cut away is her opinion, allowing the work to speak for itself, and leaving the viewer to interpret freely.

Through the use of iconic images, Allison is capable of creating juxtapositions which suggest meaning to the viewer, rather than spell it out.  Minimal amounts of information are best, considering that during the artistic process, she finds herself forced to go with the flow.  The artwork often takes off in its own direction, becoming something completely different from the original concept upon completion.  In her work, she must leave room open for the message to take its own shape, empowered by her choice of materials and her technical skill. 

Humbly, Allison told me, “I don’t know why I make the stuff I make.”  It is as if the art is using her as its means of manifestation.  “Anytime I force anything, it doesn’t work.  Anytime I cling to anything, it doesn’t work.”  For artist Allison Andrews, both her art and her life alike are a practice in discipline, service and letting go.

I encourage you as readers to take the time to look at the following works and ruminate on the meanings they have for you, or simply appreciate their success or failure in the case of stimulating your thought process.

Happy Birthday Mr. President

Above: Happy Birthday Mr. President

Hummer Pie

Above: Hummer Pie


Above: Androgynous


Above: Suspension


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