Considering the cultural context, in relation to what I am doing on panels currently, and why I'm working with pop fades, pop culture losing its imagery, and yet identifiable, along with abstracts in relation to abstract ideas...There is art for art sake, for hobby, for addressing power plays, etc...This is more about addressing power plays, or at least, following how these networked plays of power, these fake sugary angels in the mirror, gunning, influence how I approach my work. A pretty little thing promotes eyes to the surface. That wouldn't suit the purposes of my design, so I'm not so much aiming for a development of happy nothing morsels for the nice as ice crowd, largely the bourgeoisie sporting Cartesian sieve symbologies, or a variant of. It has always been clear, that wouldn't be my birds of a feather, and yet, that wouldn't stop a group from attempting to have that go with the one that seems to be an easy target of sorts, of lived experience, not mere accusation, though like someone asking which white sheet burned a cross in someone's yard, the line of investigation discloses the networked racism at play. I just can't focus on that in terms of what I'm developing. Rather, it's exploring these influences in relation to the panels. Understanding my discomfort in relation to something visually appealing. This doesn't mean I will not do things visually appealing, but it's not something I'm entirely okay with, as it simply works in relation to a particular power play that is entirely violent. I think artists can do whatever they like, so long as they find their voice. There is a lot of art without a voice...I intend to have a voice in relation to my work. Sometimes it's just to pass the time, but often it's not. Something will be articulated, likely in relation to the informatic and in relation to lived experience. I don't care about the mirroring shadow show in relation. It's a waste. It's simply a newer avenue in relation to matters of process, matters involving no Eyes. Something that doesn't intend on playing up to pretty little things for a social media campaign, though I do like the play of faux-celebrity and faux presentation, to explore that influential relation. Some find it easy to do. For me, not at all. I don't like it. It's simply apparatuses aimed at gutting out the process, where the art is to serve networks among a power play that isn't so kind to those not among their comforts. It wouldn't, by design, have a voice that involves my experience...
So yeah...I dig into these power relations. The reasons remain insofar, and yet, there are these experiences that haven't been nice at all toward by design, and remain to this day. It's not going to change...and yet, that's just that, the focus has to eventually shift...once I am satisfied with highlighting matters...considering matters...including instrumentation like simile and analogy. Power likes the game of veiled behavior. It's an Ron English smiley. It's a Kara Walker everything. In terms of voice, they are influences for me. In terms of relations to a medium, it would be Polly Apfelbaum and Wolfgang Laib. And eventually it's just going to be the art. What I find interesting is the language, this cave wall interplay fails comically and tragically, so the use of video, among other minds, and synthesizing in relation to what I am considering, gives more of an impression, of a way of somewhat achieving a symbolic impression language, a language I wish I had, like Chinese, Japanese, or Hebrew. I don't, and I really wouldn't want to learn that at this point in my life...so I take on a makeshift approach. There's humor to it I think.