true delight of ms. nevelson

current tune: Does It Offend You, Yeah? "Let's Make Out"

The thought of the July coming to a near end frightens me with another month making the transition behind me with expectations not met and projects left incomplete. I just want to have closure with my college education so that I may be able to be without time lines and "security issues" with campus facilities.

This new project which officially has begun today - as I have officially spray painted one tiny television cameo pink! Though it's start is simple, I hope to go with this project and let the feelings and details of the direction come to me as I go - or as I place newly selected pink items in the corner of the backyard I've been given to construct this piece in.

I'm creating an outdoor installation of an indoor environment filled with nothing but capitalistically rich material objects universally covered in delicately pink spray paint in a natural environment. My artistic inspiration relies solely on the beautiful and talented Louise Nevelson and her assemblages.

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Royal Tide I - 1960

" 'When Nevelson struck upon her now-signature use of monochrome, she was able to do in her art what she had hoped to do in her life: neutralise idiosyncratic details, harmonise disparate elements, and transform the common and mundane into elegant objects of mystery. She rendered neutral the wood castaways that she first scavenged from the streets and later acquired from friends and acquaintances with coats of black, white or gold paint. Stripped of the details that hinted at their histories, that contained threads of stories, the cast-off objects acquired dignity and power, a grandeur they never had as baseball bat shards, chair backs and other furniture fragments, crates and timberyard orphans. According to the artist, 'black contained all colour... It was an acceptance... Black is the most aristocratic colour of all.' "

The Sculpture of Louise Nevelson, p 12, quoted from Nevelson's autobiography Dawns + Dusks, edited by Diana MacKown (New York: Charles Scribner's Sons, 1976).

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I am attracted to and intrigued with the unifying of the selected objects by the shared commonality of the the color that masks each one similarly. Masking their corporate labels, their consumer identity, their directions and warnings and focuses on the physical form and the space they have been placed within. With this regard, I can relate with the progress and growth of my own personal art that questions the materialistic identity and cultural connotations.